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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

“Missa de Jerry Seinfeld” and Praying as a Family

Richard J. Clark · July 19, 2013

NE OF MY GREATEST LAMENTS as a full-time church musician is the inability to go to mass with my family with any regularity. With Saturday and Sunday evening masses and rehearsals, this precludes most any possibility. We get to attend mass together as a family perhaps four or five times a year, so when we do, it is a rare and special treat.

My wife and I met at church. Until we had children, she played clarinet at most every mass that I directed. Meanwhile, she has been quite saintly in handling our children by herself at our local parish, as it is now sometimes impractical for them to attend mass where I work. For example, she must negotiate with my three-year-old son, “the liturgist” who apparently knows exactly when mass should be over. Around the fifty-five minute mark, he expresses “in his own special way” the “dismissal.”

My son is also quite an expert in liturgical music, once yelling only a few rows behind the organist at another parish, “I want Daddy’s music! I want Daddy’s music. DADDY’S MUSIC!!” (I love my son. He’s a very good boy.) My poor wife, horribly embarrassed, was trying to quiet him, but little could be done to mitigate this social faux pas. I’m not sure if they’ve ever been back to that parish.

I digress.

Recently, we had such an opportunity to attend mass together as a family. It was even more extraordinary; while traveling with my wife’s extended family, we were all together at mass—all nineteen of us!

When traveling, of course, it is difficult to be picky about where to go. This particular mass that we attended (in an unnamed and undisclosed parish somewhere in America…) presented some “challenges” for me. The game show atmosphere and steady stream of jokes throughout mass grossly distorted the flow and shape of the liturgy. This included a well-timed joke about celibacy from the celebrant that drew riotous laughter. The music had nothing to do with the liturgical calendar, but was a list of “Catholic top-40” and was more closely related to the secular calendar. (OK, so the Lalemant Propers were out of the question.) The cantors were in fact quite talented and excellent, if for Broadway.

However, looking around, the church was full and the congregational singing was quite robust despite microphones set to eleven. (I’m dating myself again with the “Spinal Tap” reference.) The homily was in fact quite prayerful and intelligent despite the stand-up routine from the celebrant throughout the rest of the mass. The people seemed very happy to be there. The atmosphere was welcoming, if bereft of reverence and very much not my cup of tea. (Btw, welcoming and reverent environments are NOT mutually exclusive!)

In all of my dismay, in which I felt I was doing great penance to endure such a mass, I must remind myself that I am a huge sinner and far from perfect. (My great sinfulness has and will continue to be a regular topic in this blog.) Plus, I must be mindful that I wasn’t such a great liturgical musician twenty years ago. (Although the “Missa de Jerry Seinfeld” from a clearly intelligent celebrant is disheartening.)

(Please forgive me for this obnoxious post, because I am the luckiest man alive; I have the love of my family. Furthermore, the love of Christ should be good enough for me.) And therefore…

Someday, what I will remember most about this mass are none of its misguided liturgical abuses, however well received they were. What I will remember is that I knelt side by side with my daughter during the consecration. I will remember reciting the Creed in my fidgety three-year-old son’s ear as I held him. I will remember singing with my children, even if the music was not the best the Church has to offer. I will remember that I married a most wonderful woman from a wonderful family—that all nineteen of us made it to mass together. I will remember that we are united in the Eucharist—that the love of Christ is the center of our prayer, of our Universal Church, and of our family. For this unique time with God and with my family, I am deeply blessed and most grateful beyond words.

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

    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski

Random Quote

It is known that the “mora vocis” is part of the compulsory rules of recital of the “Vaticana” and is indicated in the Editio typica and its reprints by a somewhat larger spacing of the neume (one space-line) within one group of neuma.

— 1953 Schwann Edition (PREFACE)

Recent Posts

  • Never Work For A Priest Or Bishop Who Believes Sacred Music Should Be “Entertainment”
  • When Pilgrims Sing, the World Disappears
  • “Offertory” at Catholic Funerals
  • “In Paradisum” • Gregorian Chant
  • The Beauty of the Propers for All Souls’ Day (and the Requiem Mass)

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