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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Entering the Mainstream Conversation

Richard J. Clark · August 14, 2015

HOSE OF US who are deeply passionate about Gregorian Chant, Renaissance polyphony, and the propers are often left to share such conversations among ourselves. Perhaps our interest is considered “on the fringe.” Likewise, those of us with such passions are also quick to dismiss “mainstream” liturgical practices of which we may not approve. What is important is to have the conversation. Only speaking to those with whom we agree is a form of “Intellectual incest” which only reaffirms our own established notions. From this practice we do not learn. We do not grow.

Most important is to examine what practices truly bear fruit. What needs reform? What needs to be done away with? What needs to be fostered, nurtured, or held in higher esteem? With fifty years of distance from Vatican II, what do we better understand now?

HE 2010 ENGLISH TRANSLATION OF THE ROMAN MISSAL, Third Edition, and its chants shook up the mainstream conversation enormously. It is one that may very well continue for years. Lest we forget, it was Pope Saint John Paul II who promulgated the Third Edition in 2000 and established the new norms for translation with Liturgiam authenticam (LA). Now, and for years to come, we are shaped and formed by Pope Saint John Paul’s decision. This is always worthy of conversation.

Furthermore, Pope Benedict XVI shook up the conversation in many ways, especially with his 2007 Apostolic Letter Summorum Pontificum, but these elements are still often considered on the fringe. Cardinal Sarah’s recent letter is not likely to make many waves in the mainstream. Sarah, who was appointed Prefect of the Congregation for Divine Worship and the Discipline of the Sacraments by Pope Francis, may likely see many of his points dismissed. But they should not be as they address the very heart and substance of full and active participation–Participatio actuosa–and entering into the mystery. Beyond the externals of facing East (as presumed by the GIRM!) the common ground Sarah expresses with regard to the liturgy’s very essence is enormous.

This is quite worthy of a wider conversation:

The liturgy in action is thus none other than the work of Christ in action. The liturgy is in its essence actio Christi: “the work of Christ the Lord in redeeming mankind and giving perfect glory to God” (§5 SC). He is the high priest, the true subject, the true protagonist of the liturgy (cf. §7 Ibid). If this vital principle is not embraced in faith, one risks reducing the liturgy to a human action, to the community’s celebration of itself.

OST PEOPLE WE SERVE are not concerned about the General Instruction of the Roman Missal, Rubrics, or the rules of Liturgiam authenticam. But the faithful do care deeply about matters of the heart. They care deeply about the scriptures. They care deeply about relationship with God and with each other. They care deeply about the heart entering into the Mystery, consciously or otherwise. If what we offer is cheap or trite, will it take root in the long run? Our young people are smarter than that. Ultimately, the root of substance digs deep and bears great fruit.

Can we have a conversation about that?

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Which Mass?
    In 1905, when the Vatican Commission on Gregorian Chant began publishing the EDITIO VATICANA—still the Church’s official edition— they assigned different Masses to different types of feasts. However, they were careful to add a note (which began with the words “Qualislibet cantus hujus Ordinarii…”) making clear “chants from one Mass may be used together with those from others.” Sadly, I sometimes worked for TLM priests who weren’t fluent in Latin. As a result, they stubbornly insisted Mass settings were ‘assigned’ to different feasts and seasons (which is false). To understand the great variety, one should examine the 1904 KYRIALE of Dr. Peter Wagner. One should also look through Dom Mocquereau’s Liber Usualis (1904), in which the Masses are all mixed up. For instance, Gloria II in his book ended up being moved to the ‘ad libitum’ appendix in the EDITIO VATICANA.
    —Jeff Ostrowski
    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“We must say it plainly: the Roman rite as we knew it exists no more. It has gone. Some walls of the structure have fallen, others have been altered—we can look at it as a ruin or as the partial foundation of a new building. Think back, if you remember it, to the Latin sung High Mass with Gregorian chant. Compare it with the modern post-Vatican II Mass. It is not only the words, but also the tunes and even certain actions that are different. In fact it is a different liturgy of the Mass.”

— Fr. Joseph Gelineau (1978)

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