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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

Adversity Builds Strength

Richard J. Clark · May 3, 2013

HE FEAST OF SAINT JOSEPH THE WORKER was this past Wednesday, May 1st. Instituted in 1955 by Pope Pius XII, it is a day dedicated to the dignity of labor. This feast has me reflecting quite a bit, mostly of my countless colleagues who work tirelessly for God’s glory.

The more professional networking I do, the more opportunity I have to listen and discover the inner workings of others’ professional lives. What I have found is extraordinary commitment and dedication. But what I have also found is something all too common and sad. It is clear that one difficult theme persists. If one has been a sacred musician long enough, one will encounter great challenge and sometimes even grave adversity. Even musicians who might appear to be in very secure and enviable positions, are at times in peril. (It is important to note that no one denomination is immune from this.) Church musicians carry “battle scars” of the profession. We can all tell “war stories.” While very sad, this speaks to the frail imperfection of human nature.

Adversity comes in myriad forms and often unique to each situation. There are the more common issues of low pay, endless hours, or perhaps obstacles to maintaining the integrity of the liturgy and music. Then there are problems individuals inflict upon one another – lack of charity that sometimes reach the level of professional abuse. Some stories are “jaw dropping” – that those who work in a Christian environment can treat each other with great professional insensitivity, no less in such an unchristian manner. These are the most troubling “war stories” that have people wisely updating their resumés and looking for new positions, a new parish, or a new choir.

It may be surprising to some (and not to others) that the perpetrators are often clergy or music directors themselves. Especially during a poor economy, the supply/demand graph does not favor the employee or a musician who needs a gig to pay some bills. When those in authority mistreat those beneath them, sadly it is insecurity that is most often the root cause of such problems. That’s all—personal insecurity.

(Thomas à Kempis writes in The Imitation of Christ, “If man had but a spark of true charity he would surely sense that all the things of earth are full of vanity!”)

So what does one do in such situations?

When things go wrong, we must be even more mindful to do our jobs with great personal and professional integrity. In turn, we will hopefully earn respect and loyalty from those who matter. How does one earn respect? By giving it!

I have to offer a few reflections, in no particular order, but I write this for myself as much as I do for anyone else. These are not simple solutions, nor perhaps even solutions at all, but I pray this may be of help to those undergoing difficult times.

• It’s never about you. We could all be gone tomorrow. We are here to serve God and each other. Never make the music or rehearsal about you. That doesn’t preclude being firm or confident in your vision, but the end goal is the greater purpose. In success, deflect credit from oneself and give credit to others. Your choir will appreciate this more than you will ever know.

• Admit mistakes. No one is perfect. When scattered and multitasking, my mistakes are plentiful! Don’t be afraid to make mistakes nor to admit them. (A self-deprecating sense of humor doesn’t hurt either!) The choir, staff, and those working with you will appreciate this more than you may know.

• Firm but always pleasant. (I have to remember this one.) The best way to get the most of your employees or singers is to set clear guidelines, expectations, and be always pleasant or at least even-keeled—a tough one for artists! Unpredictable moods make for unhappy singers or employees. Even when exhausted or stressed out, a consistently cheerful and respectful demeanor will be appreciated by your choir more than you may ever know.

• Always thank people—many times! Never cease thanking your singers, professional or volunteer! Show appreciation! No one gets tired of being thanked. Do you? Some hard working people are starving for gratitude. Perhaps this is the MOST important one.

On a spiritual and personal level, these reflections may be helpful:

• Pray always. Prayer works. I’m convinced! Pray for each other. Furthermore, when people know you are praying for them, they appreciate its healing power more than you will ever know.

• Have a support group. Whether it is colleagues, friends, people you can lean on, it is important to find those around you who appreciate your work and dedication. Likewise, be supportive of each other! Many “angels” have entered my life at just the right time to offer support, without who I would have been lost or in great trouble. Support each other: You never know when that support will lift someone when they need it most. Finally, know that God is watching over you and knows when you need help.

• Forgive. This is the most difficult, but perhaps the most important one. Realize, the person who will benefit most is the one who forgives. Forgiveness covers a lot of ground. What do I mean by that? It will reveal many blessings you perhaps never expected. It will form an internal change within. In time, this change may even be discernable to those around you. However, forgiveness sometimes is not a one-time event. It can be a daily struggle. One may have to forgive over and over. Like practicing your instrument every day, forgiveness takes daily practice. It gets easier in time. It goes against one’s instinct to love one’s enemies, but this is the love Jesus calls us to do.

Remember, forgiveness and prayer do not preclude looking to change or improve your work environment. The spiritual and the practical most go hand in hand. Adversity strengthens us to move forward.

Thomas à Kempis writes in The Imitation of Christ:

“If all were perfect, what should we have to suffer from others for God’s sake? But God has so ordained, that we may learn to bear with one another’s burdens, for there is no man without fault, no man without burden, no man sufficient to himself nor wise enough. Hence we must support one another, console one another, mutually help, counsel, and advise, for the measure of every man’s virtue is best revealed in time of adversity—adversity that does not weaken a man but rather shows what he is.”

Finally, always remember that adversity builds strength:

Acts 14: 22 “They strengthened the spirits of the disciples and exhorted them to persevere in the faith saying, ‘It is necessary for us to undergo many hardships to enter the Kingdom of God.’”

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 • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski

Quick Thoughts

    “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
    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

Random Quote

“What will be the results of this innovation? The results expected, or rather desired, are that the faithful will participate in the liturgical mystery with more understanding, in a more practical, a more enjoyable and a more sanctifying way.” [Enjoyable?]

— Pope Paul VI (26 Nov 1969)

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