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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 Vulnerability of Choral Singing

Richard J. Clark · January 29, 2016

HE HUMAN voice is unique in that it is the only musical instrument housed within our God given body. The connection between physical, emotional, mental health, and musical performance is direct. Get sick and the instrument is diminished. Lose mental focus, and like any instrument, performance will suffer. The human voice is vulnerable. But this also what makes it incredibly powerful.

The essence of singing—professional or amateur, in front of a large audience or alone in the shower—is the expression of emotion. Because the voice is one with the body, it is an instrument capable of instant results with regard to emotional and spiritual expression. And it leaves all those who sing before others utterly exposed. Singing is a risk.

HERE IS A HEALING element to singing in a choir. Having directed for many years in parish settings and elsewhere, I am always pleasantly shocked when I’m told, “choir rehearsal is the highlight of my week.” Singers work hard at inconvenient hours and they have to put up with me. Furthermore, members of church choirs likely volunteer on average far more time year round than other volunteers within a community.

Why do singers come back time and again? The reasons are innumerable; the willingness to be vulnerable is a risk well worth taking. This is what makes choral singing so powerful emotionally and spiritually.

But there is another element of surprise: everyone has a story. Choirs spend a lot of time with each other. Making music with anyone on a regular basis is a very intimate relationship—as is praying with those very people. We know the musical and sometimes personal strengths and weaknesses of others. Yet, just when we think we have sized up someone we spend time with each week, sometimes a new surprise hits when we learn something new about that person’s story.

Everyone comes to the Eucharist, to prayer, and to music with his or her own burdens, weaknesses, failures, and suffering. Some of the suffering and challenges we may not know about are extremely significant. Everyone is vulnerable. That is humanity. But overcoming that vulnerability makes for incredible strength. As such, I am often in awe of those under my direction given the challenges they face and have overcome.

VERONE IS IMPORTANT. I have the privilege of working with singers with amazing careers and singers who are just trying to learn the basics. But we come together in unity to pray through music. Those who are not professional singers always bring something else to the table that is very valuable to the choir. Sometimes it is the least talented who have the most to offer the group. Everyone is important.

Through a generation of experience, I can attest to many singers who fortify the choir and all our prayer through the very imperfect person that they are. Musically, a director’s challenge is to make it all work. But everyone who comes to sing is healing others perhaps as they are healing themselves. They often don’t know it. Sometimes directors need to remind everyone of that.

INALLY, THERE IS A VULNERABILITY in keeping institutions and programs alive—even highly successful ones. Those who work for the Church as musicians are deeply vulnerable—although we don’t like to show it. But, I have learned that even the best musicians and even those who appear to have high profile positions experience grave professional difficulties at one time or another in their career. We share this struggle for art, prayer, and beauty in common. A byproduct of this reality is that I am that much more grateful for my singers—who are beautiful people—without whom I would be nothing.

Therefore, as choir directors, we too have struggles and must be mindful of the struggles of those under our leadership. We all share in the common frailty of humankind. But with God, al things are possible. With God, a collection of individuals who sing in a choir have the power to heal others and create music that is greater than the individual parts, talented and less talented. We are unified in the love of Christ.

Thank God for church choirs. I don’t know where I would be today without them, because those who sing for me have saved my life and have helped heal me every single week.

More importantly, choirs elevate prayer directing our hearts and minds toward God. This is truly the healing and saving power of music.

Soli Deo Gloria

HERE ARE A FEW OF MY CHORAL/LITURGICAL WORKS for Lent and Easter. You can listen to recordings of each or these:

• Communion Antiphons for Lent | SATB, Organ, Assembly • World Library Publications

• Christe qui lux es et dies | Based on Compline Hymn for Lent, SATB • RJC Cecilia Music

• Lumen Christi | Paschal Candle Procession | Deacon/Priest, Assembly, SATB • CanticaNOVA Publications

• O Sacrum Convivium | TTB or SSA • includes optional text for tempore quadragesimæ • RJC Cecilia Music

• I Am Risen, Resurrexi | Introit for Easter Sunday, SATB, organ • RJC Cecilia Music

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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“I vividly remember going to church with him in Bournemouth. He was a devout Roman Catholic and it was soon after the Church had changed the liturgy (from Latin to English). My grandfather obviously didn’t agree with this and made all the responses very loudly in Latin while the rest of the congregation answered in English. I found the whole experience quite excruciating, but my grandfather was oblivious. He simply had to do what he believed to be right.”

— Simon Tolkien (2003)

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