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Views from the Choir Loft

Pope Francis and “recovering the allure of beauty”

Richard J. Clark · March 6, 2015

OPE FRANCIS has not been afraid to admit his own mistakes or failings. This is a lesson in humility. He is secure in his identity and willing to admit where he needs improvement. A surprising side effect of admitting mistakes—and correcting them—is increased credibility as a leader.

During a meeting with pastors in Rome, Pope Francis admitted his “shortcomings” in a 2005 presentation he gave on the “ars celebrandi” or the “art of celebrating the liturgy.” After being chastised for neglecting to mention anything about being in the presence of God, he has since distilled this notion with clarity.

In Carol Glatz’s National Catholic Reporter article, Liturgies need to help people experience awe, mystery of God, Pope Francis explains:

“For me the key of ‘ars celebrandi’ takes the path of recovering the allure of beauty, the wonder both of the person celebrating and the people, of entering in an atmosphere that is spontaneous, normal and religious, but isn’t artificial, and that way you recover a bit of the wonder,” he said.

In doing so, Francis cites two extremes, both roadblocks to “entering into the mystery”:

If the priest is “excessively” focused on the rubrics that indicate the movements and particular gestures during Mass and “rigid, I do not enter into the mystery” because all one’s energy and attention are on the form, he said.

The other extreme, he said, is “if I am a showman, the protagonist” of the Mass, “then I do not enter into the mystery” either.

RANCIS TWICE STATES that priests must avoid artificiality. The same applies to musicians. Therefore, bear in mind that the rubrics and the GIRM are there to serve the liturgy. They are the means to an end. That end is “entering into the mystery” and encountering God in the Eucharist. Musicians must enter into this mystery with humility in order for their work to bear fruit. And a musician must never be the “protagonist“—the center of attention. Sacred music always points to the mystery.

Francis’ statements are not an excuse to ignore rubrics or formality. Nor is the opposite reaction of extreme informality or disregard of liturgical law a path to “entering into the mystery.” He simply warns to avoid making either an obstacle.

Musicians create such obstacles on their own quite easily. We may obsess over correct notes, but this is useless without passion. And passion without discipline and structure falls short of its great potential.

What is the solution? The longer we live with a piece of music—or the more we pray the Mass, the more the technical details become second nature. Obsession is gone. It is then that passion sings, beauty reclaimed, and truth revealed.

Pope Francis says we must recover the allure of beauty. Listen.

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

Filed Under: Articles Tagged With: Beauty in the Catholic Liturgy, Pope Francis 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

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“It is required of a man that he should share the passion and action of his time at peril of being judged not to have lived.”

— Oliver Wendell Holmes

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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