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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

Why We Do What We Do

Richard J. Clark · December 27, 2013

RJC_913_St_John_Apostle_Evangelist St. John the Evangelist, Francesco Furini HAVE PRECIOUS FEW ORIGINAL IDEAS. Today is no exception, drawing in part from a friend’s note and from Andrew Motyka’s post It’s What We Do.

As we wind down from Christmas Eve and Day (only to wind back up again for the glorious Christmas Season) church musicians might ask themselves, why in the world do we do this? What effect do we have on anyone, especially those who only go to mass two or three times per year?

I assure you, plenty. On this Feast of Saint John, Apostle and Evangelist, it is good to reflect upon our calling as ministers of sacred music. As Andrew Motyka states, what we do is “an act of mercy, and as such, my duty as a Christian.”

Beyond making music that is pleasing to the ears, music ministers are called to serve our communities by fostering prayer. In service of the liturgy, sacred music is not simply for ephemeral pleasure (although one hopes it is pleasing!), but more importantly for transformative healing and growth that is enduring. This holds true individually and for the community. This is our hope. This is our call.

I often remind my choirs that they will affect people spiritually in ways that they will never know. While we are fulfilling our duty and our calling, we can assume very little about those around us, even those we think we know pretty well (or those we have judged.) Take time to listen to those around you, and you will be astounded to learn the crosses they may be carrying.

UST AS I HAD BEGUN WRITING this, I received in rather surreal fashion a note from my recording engineer, Evan, that stopped me in my tracks. The subject of his email read: “Why we do what we do.” (Was he reading my mind?) Regarding a collaboration with The Copley Singers and the St. Cecilia Choir in the wake of the tragic Boston Marathon bombing, Evan wrote:

“…my best friend Michael is a seminarian in the Archdiocese of Hartford, and was just ordained a deacon this month. He was assigned to a parish in Litchfield county over the summer, and became close friends with a priest there, who was suffering from leukemia. Michael told me last night that he played for this priest his copy of the Darkness to Light recording we made this spring. The priest would listen to this heavenly music over and over, crying while listening to it. He was brought great comfort through the ministry of this music. He passed away earlier this fall…

“… beyond the funds that were raised for the Boston bombing victims…It brings me great joy to know that a project I took part in has affected the life of another person, especially that of a dying man…”

This is one story we learned about many months after the fact. How about the countless stories we never hear? Sometimes we learn of one story only to remind us this is why we do what we do.

O WHEN WE ENTER THE DOORS of our churches, one never knows what pain, suffering, grief or burdens those among us carry. This is the beauty and the gift of community. When we are unable to pray—when we are distracted, or burdened, or overcome with grief—the community carries us along; the community buoys our spirit and sustains us; the community prays on our behalf. Our voices raised in prayer each week can provide comfort and solace to our brothers and sisters in need. Our very presence at liturgy, along with our spoken and sung prayer, have untold effects on others and can act as a lifeline in ways which we will never know.

“A cry from deep within our being, music is a way for God to lead us to the realm of higher things.” — St. Augustine, Epistoia 166, De origine animae hominis

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 • “Sprinkling Rite”
    Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.
    —Jeff Ostrowski
    ‘Sarum’ Good Friday?
    Plainsong of the Roman Rite has many variants—i.e. slight ‘variations’ or ‘alterations’ made to the ancient melodies. Variants often thrive in particular religious orders. Likewise, before Henry VIII broke away from the Catholic Church, Gregorian Chant variants were frequently associated with individual cathedrals in England: Hereford, Lincoln, Salisbury, and so forth. In the early 20th century, the (Anglican) organist at Westminster Abbey married “Let All Mortal Flesh Keep Silence” to this beautiful variant melody from England. Those who sing Gregorian Chant on Good Friday will recognize the melody. What do you think of this pairing?
    —Jeff Ostrowski
    PDF Download • “Eb Organ Postlude”
    Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?
    —Jeff Ostrowski

Quick Thoughts

    “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
    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

Random Quote

“I, (Name), do declare that I do believe that there is not any Transubstantiation in the Sacrament of the Lord’s Supper, or in the elements of the bread and wine, at or after the consecration thereof by any person whatsoever.”

— ‘From England’s Anti-Catholic Oath (1673)’

Recent Posts

  • PDF Download • “Sprinkling Rite”
  • ‘Sarum’ Good Friday?
  • Gregorian Chant • The “Correct” Way of Singing ?
  • PDF Download • “Eb Organ Postlude”
  • Fulton J. Sheen • “24-Hour Catechism”

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