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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

Begin From the Beginning—Interesting Things Will Happen

Richard J. Clark · June 28, 2013

EFORE ONE CAN EVEN BEGIN talking about music in the liturgy, one must understand something about the Sacred Liturgy itself. No conversation about liturgical music based on personal taste can yield much fruit without fundamental understanding of the purpose of the mass.

In his 1903 Motu Proprio, Tra le Sollecitudini (“Instruction on Sacred Music”) Pope Saint Pius X begins his “instruction” as he describes the overall purpose of the liturgy as “the glory of God and the sanctification, the edification of the faithful.”

Sacrosanctum Concilium echoes this statement in The Nature of the Sacred Liturgy and Its Importance in the Church’s Life: (§7) “Christ indeed always associates the Church with Himself in this great work wherein God is perfectly glorified and men are sanctified.”

Further echoing Saint Pius X: “For His humanity, united with the person of the Word, was in the instrument of our salvation…The wondrous redemption of the whole Church.” (Sacrosanctum Concillium, §5)

That the singularly most important purpose of the mass is to glorify God seems like something we could not possibly forget, yet it happens and sometimes quite frequently. It is easy to become too mindful of ourselves and of our own problems, or of our own importance in context of the liturgy. God already knows our most inner thoughts and needs, and certainly we must bring our prayers and petitions to God. But preoccupied self-absorption or self-importance (I am very guilty of this more than just occasionally!) distorts the nature of the Sacred Liturgy. Quite happily, focus on God alone points to the second part of Saint Pius X’s statement: “the edification and sanctification of the people.” God finds us and gives us the grace we need despite our sins and flaws.

Giving glory to God alone leads to our sanctification and edification! Singing God’s praises is necessary for personal and communal sanctification and edification.

Therefore, as a community joins together to praise God, something quite interesting happens: not only do individuals grow in faith, but also the community unifies and intensifies with greater strength than ever. In a sense, the “vertical” strengthens the “horizontal”. Ultimately, the goal of the community and of the whole Church is Christ-like living: Lex orandi, lex credendi, lex Vivendi – the law of prayer is the law of belief, which points to the law of how Christians must live. More simply put, the liturgy reminds us if we truly believe what we pray, we must respond to God’s call by that way that we live.

NOTHER IMPORTANT QUESTION about the liturgy was posed by Bishop Sample at the CMAA Sacred Music Colloquium. While the mass is a celebration, perhaps we must ask what it is we are celebrating. Is it a party? Is it a shared communal meal? Is it self-affirmation? These are not necessarily bad things, and in fact they can be quite good and helpful in the right context. But during the liturgy they distort what is essential for our souls: Jesus who died for us redeems us by His Body and Blood. We are a saved people! (This is why we celebrate Easter for 50 days after a Lenten preparation of 40 days.) That we are saved is all quite remarkable and joyful.

But our redemption is not possible without the Sacrifice of our Savior. We cannot sidestep nor gloss over the Sacrifice. Without Good Friday, there is no Easter Sunday. Without the dying, there is no rising. God alone is the center of our prayer. From this, flows our redemption.

Sacrosanctum Concillium (§5) furthermore states under The Nature of the Sacred Liturgy and Its Importance in the Church’s Life, “For His humanity, united with the person of the Word, was in the instrument of our salvation…The wondrous redemption of the whole Church.”

OK, we may know all of this already. But it is remarkable that we may joyfully embrace in our hearts our redemption through Christ’s Sacrifice. This is what we celebrate every Sunday and every day at every mass! In the words of the anamnesis: “Save us, Savior of the world, that by your cross and Resurrection, you have set us free.”

Sacrosanctum Concillium (§2): “For the liturgy, ‘through which the work of our redemption is accomplished.’ (Secret of the ninth Sunday after Pentecost) most of all in the divine sacrifice of the Eucharist, is the outstanding means by whereby the faithful may express in their lives, and manifest to others, the mystery of Christ and the real nature of the true Church.”

As we are united in the Eucharist, in Christ’s loving act of self-sacrifice is this not worthy of joyful praise of God and God alone?

I have not even begun to speak of music at liturgy, music worthy of praising the God who loves us to the point of death on a cross. Where will this understanding lead us in our sacred music? Interesting things happen in our lives when we worship God.

So, perhaps this discussion on music for the Sacred Liturgy must begin from the beginning:
Soli Deo Gloria! Give glory to God alone!

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 • (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
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —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

“Until Pope Paul VI, there has not been a single pope who introduced the type of fundamental changes in liturgical forms which we are now witnessing. In fact, we must note that even small changes in the liturgy introduced by a pope have never been readily accepted.”

— Monsignor Klaus Gamber (d. 1989)

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