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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

Changing the Culture: Progress, Not Perfection

Richard J. Clark · January 31, 2014

NLY GOD IS PERFECT and we are not. As theologian Fr. Michael Himes is often fond of saying, “God is God and we are not.” This seems like a ridiculously obvious point. Strangely, it is a point worthy of reinforcement.

Musicians and liturgists are something of a perfectionist lot. We often berate ourselves for lack of perfection and are highly critical when liturgy falls short of rubrics or expectations. This is understandable for myriad reasons and a topic for another day.

“God is God and we are not” bears repetition. Yet, God loves us in our brokenness and frailty. Humanity is by definition, flawed and weak. Should this bring us discouragement or joy? That God holds us in our weakness should be a constant occasion for joy. That notion also bears repeating every day.

So what does this have to do with liturgy? Quite a bit actually. For progress is not an excuse to not give our best or strive for the ideal. In fact, achieving progress is very difficult. Very difficult. It requires vigilance. It requires years of slow and incremental change. It requires years of consistency.

Having been in my current position for over nearly twenty-five years (gulp) a colleague once mentioned, “It takes that long to get something done.” Perhaps hyperbole, perhaps not, there is truth to this statement regarding the arc of progress and the arc of changing the culture.

No one likes change. I don’t like it. But progress only takes root if the culture or system is changed. This is the hardest thing of all, and one must not become discouraged. This will take a lifetime.

R. WILLIAM MAHRT DISTILLED THIS POINT simply and gently at the close of the Sacred Music Colloquium in 2013. What he said was striking because we had all been fully immersed in sacred music and chant. After such an intense experience, we heard him directly concluded the following (I am paraphrasing): that upon returning to our parishes, one perhaps might find that one can only add one piece of chant in the liturgy. But by doing so, beauty and dignity have been added to the liturgy. In short, his emphasis was on progress in the light of the reality that the ideal is not immediately possible.

Nor should it be immediately possible. Fifty years after Sacrosanctum Concilium, changing the culture that took root all this time will not be easy. One may find it possible to expose congregations to chant and polyphony while still offering some of what is still in their comfort zone. This is not easy. This is why progress is perhaps even harder than insisting upon perfection (not to be confused with shoddy performance). For progress brings along the entire community—or at least as much of the community as possible. Perfection makes demands that require an immediate decision to stay or go, i.e., let the chips fall where they may.

I have barely scratched the surface on this important topic and it will require more discussion and follow-up.

N THE MEANTIME, I WANT TO EXPRESS MY GRATITUDE to the readers of “View from the Choir Loft.” (This quite related to the ideas of progress.) I have been writing for “Views from the Choir Loft” for a little more than a year. When I began I absolutely did not have the time, between two jobs and children. However, the discipline of writing something every week has been a blessing far greater for me than perhaps for anyone else. It helps keep me focused on prayer and mission. This is made possible by the readers. I hope that what is presented here helps make progress despite my personal emotional baggage or perhaps wrong assumptions. I hope that my weekly “bloviations” assist in some small way. I hope we can make progress together. The readers have helped me make progress in my own professional and personal life.

Thank you!

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

“Today the Church has made a big mistake, turning the clock back 500 years with guitars and popular songs. I don’t like it at all. Gregorian Chant is a vital and important tradition of the Church and to waste this—by having guys mix religious words with profane, Western songs—is hugely grave, hugely grave.”

— Maestro Ennio Morricone (10 Sept 2009)

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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