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Views from the Choir Loft

Christ, the Wounded Healer

Richard J. Clark · April 18, 2014

THOUGHT IT STRANGE when looking at my bookcase. Grouped together are some of my favorite and essential books: the Graduale Romanum, Campion Missal, Lumen Christi Missal, and The Musical Shape of the Liturgy. But somehow, wedged right in the middle, as if to say, “Pay attention to me!” was Henri Nouwen’s 1972 classic, The Wounded Healer – Ministry in Contemporary Society. How did it get there?

Nouwen’s book recounts a story from the Talmud, summarizing:

“The Messiah, the story tells us, is sitting among the poor, binding his wounds, one at a time, waiting for the moment when he will be needed. So too it is with the minister…he is called to be the wounded healer, the one who must look after his own wounds but at the same time be prepared to heal the wounds of others.

”Jesus has given this story a new fullness by making his own broken body the way to health, to liberation and new life. Thus like Jesus, he who proclaims liberation is called not only to care for his own wounds and the wounds of others, but also to make his wounds into a major source of his healing power.” (The Wounded Healer, pg. 84, Doubleday and Co.)

So, the general premise of Nouwen’s books is that through our wounds, through our brokenness and perhaps even human imperfection, we are capable of helping others heal. We must be mindful of this through our work in the Church, and as musicians, through liturgy.

ROFESSIONALLY, MANY CHURCH MUSICIANS face challenges which may include some “war stories.” But with the frailty of human life sadly on display all around us, these are nothing in comparison. There is much needed perspective on what is true suffering and what are the common travails of a life of service. But in a profession in which it is difficult—indeed often impossible—to separate our spiritual, personal, and professional lives, our personal wounds must be cared for so that we may be ready to serve when called upon. To take it a step further, it is often because of our wounds that we can better serve others, provided that we have learned from them.

Distance helps heal wounds. But so does forgiveness. When distance is not possible, forgiveness many times every day is necessary. Then what you have suffered leads to wisdom, perspective, and understanding, providing a rock upon which others may lean. While joy and suffering are natural parts of human existence, challenge and pain is necessary for growth. Adversity builds strength. As such, suffering may come as a seemingly strange, yet potent blessing.

From suffering flowers great beauty. Therefore, as servants of the liturgy, we have an obligation to foster beauty and prayer. Our work will always find ways to humble us, as it should. In this humility, we can also find the healing prayer that our brothers and sisters need.

In Jesus, the Unblemished Lamb, we find the ultimate sacrifice. In Him we find our healer and Savior. May our work in sacred music lead people to Christ, the Great Healer who bore for us His wounds.

Yet it was our infirmities that he bore,

our sufferings that he endured,

while we thought of him as stricken,

as one smitten by God and afflicted.

But he was pierced for our offenses,

crushed for our sins;

upon him was the chastisement that makes us whole,

by his stripes we were healed.

— Isaiah 53: 4-5
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

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“What will be the results of this innovation? The results expected, or rather desired, are that the faithful will participate in the liturgical mystery with more understanding, in a more practical, a more enjoyable and a more sanctifying way.” [Enjoyable?]

— Pope Paul VI (26 Nov 1969)

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