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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

Startlingly Human

Richard J. Clark · August 30, 2013

ESUS, THE WORD MADE FLESH, is both Divine and fully Human. I have great difficulty wrapping my brain around this truth. However, I accept it joyfully as a matter of faith. Still, it will likely remain an unreachable understanding throughout my life.

That humanity is entwined in the divine is no more evident than in the Book of Psalms. Consider that “the Psalter is the basic songbook of the Liturgy.” (GIRM, no. 102.) Therefore, our greatest prayer, the Mass, weds the human with the divine, as does the crucified Jesus. This is a notion of great beauty, considering how fragile our humanity is.

St. Paul refers to our body as a “tent.” It decays. But as Catholics we believe in not only the resurrection of our spirit, but of the body. Sometimes we forget this or even deny it. From the Requiem Mass, the chant Credo quod Redemptor emphatically cries, “I believe that my Redeemer lives, and that on the last day, I shall rise from earth and in my flesh I shall behold God my Savior.”

“…and in my flesh” … This is astounding!

SALM 139 (138) most extraordinarily describes complete faith in the divine that mercifully upholds humble humanity. (Most telling of the importance of this psalm is that it is prescribed for the Introit, Resurrexi, on Easter Sunday.) Humanity’s intimate relationship with the divine is evident in its first lines:

You have searched me, Lord,

and you know me.

You know when I sit and when I rise;

you perceive my thoughts from afar.

You discern my going out and my lying down;

you are familiar with all my ways.

God’s watchful eye over us is most evident in this psalm. No matter how we try to flee from God, He will find us:

Where can I go from your Spirit?

Where can I flee from your presence?

If I go up to the heavens, you are there;

if I make my bed in the depths, you are there.

If I rise on the wings of the dawn,

if I settle on the far side of the sea,

even there your hand will guide me,

your right hand will hold me fast.

If I say, “Surely the darkness will hide me

and the light become night around me,”

even the darkness will not be dark to you;

the night will shine like the day,
for darkness is as light to you.

Some of the most famous (and controversial lines) are in found here, in the wonderment of our human creation:

For you created my inmost being;

you knit me together in my mother’s womb.

I praise you because I am fearfully and wonderfully made;

your works are wonderful,
I know that full well.

My frame was not hidden from you

when I was made in the secret place,
when I was woven together in the depths of the earth.

Your eyes saw my unformed body;

all the days ordained for me were written in your book
before one of them came to be.

Towards the end, King David reveals, as he often does, the despair and ugliness of humanity. In his song and prayer, he calls for the defeat – the blood of his enemies. He describes his hatred for God’s enemies. He laments that God does not destroy them.

If only you, God, would slay the wicked!

Away from me, you who are bloodthirsty!

They speak of you with evil intent;

your adversaries misuse your name.

Do I not hate those who hate you, LORD,

and abhor those who are in rebellion against you?

I have nothing but hatred for them;

I count them my enemies.

That perhaps we can relate to this, may be disturbing to us. That we may pray for this may be frightening. These sentiments are startlingly human.

And so, the human is immersed in the divine with this conclusion of the psalm. Like the capitulation of a musical theme, David prays that God will search him and know his heart, and to lead him out of his great sinfulness:

Search me, God, and know my heart;

test me and know my anxious thoughts.

See if there is any offensive way in me,

and lead me in the way everlasting.

May we find the divine though our humanity. God will always find us, even in the depths of our earthly imperfection and sin.

MEZZO-SOPRANO, Katherine Dulweber sings a concert setting of Psalm 139:

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

    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“What matters is to prefer God to all else; to be ready to sacrifice all, rather than commit one sin.”

— Cardinal Merry Del Val (shortly before his death)

Recent Posts

  • “Thee” + “Thou” + “Thine”
  • PDF Download • “For Pentecost Sunday”
  • “Reminder” — Month of May (2026)
  • “Englished” Gregorian Chant • 5 Considerations
  • Simplified Version • “Canon in D” (Pachelbel)

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