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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

Composing Saves My Life

Richard J. Clark · May 20, 2016

OMETIMES I HAVE a lot on my mind. We all do. All the time. Sometimes prayer is hard to come by—even when we are in church all the time. (Present in body, but the spirit is asleep like the apostles at Gethsemane.)

There are struggles that preoccupy our lives. There are crosses to bear—crosses unique to each one of us. Interestingly, those crosses are the very things that God calls us to carry in order to serve him better.

Then I look at the crosses others must carry and I realize mine is but a feather. It gives me more than enough strength to carry on. It had better.

As if that was not enough, at discouraging moments, I am pleasantly surprised by sudden opportunities to compose something new, and see it through to the end. As a father of four and working two church jobs, having ample time to compose is something of a miracle. Miracles do happen, and they routinely save my life. For nothing awakens my soul or me happier than composing.

UT COMPOSING IS A HUGE STRUGGLE for me. It is not a blissful, rapturous process. The image of composers in a trance is total garbage—at least it is for me. When I begin writing, the music is dreadful. Horrible. A colossal waste of your time. Perhaps it is complete hubris that I can come up with something of value. Then by sheer will I chip away at the wretched dumpster fire of incongruence on the page. But there is a sense of purpose—a sense of deep longing. I keep faith that frustration and futility is part of the process. Slowly one or two hopeful elements emerge. Maybe one or two more will follow. And so on.

Here is the purpose that languidly surfaces with each revised note: Composing is a form of prayer. It is a form of service to God, the Church, and if we are fortunate, to humanity. It points to something greater and not to oneself. I hope.

This week, I’ve been fortunate to dig into some projects in the midst of some professional and personal interruptions. It is a joyful reminder that God is at the very center of my life. He is in charge of it all. Not me. For this I am relieved and grateful, because If I’m in charge, my soul would look like the veritable dumpster fire that are my initial drafts of composition. Like the creative process, the purification and refinement of one’s souls is a process too.

I have some work to do. So do you. God calls and sustains you because he loves you.

Soli Deo gloria

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

    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski
    Simplified Accompaniment (Epiphany Hymn)
    About a month ago, I created a simplified keyboard accompaniment for “Come, Thou Long-Expected Jesus”—the famous ADVENT hymn—using a melody called CROSS OF JESUS. It was soon downloaded more than 1,000 times. As of this morning, you can download a simplified keyboard accompaniment for the belovèd Epiphany hymn “Bethlehem! Of noblest cities” (O Sola Magnarum Urbium) by clicking on this link (PDF file). Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult, which explains why choirmasters appreciate these simplified keyboard accompaniments.
    —Jeff Ostrowski
    Psalm Tone Challenge!
    Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

[to the executioner] Sir Thomas More: “I forgive you right readily.” [gives him a coin] “Be not afraid of your office; you send me to God.” Archbishop Cranmer: “You’re very sure of that, Sir Thomas?” More: “He will not refuse one who is so blithe to go to him.” [kneeling, he places his head on the chopping block]

— From “A Man for All Seasons” (1960 play by Robert Bolt)

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