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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 Thoughts of His Heart

Richard J. Clark · June 27, 2014

HAVE LONG BEEN FASCINATED with the text of the Introit for the Solemnity of the Sacred Heart of Jesus, Cogitationes, Ps. 33 (32): 11, 19: “The thoughts of his heart stand from generation to generation: that he might deliver their souls from death, and nourish them in times of famine.” It is striking to even consider that Jesus has his own “thoughts” or “designs” within His own Heart. It is a startling reminder of Jesus’ humanity. It is of great comfort to us that He desires to care for us, especially during times of great difficulty.

The Directory on Popular Piety and the Liturgy states “The term ‘Sacred Heart of Jesus’ denotes the entire mystery of Christ, the totality of his being, and his person…” which includes his humanity. Furthermore, the introit text reminds us to give ourselves over in trust in Jesus. Pope Benedict XVI states, “His divine Heart calls to our hearts, inviting us to come out of ourselves, to abandon our human certainties to trust in him, and following his example, to make of ourselves a gift of love without reserve.”

HE THOUGHTS OF HIS HEART is an organ work based on Cogitationes. The chant is quoted in its entirety in the pedal with an 8′ oboe stop. (Even the psalm verse is quoted, with a return to the incipit.) This is played over an ostinato accompaniment in the left hand, with interjected improvisatory figures in the right hand. Within the realm of interior prayer, there is rest and comfort to be found, yet at the same time a restless joy exposed by the unusual harmonies and imposed melodies. Ultimately, it finds repose and peace.

The heart is resilient and complex. It leads us to Jesus and to his Heart.

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

Filed Under: Articles Tagged With: Pipe Organ, Sacred Heart of Jesus 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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

The People’s Hymnal suffers from a too literal and awkward translation. And even in the lovely Slovak “Memorare” in The Saint Gregory Hymnal we are still asked to sing “that anyone who sought thee, or made to thee his moan.” Why not “groan” or “bone” or even “phone?” The only thing necessary, it seems, is that it rhyme with “known.”

— Mons. Francis P. Schmitt (1958)

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