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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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President’s Corner

    Buckfast Abbey Weighs In
    Dom John Stéphan was a Benedictine monk of Buckfast Abbey in South Devon, England. On 4 February 1933, he published this interesting letter in THE TABLET. Have you seen the exterior of Buckfast Abbey? It’s beyond gorgeous. I doubt there’s a more arresting Abbey in the entire world. Dom Stéphan’s letter is concerning this momentous collection, which our organization obtained, scanned, and uploaded.
    —Jeff Ostrowski
    Responsorial Psalm Fauxbourdon?
    When it comes to singing Responsorial Psalms in Fauxbourdon, what does this sound like in practice? Can such a thing be done successfully with volunteer choirs in real Catholic parishes? Listen to this audio excerpt from Good Friday and see what you think. Our parish volunteer choir did so well this year—and the ceremonies were ‘standing room only’. For the record, that musical score can be downloaded (completely free of charge) from the flourishing feasts website.
    —Jeff Ostrowski
    Music List • (Easter Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Easter Sunday—a.k.a. “Ad Missam in die Paschae”—which is 5 April 2026. Please feel free to download it as a PDF file if such a thing interests you. The Fauxbourdon for Communion is particularly moving.
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —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

Random Quote

“The chants of the Proper of the Mass—that is, the Introit, Gradual, Offertory, Communion—in sung Masses may be chanted in the vernacular to melodies legitimately approved.”

— Statement (20 April 1964) by the Consilium, the group Paul VI put in charge of inventing the New Mass

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  • Responsorial Psalm Fauxbourdon?

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