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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

The Choir Isn’t Everything

Richard J. Clark · September 23, 2016

USIC AT MASS is all about the choir, right? Wait, the cantor on a microphone? Really it’s all about the organist who can play the loudest. The musicians provide all the music that is important or that is needed, right? But the most obviously element to sacred music is often the most overlooked.

What happens when a priest sings the Greeting? Intones the Gloria? Sings the Collect? The Preface Dialogue and Preface? The Institution Narrative? The Lord’s Prayer? Etc.?

What is going on here?

The priest is singing more than the choir. The priest is singing the Mass. The people are responding to the dialogues. The choir sings. The people sing even more. Fitting are the words of the Exsultet: “Let this holy building shake with joy!”

Where appropriate, the choir sings. The choir has its role—a very important one: sometimes to simply sing with the congregation or enhance, fostering the unity of the faithful and exterior participation. Other times it is to sing alone to foster interior participation.

The choir’s role is indeed important, but it is only a part of a larger unified role. Ideally, sacred music is a wider effort that goes well beyond the choir loft. It emanates from the choir loft and from the sanctuary. It comes to fruition in the pews and resonates in song and in the heart. Music—hence prayer—is unified throughout the sacred space.

The priest’s musical role is enormously influential for the congregation. But not all priests are comfortable singing. Remember, a small amount of singing from a priest will yield enormous dividends. This can not be emphasized enough. Even singing recto tono (singing on one note only) for the Greeting or Collect can energize a congregation. (Keep it simple!) This in turn can kick start a congregation to sing everything else more robustly.

I encourage all priests to sing even a little bit. I encourage all music directors to work with and encourage their clergy. A few notes at Mass will be a mustard seed that will yield great fruit.

At all times, all sacred music—whether sung by the priest, choir, or congregation—the role of sacred music is to help the faithful pray the texts of the Mass. Ultimately, whatever our individual role is during the liturgy, all are working towards the same goal: the edification and sanctification of the people—the salvation of souls.

PRIESTS! DEACONS! CHOIRS! Want to sing the Mass and learn the chants of The Roman Missal? Here they are:

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

Filed Under: Articles Tagged With: ICEL Chants, Singing the Mass 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

It is frightful even to think there are children, victims of abortion, who will never see the light of day.

— Pope Francis (13 January 2014)

Recent Posts

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  • PDF Download • “Entrance Chant” for Holy Thursday (Plainsong in English)
  • “Dies Irae” • A Monstrous Translation

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