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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 Necessity of Interior Prayer for Directors, Composers, and Publishers

Richard J. Clark · August 1, 2014

AM CURRENTLY AT AN UNDISCLOSED location near the Wye River. Despite distance and days removed from professional responsibilities, not a single day has passed without work-related emails regarding the dozen liturgies taking place in my absence and another dozen soon to follow. However, I cannot complain as steady work is a first class problem for a musician. Furthermore, I’m grateful for the thoughtful and wonderful musicians with whom I place my trust during this time.

Realities of the modern work environment emphasize the need for prayer even more. Time and space in part offer what regular interior prayer is designed to do: provide room for contemplation in which questions may arise. If one does not pray regularly we then have to tackle “deferred maintenance” of the soul. Agitation may be a sign that certain issues have not been dealt with. Regular prayer – an interior life – is the maintenance that keeps us on course. But very often, we are too busy, even “doing the Lord’s work” to pray and contemplate.

LTIMATELY, HOW WE VIEW OUR WORK comes down to our calling. Are we called to a more prestigious job? No. Are we called to be successful? Yes and no. In what sense? Are we called to use our gifts in the service of God? Yes. How? That is up to God and the only way to do it is to listen and to trust God. Will questions be answered and conclusions reached? Probably not, except the conclusion to listen and follow where God leads us. This clarity is offered only in silence.

With this I offer two important meditations for any church musician, whether acting as composer, director, or publisher. The first is well known from Matthew 13:52:

“Then every scribe who has been instructed in the kingdom of heaven is like the head of a household who brings from his storeroom treasures both new and the old.”

We are certainly in a position of responsibility for what we expose and teach others. Are we bringing forth treasures? Are we cultivating these treasures or do we leave them in the back of the storeroom? We bring these treasures forward with love, joy and excitement.

The second is more daunting and deeply humbling. From Pope Saint John Paul II’s Chirograph for the Centenary of Tra le sollecitudini of Pope Saint Pius X, he wrote,

“Only an artist who is profoundly steeped in the sensus Ecclesiae can attempt to perceive and express in melody the truth of the Mystery that is celebrated in the Liturgy.” (§12 Chirograph for the Centenary of Tra le sollecitudini)

Our work and responsibilities are part of our very being, united with the Church – one with all of its faithful believers. By way of explanation, Saint John Paul II continued:

“How many sacred works have been composed through the centuries by people deeply imbued with the sense of mystery! The faith of countless believers has been nourished by melodies flowing from the hearts of other believers, either introduced into the Liturgy or used as an aid to dignified worship. In song, faith is experienced as vibrant joy, love and confident expectation of the saving intervention of God” (ibid)

Only in our interior prayer—in the silence—will we find what path God desires us to follow. Then we may emerge from the storeroom with treasures for our fellow believers.

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

Filed Under: Articles Tagged With: Pope Saint John Paul II 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 chapter secretary is authorized to write a letter beseeching a royal pardon for Caspar de Cuevas, cathedral sackbut player, who is imprisoned on a murder charge.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (23 March 1566)

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