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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

Strong Leadership and Admitting Mistakes • Two Stories

Richard J. Clark · December 9, 2016

STRONG AND WISE leader is not afraid of vulnerability. In fact it may even be embraced. A strong leader, director, conductor, etc., is comfortable in their own skin and self-confident—if not because they are perfect or their musicianship is beyond reproach—but because the very pursuit of creating great art is a fluid and evolving work of a lifetime.

A sure sign of an insecure leader is one whose first instinct is to blame others when something goes wrong. This is bad leadership in part because it alienates the very people working very hard for a common cause.

As a musician, I know I have enormous deficiencies and weaknesses. I identified some of them years ago, and I have to work extra hard on some things to achieve the same results others do with ease. Other things come more easily to me. Getting better as a musician and teacher is work that will never end in this life.

I often remind my choirs that I make more mistakes than anyone else. It’s the result of much multitasking. But if something goes wrong in a rehearsal, and it’s my fault, I make sure the choir knows. Why? I don’t want them to think they need to make an adjustment that will simply make things worse.

Another observation I state from time to time in rehearsal: “It seems you sing better when I conduct better. Hmmm. Maybe I should just conduct better!” And I do, and we sound better.

Forget about me. I have two stories:

HE FIRST IS ABOUT the great film composer and maestro, John Williams. As the former conductor of the Boston Pops, I know a number of musicians who have played under his baton. One of my friends tells a story of him commenting to the orchestra about his own conducting, “I need to be more clear with that phrase. Someone who routinely conducts the London Symphony Orchestra had to admit that he needs to conduct better. Consider that this admission came from a man who makes more money while taking a nap (collecting residual checks) than most of us dream to make in a year.

It is no wonder John Williams is universally beloved by so many top-flight musicians. He’s a leader who is secure enough to admit his imperfection. He is a leader who cares enough about the final product than protecting his own ego.

HE SECOND IS ABOUT Yo-Yo Ma. Over twenty years ago, I was asked to transcribe a piece on notation software and into modern notation. (Very few people knew the software in the early to mid-1990s.) It was a work by the 13th Century French composer, Philippe de Vitry.

When I met with Mr. Ma, he gave a quick analysis of the rhythmic breakdown and how to divide the measures, given that the original had no bar lines.

But here’s what happened. When I later analyzed the score, I realized the rhythmic breakdown was far more simple than Mr. Ma indicated. He appeared to be wrong. And I had to make darn well sure I did this correctly. I studied and consulted and made my case, having to explain to one of the greatest cellists who walks planet earth that he made a mistake.

As this was the pre-internet and pre-cell phone era instant communication was non-existent. He was off to Asia and then flying to France where the score needed to be faxed in forty-eight hours for a private concert. I could not call or text or even email. I was a lowly grad student hoping not to screw this up. Trust me, I was freaking out.

A few weeks passed and his manager told me, “By the way, Yo-Yo said, ‘Tell Richard he was right.’”

I still make more mistakes than anyone and will make a lot more. But these two greats show what a positive influence one can have when not trying to project invincibility, but humanity. Plus, it’s not about us. It’s about the music. It’s about God.

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

    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 Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —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

“The plan to definitively abolish the traditional Tridentine Mass … if it is true, seems to me to be an insult to the history of the Church and to Sacred Tradition, a diabolical project that seeks to break with the Church of Christ, the apostles, and the saints.”

— The Vatican’s chief liturgist (appointed by Pope Francis) from 2014-2021

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