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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

“Immense in the form of God, tiny in the form of a slave”

Richard J. Clark · December 23, 2016

UCH HAS BEEN reported about Pope Francis’ recent address to the Curia regarding a process of reform.

But perhaps the most impactful part of his address was inspired by Saint Augustine, as Pope Francis described Christmas as “the feast of the loving humility of God.”

From the first part of his address:

Saint Augustine, contemplating the face of the Baby Jesus, exclaimed: “immense in the form of God, tiny in the form of a slave”. To describe the mystery of the Incarnation, Saint Macarius, the fourth-century monk and disciple of Saint Anthony Abbot, used the Greek verb “smikryno”, to become small, to reduce to the bare minimum. He says: “Listen attentively: the infinite, unapproachable and uncreated God, in his immense and ineffable goodness has taken a body, and, I dare say, infinitely diminished his glory”.

Christmas is thus the feast of the loving humility of God, of the God who upsets our logical expectations, the established order, the order of the dialectician and the mathematician. In this upset lies all the richness of God’s own thinking, which overturns our limited human ways of thinking (cf. Is 55: 8-9). As Romano Guardini said: “What an overturning of all our familiar values – not only human values but also divine values! Truly this God upsets everything that we claim to build up on our own”. At Christmas, we are called to say “yes” with our faith, not to the Master of the universe, and not even to the most noble of ideas, but precisely to this God who is the humble lover.

Blessed Paul VI, on Christmas of 1971, said: “God could have come wrapped in glory, splendour, light and power, to instill fear, to make us rub our eyes in amazement. But instead he came as the smallest, the frailest and weakest of beings. Why? So that no one would be ashamed to approach him, so that no one would be afraid, so that all would be close to him and draw near him, so that there would be no distance between us and him. God made the effort to plunge, to dive deep within us, so that each of us, each of you, could speak intimately with him, trust him, draw near him and realize that he thinks of you and loves you… He loves you! Think about what this means! If you understand this, if you remember what I am saying, you will have understood the whole of Christianity”.

God chose to be born a tiny child because he wanted to be loved. (emphasis added)

OPE FRANCIS’ WORDS punctuate that Christmas celebrates the Word Incarnate. The Word lives in flesh among us.

As church musicians, it is our foremost duty to produce sacred music in which the Word is preeminent. The Word drives composition. Not sentiment. Not my personal feelings, but the Word of God. This is our mandate.

But this “mandate” or responsibility leads us to a personal relationship. Rev. Peter Breemen, S. J. states, “The Gospel is a Person. Perfection means to follow Jesus Christ, to accept the friendship of Christ.” (As Bread That is Broken, pg. 101)

Jesus came to dwell among us because he loves us. The baby Jesus was vulnerable. The adult Jesus was even more so.

Remember always John 3:16:

For God so loved the world, that He gave His only begotten Son, that whoever believes in Him should not perish, but have eternal life.

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

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— ‘Father Clemens Blume, S.J.’

Recent Posts

  • Good Friday Flowers
  • PDF Download • “Entrance Chant” for Holy Thursday (Plainsong in English)
  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)

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