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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

Full and Active Preparation – ora et labora

Richard J. Clark · January 25, 2013

HOSE MOST SKILLED in the art of conversation are not those who speak most frequently, but those who listen. Listening is among the greatest acts of love and compassion. Taking time, energy, and concentration, listening is profoundly active.

But when called to respond, those who actively listen can do so carefully and thoughtfully. In our prayer, do we listen to God, and can we respond to His call thoughtfully?

Blessed John Paul II’s 1998 Ad Limina Address to the Bishops of the United States, On Active Participation in the Liturgy contains extraordinary gems of wisdom including: (emphasis added)

“Active participation certainly means that, in gesture, word, song and service, all the members of the community take part in an act of worship, which is anything but inert or passive. Yet active participation does not preclude the active passivity of silence, stillness and listening: indeed, it demands it. Worshippers are not passive, for instance, when listening to the readings or the homily, or following the prayers of the celebrant, and the chants and music of the liturgy. These are experiences of silence and stillness, but they are in their own way profoundly active.”

With this profound advice, the Holy Father continues:

“In a culture which neither favors nor fosters meditative quiet, the art of interior listening is learned only with difficulty. Here we see how the liturgy, though it must always be properly inculturated, must also be counter-cultural.”.

Interior listening is progressive. Interior listening is relevant. Interior listening is counter-cultural! With unmistakable clarity, the 2007 US Bishop’s Document Sing to the Lord: Music in Divine Worship, further emphasizes: “The importance of silence in the Liturgy cannot be overemphasized.” (no. 118.)

Meanwhile, I spend nearly all of my days in God’s house (though through no special virtue of my own. I am a great sinner, no doubt. Those happy to second this, please take a number. Proceed to the back of the line.) Busy with everything from never-ending administrative tasks to composing new sacred works, meditative prayer and interior listening can still be elusive. While I can count myself as physically present at a dozen or so liturgies per week, I can honestly say that am fully active, present, and prayerful at far fewer, sometimes even none.

For the sacred musician, full and active participation not only includes mindfulness during mass, but demands full and active preparation well in advance. This holds true for all ministers of the liturgy. This holds true for the priest. This holds true for the congregation who must have opportunity for sacred silence in preparation of the Sacred Liturgy. For example, while a prelude may assist the faithful in entering into prayer, it is advisable to leave time for sacred silence before the Entrance Chant.

Meanwhile, long hours and hard work spent in preparation are necessary. Prayer and meditation are necessary, but one can’t learn and teach music through meditation and prayer alone. Prayer and work go hand in hand – ora et labora.

A few years ago Dr. J. Michael McMahon visited St. Cecilia Parish in Boston to give a symposium on “Sing to the Lord: Music in Divine Worship.” On the pragmatic point of hard work in rehearsal, with widened eyes he emphatically declared, “…it is not a performance, but the choir had BETTER perform.”

This statement is a revelation to some. However, one can derive from this great common sense: prepare more fully and actively, so that we may be more present in spirit. Prepare more fully and actively, so that we will be highly mindful of the sacred text we sing. Prepare more fully and actively, in order to be less consumed by myriad technical details. Most importantly, prepare fully and actively so that worshipers can sing and listen with greater ease and attentiveness. Preparation assists not only our own interior listening, but also that of God’s people. Preparation is in itself a noble prayer and an act of love for God and each other.

34. For in the Liturgy God speaks to His people and Christ is still proclaiming His Gospel. And the people reply to God both by song and prayer. (Sacrosanctum Concilium)

Finally, with hard work comes the inevitable fatigue in body and spirit. It is then time to remember stillness, calm, and silence. Listen to God and revel in His presence. I write this for myself, a sinner, who needs to remember this more than anyone who may read this.

Listening to God prepares us for Him. How will we thoughtfully respond to His call?

“And the people reply to God both by song and prayer.”

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

Filed Under: Articles Last Updated: May 11, 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 plea that the laity as a body do not want liturgical change, whether in rite or in language, is, I submit, quite beside the point. … (it is) not a question of what people want; it is a question of what is good for them.”

— Dom Gregory A. Murray (14 March 1964)

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  • “Dies Irae” • A Monstrous Translation

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