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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

Thank You, But Hold the Applause

Richard J. Clark · September 6, 2013

AM NOT SURE HOW AND WHEN it all began, but it has been increasingly common for congregations to applaud at the end of a recessional song or hymn. While this is a very well intended gesture of appreciation for the music ministers, it is indicative of both something right and something not entirely right. A close cousin of this is loud talking in the pews after (or before) mass while others are literally kneeling and trying mightily to pray.

Before I sound too grumpy, there are a few things here that are in the right direction and a few that are not. On the bright side, for someone who used to witness with regularity one third of the congregation disappearing after communion in order to beat the traffic, I am happy to see this practice becoming far less common than it was perhaps a decade or two ago. It is good that people are happy to be at church. It is a very good thing for people to form a close community. This cannot be overlooked with depressing statistics about declining mass attendance. (That is an issue for a dissertation, not a brief blog entry.)

But perhaps in part, the overall decline in mass attendance can be attributed to what is not quite right in this circumstance.

Pope Benedict XVI famously wrote:

“Wherever applause breaks out in the liturgy because of some human achievement, it is a sure sign that the essence of liturgy has totally disappeared and been replaced by a kind of religious entertainment. Such attractiveness fades quickly—it cannot compete in the market of leisure pursuits, incorporating as it increasingly does, various forms of religious titillation.” (The Spirit of the Liturgy, pg. 198-199)

Mass cannot, nor should not compete on a level of entertainment. “Such attractiveness fades quickly.” The mass brings something else entirely different. It is in our very human nature, the need to worship God. Our brains are wired for contemplation. It is within our very soul to connect with the divine. This desire and need is very human. Vatican II states:

“Christ indeed always associates the Church with Himself in this great work (of the liturgy) wherein God is perfectly glorified and men are sanctified. The Church is His beloved Bride who calls to her Lord, and through Him offers worship to the Eternal Father.”(Sacrosanctum Concillium §7)

Take the case of applause at the end of mass. Certainly, everyone understands the expression of such appreciation. However, quite interestingly, the more transformative the music, the less likely there will be applause. The more closely the music is connected with the liturgical action, the more it “adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites.” This is turn builds hearts, souls, minds, and a sense of close community.

At the end of a Recessional on Palm Sunday, it would seem very inappropriate to applaud or talk loudly after such a solemn occasion. This is because the people are filled with a deep interior silence that is moved by the transformative power of Jesus’ sacrifice for us all.

Speaking as a musician, it feels very uncomfortable to hear applause. If anything should be applauded, it should be the Eucharist and the Word. Of course, this is silly. As such, applauding music is just as silly. We don’t applaud the lectors or altar servers, greeters, or ushers, etc. Yet, they all serve an important ministry.

Finally, the best way to show appreciation for your music ministers is not through applause — for if there is applause, we have somehow failed to convey a sense of awe and reverence. For music ministers, there is no greater thrill than to hear a congregation singing with full hearts, minds and voices. Still, it is never about us.

Soli Deo gloria!
To God alone the Glory!

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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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “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

Random Quote

“The conciliar norms regarding reform of the liturgy have given the choir’s function greater prominence and importance. The choir is responsible for the correct performance of the parts that belong to it…”

— “Musicam Sacram” (5 March 1967)

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