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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

When in Crisis: Ideology and Diplomacy

Richard J. Clark · February 21, 2014

AM EXCEEDINGLY UNREASONABLE and inflexible when it comes to caring for the pipe organs and pianos at St. Cecilia Church and St. Mary’s Chapel. Put some bottled water on top of the organ console or the piano? Don’t even think about it. You will know my immediate (feigned) wrath:

Poor Unsuspecting Choir Member: “But it’s empty!”
Me: “I don’t care. Get it off.”
Poor Unsuspecting Choir Member: “Seriously? But it’s empty! Nothing will happen.”
Me: “I’m not joking. NEVER put water or tea on or NEAR the piano or organ ever!”
Poor Unsuspecting Choir Member then looks at me like I have three heads, an entirely appropriate response.

AM ALSO OBSESSIVELY VIGILANT with regard to temperature and humidity regulation. I have my digital hydrometers reminding me to fill humidifiers for the organ blowers and pianos during the cold and dry Boston winters. Those who work with me suffer my cantankerous moods when temperature is less than ideal, causing the organ to be out of tune. My inflexibility must be very annoying.

But this is not about instrument maintenance. It is about seeing the big picture and more than the surface.

Poor Unsuspecting Choir Member looks at an instrument and sees a piece of furniture. I see the thousands of dollars of electronics in the organ console, the years of labor to build the organ, and the many generous donors who made the instruments possible. While someone may see a convenient flat surface, I see years of building up a music program to earn the trust of those donors. Someone may see a place for a drink, I see the glory to God and the sustenance of the community these instruments help provide. I see a longterm plan to pass these instruments on to the next generation in decent working condition, unlike what I inherited. In these matters I am an ideologue, probably seen as inflexible, unreasonable, and annoying. But with gentle diplomacy, I can successfully persuade others that diligent regular maintenance is far cheaper than a five or six figure restoration brought on by neglect.

But let’s put things into proper perspective. If an instrument is treated with such great care and reverence (great pipe organs are practically venerated), then how much more care should we venerate the Eucharist? How much more love should we show liturgy? The Word of God? My co-bloggers, Fr. David Friel and Peter Kwasniewski write on such topics with far greater eloquence and authority than I ever could. I will leave the task to them.

In matters of faith and theology, it is self-evident to be firm and unmoving. It is not my place or authority to reinterpret dogma. However, we must recognize the lesser matters in which we must be flexible, especially when in crisis. We must be wise in choosing when to be an archconservative and when to exercise diplomacy. (See Andrew Motyka’s What Hill are You Willing to Die on?)

AKE THE EXAMPLE OF SACRED MUSIC. The repertoire is vast and the controversy, like the poor, will be with us always — at least so it seems. There is an abundance of environments hostile to the sacred, beautiful, and universal. This hostility exists whether intentional or born of ignorance. Therefore, in such cases of liturgical crisis, diplomacy yields far more fruit than ideology. For when it comes to hostile environments, demanding the ideal will usually get you nothing but a pink slip. Diplomacy and negotiation, however, usually produce an end result that is short of the ideal, but both parties receive something from the transaction that is mutually beneficial. This sounds rather impersonal and more like a study in economics or political deal-making, does it not?

(Aside: Musicians must keep in mind that being a pastor is one of the most stressful and difficult jobs anywhere. They must be all things to all people. They are pulled in many different directions and face pressures we often know nothing about.)

An economic parallel is that of the popular music industry. When an artist signs with a record company, standard terms give the record label 50% of the publishing rights. Some artists think this is unfair. However, one is immediately reminded by the record label that 100% x 0=0. However, 50% of a large number, on the other hand, equals a number much larger than zero. Artists recognize the math quickly as a better result for them.

In sacred music and liturgy, especially in times of crisis, one must make progress rather than perfection. We do so through exposure to parts of the ideal, if not all of it.

Is this satisfactory? Probably not. However, in a time and place when sacred music is not fully supported, diplomacy is the best shot we may have of making inroads, crack the door open and expose people to our traditions. It is the best shot we have of handing off our traditions to the next generation. Otherwise, the status quo will take further root. Status quo will be passed down to the next generation. Our children deserve better than that.

I am reminded of a line from the Pentecost Sequence, Veni Sancte Spiritus:

Bend the stubborn heart and will
Melt the frozen, warm the chill
Guide the steps that go astray.

N EXAMPLE OF DIPLOMACY is introducing chant in English or modern chant-like settings in English rather than in Latin, especially if Latin is a lightning rod issue. In time, those may be ready for Latin texts, which are far more satisfying theologically and musically.

In that spirit I will share with you this simple communion antiphon for the Eighth Sunday in Ordinary Time:

Free Download:
PDF • Primum quaerite | Communion Antiphon | 8th Sunday in Ordinary Time

And this:
PDF • “Twelve Communion Propers for Lent” (for Schola, Organ, SATB)

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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

If then Dom Pothier has sometimes adapted authentic melodies found elsewhere in the manuscripts to texts of the Mass it is not, as Mr. X. maintains, because he has “composed them from scratch and declared them as traditional.”

— Most Rev’d Henri Laurent Janssens (25 November 1905)

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