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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

Minimal Standards at Weddings and Funerals

Richard J. Clark · February 12, 2016

NEVER THOUGHT I would be advocating for minimal standards. It’s a sad moment. The highest standards should always be our aspiration and goal. God deserves our best. The people deserve better and are being served poorly on many fronts.

I cannot blame a wedding couple or a grieving family for being incredulous that I cannot include a pop song or Broadway melody. Why? Because their experience in the Roman Catholic Church tells them otherwise.

“But I’ve been to many weddings that had this song…” Or, “Father said it was ok…” etc., etc. We all have experience with such unfortunate stories and there is no need to rehash them.

But the appalling story is that the couple or the family has been victimized by horrifically low standards. They have lived a lifetime of exposure to mediocrity, ignorance, and defiance. Worse, they are done a great disservice because it is easier to capitulate than to educate. Catechesis takes great effort because it must be done with charity, love, and with finesse—especially for weddings and funerals which are so deeply personal experiences. Many of us have been on both sides of this experience and must be mindful of perspective.

That sacred music is a minimal standard for all liturgies would be an upgrade for a great many weddings and funerals. This is scandalous. That we find this impossible, that we fear doing so is equally scandalous.

I fear the spirit of another generation will atrophy in the blight of mediocrity. I won’t let that happen on my watch, and I know many of you won’t either. We are called to serve one another and God. We are called to implement the highest of standards with the resources at our disposal. Moreover, we are called to catechize though our actions, catechize by the way we live our lives, and catechize through sacred music.

I WORK IN A PARISH. This is a live recording of the Fauré Requiem with chamber orchestra by the choir of St. Cecilia Parish in Boston, a group of wonderful people that I am privileged to direct every week. They are almost entirely volunteer and mostly young people.

There are far better recordings of the Fauré Requiem by extraordinary conductors, choirs, and soloists. But I share with you here what can be accomplished in a parish (and there’s much more work to do!) Furthermore, this is a recording of people of faith who believe the words they sing. More important than any grandeur of the orchestra and organ is the simple reverence with which they sing. I hope this offering is a prayerful experience.

Soli Deo gloria.

Requiem in D minor, Op. 48 Gabriel Fauré
St. Cecilia Choir & Chamber Orchestra | Richard J. Clark, Director
Allesandra Cionco, soprano
Marc DeMille, baritone
Timothy E. Smith Organ
Tara Novak, violin

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

    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Father Brébeuf Hymnal.
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski

Quick Thoughts

    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
    “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

Random Quote

“Both priests and people in this country [viz. ENGLAND] were largely taken by surprise by the recent restoration of the Easter Vigil, by the changes in the laws of fasting for Holy Communion, and the advent of the Evening Mass.”

— Dom Oswald Sumner (1955)

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