• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Text and Emotion • Our Pastoral Responsibility

Richard J. Clark · October 30, 2015

S A COMPOSER and conductor, one must pay complete attention to the text. Recently, someone commented that a particular setting of mine was notably in tune with the text. To me this seemed like a minimal prerequisite of composition. Perhaps one of the biggest influences in my music, sacred and otherwise, is the influence of the Roman Rite in which the text is preeminent. The reason for such preeminence is profoundly displayed at the beginning of John’s Gospel:

“In the beginning was the Word, and the Word was with God, and the Word was God.” — John 1

I have written before that in the liturgy, the Word is preeminent. Likewise, the text drives all sacred choral music. In many choir rehearsals, I will point out that the placement of a melody upon a text is not accidental. Gregorian Chant almost always paints the text most intentionally. What word is on the highest note? What phrase or syllable is treated with an extended melisma?

Likewise, compare the treatment of the text of Ave Verum Corpus by William Byrd as compared to perhaps any other setting. Note the longing serenity and mystery of “O dulcis, O pie, O Jesu Fili Mariae” followed by the juxtaposition of F natural in the bass and F# in the tenor as the text pleads, “Miserere mei.” No detail of the text is left unnoticed by Byrd.

Furthermore, there is much raw emotion to be found in sacred polyphony. Tallis’ Verily, Verily, I Say Unto Thee displays a nearly twentieth-century-style “passing dissonance” on “Son of Man” (perhaps to illustrate his suffering). The phrase, “Except ye eat of the Son of Man and drink his blood” propels towards a declarative resolution during “ye have no life in you.” Tallis goes on to paint every word of John 6 with faith, love, and passion. So much said with so few, but essential, life-giving words of our faith!

EAUTIFUL AND UNIVERSAL sacred music is designed to receive and process the extraordinary emotions of the liturgy. This past Palm Sunday, the homilist emphasized that the liturgy of Palm Sunday was designed to receive all of our emotions, from joy to fear and confusion, and grief. This is a dynamic that we can see over and over again.

Consider the Requiem Mass. It is designed to receive the fullest spectrum of emotions, from fear, mourning and grief, to hope, joy, and love. The Dies Irae, a work of great sacred poetry, captures a wide range of emotions: fear and trembling of the Last Judgment, to hope, (“You who absolved Mary, and heard the Robber, gave hope to me, too…”) to the lyric Lacrimosa and Pie Jesu which implore God’s mercy to grant eternal rest.

Consider the confident joy in the text of Credo quod Redemptor: (Job 19:25, 26) “I believe that my Redeemer lives, and that on the last day, I shall rise from earth and in my flesh I shall behold God my Savior.” This is an extraordinary progression of emotion from the Dies Irae!

Finally, in the words of the In Paradisum: there is joy and comfort in God’s mercy. Regardless of who we are, this prayer welcomes home the sinner in extraordinary fashion: “May the Angels lead you into paradise; may the martyrs receive you and lead you into the holy city of Jerusalem…”

If we truly believe the words of the Requiem Mass, what emotions do they evoke? As Paul writes in Romans 8:38-39:

“For I am convinced that neither death, nor life, nor angels, nor principalities, nor present things, nor future things, nor powers, nor height, nor depth, nor any other creature will be able to separate us from the love of God in Christ Jesus our Lord.”

E CAN CLEARLY SEE THE PROFOUND emotions found in the words of the liturgy—the Requiem Mass or Palm Sunday simply being two obvious examples. But even the emotion found in the daily readings are profound! It is therefore incumbent on us to pay close attention to our pastoral responsibilities. Pay little heed to text, and the liturgy is watered down. Pay no attention to the musical setting of text, and the impact of God’s Word is potentially trivialized. Either does a great pastoral disservice to the faithful.

Treat the Word of God carelessly, and we will lose our orientation towards the Divine. It is therefore, a pastoral responsibility to ensure the God’s Word reaches the people:

1 • It is our pastoral responsibility that the settings of the music indeed contain the Word of God—and not a collection of personal thoughts and feelings.
2 • It is our pastoral responsibility to ensure these musical settings of sacred music are beautiful and universal and therefore their spiritual effects are lasting.
3 • It is our pastoral responsibility to prepare the liturgy very diligently, with love, with intellect, with emotion, and with an eye towards always improving our craft.
4 • It is our pastoral responsibility that our music not be self-serving, but that it draws attention away from us and towards the Word of God. This allows the Word to enter our hearts. This allows all to enter into the Mystery. This allows God’s Word to comfort the afflicted, which at one time or another includes us all.

From Maestro Michael Olbash:
November, 2: Commemoration of All Souls, Traditional Latin (EF) High Mass, Monday, November 2, at 7 p.m., St. Adelaide’s in Peabody, Massachusetts. Whether you sing in the choir loft or sit in a pew, you should come experience the complete Fauré Requiem in the liturgical context for which it was composed.

BE SURE TO CHECK OUT these Communion propers for Advent, published with World Library Publications. Recordings directed by Paul French.

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —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

[Speaking of those who wish to eliminate Latin from the liturgy.] “One may well wonder what the origin is of this new way of thinking and this sudden dislike for the past; one may well wonder why these things have been fostered.”

— Pope Saint Paul VI (15 August 1966)

Recent Posts

  • “How to Conduct 90 Vespers Services Each Year and Live to Tell the Tale.”
  • 15th Sunday in Ordinary Time (Year C)
  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

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.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up