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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

    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt

Random Quote

Some are called not to much speaking, | nor to conversations about the Church, | but, rather, to a deep silence | and to a life hidden in the heart of the Church, | far from wrangling tongues, from speculations, and discord. […] This is the essence of a Eucharistic monastic life.

— Fr. Mark Daniel Kirby (Meditation on Colossians 3:3)

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