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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

The Pipe Organ in Survival Mode

Richard J. Clark · May 2, 2014

HERE IS NO NEWS to report that organists and pipe organs have long been in “survival mode.” It is not news that organ departments in certain conservatories have been dispensed with and many churches are opting out of the use of the organ altogether. This is boring old news, the domain of no one denomination or institution. We’ve all seen it.

While there is decline in some places, there is rebirth in others. Why is this? A recent article in the New York Times, A Harmonic Drone Subsides in Britain: “Once Top Musicians, Organists See Loss of Relevance.” Reporter Michael White begins by discussing the general demise of the once magnificent, powerful and influential Royal College of Organists in London upon its 150th anniversary. Yet it optimistically and creatively forges on.

Creativity is the key. So is tenacity when it comes to the survival of the organ. In this article James O’Donnell, organist of Westminster Abbey and past president of the Royal College of Organists, first speaks of the economic state of being an organist:

“I’m not aware of any crisis in finding the next generation of organists,” Mr. O’Donnell said. “The problem is that there are so few jobs to enable them to do it professionally.”

Mr. O’Donnell continues:

“The important thing for us is to have a sense of ourselves not as organists — a breed apart — but as musicians who happen to the play the organ,” he said. “That’s the task, after 150 years. We need to reinvent ourselves.”

Even when it comes to liturgy, organists can no longer take for granted the dominant use—or for that matter, any use of the organ. It is no longer presumed a given, despite anything Sacrosanctum Concilium states—even this:

120. In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church’s ceremonies and powerfully lifts up man’s mind to God and to higher things.

HEREFORE, IN LITURGY, TAKE NOTHING for granted. No one owes the pipe organ anything, for the liturgy does not exist to serve the organ. The organ exists solely to serve the liturgy. (A news flash for some: playing the service music well is actually more important than the organ prelude and postlude.)

What about the Vatican II Liturgy Documents? To be honest, “to be held in high esteem” can be interpreted in myriad ways especially by those uninterested in the instrument.

So there are times when our art is tested. In music, take nothing for granted. Be grateful for your art and defend it like a mother or father protects their child. There are always times when the integrity of the liturgy (and beauty) is tested. When the pipe organ and organist – even great ones – are optioned for other instruments or styles, then one has choices:

    A • Find a new job. Often this is the only viable choice and may entail moving around the country as many church musicians do. The organ and music program one leaves behind will likely suffer great decay until leadership changes. It could be a long, intolerable wait.
      B • Enter “survival mode, stick it out, and positively influence the future.

If taking choice B, then what? Here are some creative thoughts to keeping the organ alive and rebuilding with the future in mind. You may have additional ideas to suggest:

1 • You may have to accept a potentially diminished role of the organ in the liturgy. E.g., the organ does not play on every single piece of music. The upside is that when the organ does play, it has the potential to become more special (not unlike the limited orchestral use of certain instruments to provide emphasis or color). Using the organ relatively less may in fact increase appreciation of the instrument by its supporters and increase excitement for its music. Very importantly, It keeps the organ in the consciousness of the congregation when the alternative is silence. Make it count when it is heard—not in volume but in beauty.

2 • Be open to using the organ as an ensemble instrument. Whether as a continuo instrument, or in chamber music or even with guitars—(yes this can work quote well! I’ve done it—a lot, even at an AGO event), get creative and keep the wind going through those pipes! Remember, it is not all about the organist but about God. Wait—something wonderful might come of this! Cultivating other instrumentalists is always a good thing for your congregation and music program, is it not?

3 • Keep concerts alive. Retain this creative outlet. Keep yourself and the instrument accessible to your audience afterwards.

4 • Children are always fascinated with pipe organs and their consoles. Invite families with children to sit in on your postludes – or give an organ tour or “Organ crawl” for your parish. Parents appreciate fun and educational experiences for their children.

5 • Do your job with integrity. Having integrity wards off those who wish to sabotage good work. Furthermore, likable and trustworthy people tend to attract more donors and funding, making the political waters relatively less turbulent.

6 • Pray unceasingly for wise judgement.

ETER KRASINSKI, IS ONE OF THE FINEST and most creative musicians in the United States. Thinking outside of the box, he brings new audiences around the world to the pipe organ in unconventional ways and venues. On the subject of organists moving forward, he stated: “All the great music makers I have known are almost always very comfortable with themselves and their art, at the same time open to new ideas and striving to improve THEMSELVES, not someone else.”

Maybe that’s the key to not only surviving, but thriving! While doing so, think creatively and unconventionally to keep alive not only the organ, but prayer and beauty in the liturgy. What lives might you change in the process?

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Pipe Organ 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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we forget that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.”

— SACRAMENTUM CARITATIS

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