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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Believe. Connect. Disappear.

Richard J. Clark · October 2, 2015

HAVE MELLOWED considerably in my old age. So I thought. But it’s not true. Even if I have, it’s not saying much. I have a very long way to go. But if I’ve softened in some ways, I’ve become much more intense in others. Priorities are clarified and heightened. Yet, the soul is relatively more centered, I pray.

And then there are days I feel I’m more of a mess than I’ve ever been. Then it’s time to remember God is in charge, and we are to serve Him.

Service to God and the faithful is the primary responsibility of our roles in the liturgy. If I have calmed my musical approach as an organist or director, it is because I have become more intense about this notion of service.

For example, the older I get, the more I spend time practicing and preparing hymns and service music. I play mass every day. Shouldn’t I know these, just show up and play them? Yes, I could do that. But I’m spending even more time choosing the specifics of text, tune, harmonization, and registration. Why? Because this is one of the most important things I must do in a week. I owe it to the people and to God. The flashy postlude is of far lesser importance.

As years go by, I prepare more—not in order to receive accolades—but to become invisible. To be solid, reliable, and therefore unnoticed is an essential goal these days. My, I have mellowed! But not: to lead and uplift while pointing away from myself and toward God is the ultimate goal I’m chasing.

R. RYAN DUNS, S.J., a newly ordained priest, shared with me a simple guide from his homiletics class: Believe. Connect. Disappear. It is something he clearly puts into practice during his wonderfully edifying homilies. This is also a great model for liturgical musicians.

We must not only make beautiful music on the surface. We must also believe fervently in our hearts in order to inspire and therefore connect.

Then we must step aside in order to allow the faithful to take this sacred melody and text into their hearts.

ALL SACRED MUSIC MUST BE CENTERED IN CHRIST. It must point to God alone and to no one else. Doing so serves the faithful. As musicians for the liturgy, this is our true goal.

AMDG

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

    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

What earlier generations held as sacred, remains sacred and great for us too, and it cannot be all of a sudden entirely forbidden or even considered harmful.

— ‘His Holiness, Pope Benedict XVI (7 July 2007)’

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