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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

Entering the Mainstream Conversation

Richard J. Clark · August 14, 2015

HOSE OF US who are deeply passionate about Gregorian Chant, Renaissance polyphony, and the propers are often left to share such conversations among ourselves. Perhaps our interest is considered “on the fringe.” Likewise, those of us with such passions are also quick to dismiss “mainstream” liturgical practices of which we may not approve. What is important is to have the conversation. Only speaking to those with whom we agree is a form of “Intellectual incest” which only reaffirms our own established notions. From this practice we do not learn. We do not grow.

Most important is to examine what practices truly bear fruit. What needs reform? What needs to be done away with? What needs to be fostered, nurtured, or held in higher esteem? With fifty years of distance from Vatican II, what do we better understand now?

HE 2010 ENGLISH TRANSLATION OF THE ROMAN MISSAL, Third Edition, and its chants shook up the mainstream conversation enormously. It is one that may very well continue for years. Lest we forget, it was Pope Saint John Paul II who promulgated the Third Edition in 2000 and established the new norms for translation with Liturgiam authenticam (LA). Now, and for years to come, we are shaped and formed by Pope Saint John Paul’s decision. This is always worthy of conversation.

Furthermore, Pope Benedict XVI shook up the conversation in many ways, especially with his 2007 Apostolic Letter Summorum Pontificum, but these elements are still often considered on the fringe. Cardinal Sarah’s recent letter is not likely to make many waves in the mainstream. Sarah, who was appointed Prefect of the Congregation for Divine Worship and the Discipline of the Sacraments by Pope Francis, may likely see many of his points dismissed. But they should not be as they address the very heart and substance of full and active participation–Participatio actuosa–and entering into the mystery. Beyond the externals of facing East (as presumed by the GIRM!) the common ground Sarah expresses with regard to the liturgy’s very essence is enormous.

This is quite worthy of a wider conversation:

The liturgy in action is thus none other than the work of Christ in action. The liturgy is in its essence actio Christi: “the work of Christ the Lord in redeeming mankind and giving perfect glory to God” (§5 SC). He is the high priest, the true subject, the true protagonist of the liturgy (cf. §7 Ibid). If this vital principle is not embraced in faith, one risks reducing the liturgy to a human action, to the community’s celebration of itself.

OST PEOPLE WE SERVE are not concerned about the General Instruction of the Roman Missal, Rubrics, or the rules of Liturgiam authenticam. But the faithful do care deeply about matters of the heart. They care deeply about the scriptures. They care deeply about relationship with God and with each other. They care deeply about the heart entering into the Mystery, consciously or otherwise. If what we offer is cheap or trite, will it take root in the long run? Our young people are smarter than that. Ultimately, the root of substance digs deep and bears great fruit.

Can we have a conversation about that?

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

    “Music List” • 19th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 19th Sunday in Ordinary Time (10 August 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the feasts website.
    —Jeff Ostrowski
    This Sunday’s Communion Antiphon
    This coming Sunday—10 August 2025—is the 19th Sunday in Ordinary Time (Year C). The COMMUNION ANTIPHON is really gorgeous, and two of its features are worth mentioning. First of all, the Gospel reading assigned is from Saint Luke, whereas the the antiphon—although it matches the account—comes from Saint Matthew. (If anyone can point to a similar example, please notify me.) Furthermore, if you look at the authentic Gregorian Chant version posted on the feasts website, you’ll notice that it’s MODE III but ends on the ‘wrong’ note. A comparable instance of such a ‘transposed’ chant would be KYRIE IV.
    —Jeff Ostrowski
    Using “Ye” Vs. “You” Correctly
    Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.
    —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

“The chants of the Proper of the Mass—that is, the Introit, Gradual, Offertory, Communion—in sung Masses may be chanted in the vernacular to melodies legitimately approved.”

— Statement (20 April 1964) by the Consilium, the group Paul VI put in charge of inventing the New Mass

Recent Posts

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  • This Sunday’s Communion Antiphon
  • Using “Ye” Vs. “You” Correctly
  • Installment #3 • “Serious Problems with the Lectionary Translation”

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