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Views from the Choir Loft

Mary was one of the strongest women to ever walk planet Earth.

Richard J. Clark · December 31, 2016

HE BLESSED VIRGIN Mary is often depicted in art and in song as “meek” and “mild.” “Humble” and “lowly” are perhaps even better descriptions. But those adjectives are mistaken for submission and weakness.

Rather, humility and accepting a lowly state is a display of unprecedented strength. Only a person filled with great strength could possess the qualities of meekness and lowliness. The Magnificat is a profound manifesto of praise for God, coming from a woman of great inner confidence, self-knowledge, and power. How bold it is to say:

“For he has looked upon his handmaid’s lowliness;
behold, from now on will all ages call me blessed.
The Mighty One has done great things for me,
and holy is his name.”

No, Mary was not simply unknowing and along for the ride. Consider, her strength was apparent from beginning until the end: from the visit of the Angel Gabriel in her “Yes!” to God, to pushing Jesus into his public ministry at the wedding feast at Cana, to enduring her own agony at the foot of the Cross. Such was the strength of Mary’s confidence in Jesus.

HILE RECENTLY REHEARSING the familiar Mode I “Ave Maria” with my choir, I reminded them of Mary’s extraordinary strength. I asked them to consider that very distinct opening melody of the chant. It is sturdy and purposeful. It is to be sung not only with conviction, but with energy. Such can be said of the familiar “Salve Regina” and “Ave Maris Stella.” These are melodies that are sturdy and enduring. They are not precious relics but bold foundations able and ready to nurture our faith.

In our prayer, song, architecture, and art, let us rely the strong intercession of our blessed Mother in Heaven.

I share with you a live recording at the Basilica of the National Shrine of the Immaculate Conception of organist, Rosalind Mohnsen performing “Gaudens Gaudebo.” In this you will hear several Marian melodies including the final toccata on “Ave Maria.” This piece explores Mary’s “Yes!” Furthermore, the pipe organ is a particularly versatile instrument, able to to convey a wide range of color and emotion ranging from intimacy to towering strength.


Here is another work for organ. The quote of “Ave Maris Stella” is where the organ rises to its fullest:

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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Richard J. Clark

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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Surprising Popularity!

One of our most popular downloads has proven to be the organ accompaniment to “The Monastery Hymnal” (131 pages). This book was compiled, arranged, and edited by Achille P. Bragers, who studied at the Lemmensinstituut (Belgium) about thirty years before that school produced the NOH. Bragers might be considered an example of Belgium “Stile Antico” whereas Flor Peeters and Jules Van Nuffel represented Belgium “Prima Pratica.” You can download the hymnal by Bragers at this link.

—Jeff Ostrowski
15 February 2021 • To Capitalize…?

In the Introit for the 6th Sunday after Pentecost, there is a question regarding whether to capitalize the word “christi.” The Vulgata does not, because Psalm 27 is not specifically referring to Our Lord, but rather to God’s “anointed one.” However, Missals tend to capitalize it, such as the official 1962 Missal and also a book from 1777 called Missel de Paris. Something tells me Monsignor Knox would not capitalize it.

—Jeff Ostrowski
15 February 2021 • “Sung vs. Spoken”

We have spoken quite a bit about “sung vs. spoken” antiphons. We have also noted that the texts of the Graduale Romanum sometimes don’t match the Missal texts (in the Extraordinary Form) because the Mass Propers are older than Saint Jerome’s Vulgate, and sometimes came from the ITALA versions of Sacred Scripture. On occasion, the Missal itself doesn’t match the Vulgate—cf. the Introit “Esto Mihi.” The Vulgate has: “Esto mihi in Deum protectórem et in domum refúgii…” but the Missal and Graduale Romanum use “Esto mihi in Deum protectórem et in locum refúgii…” The 1970s “spoken propers” use the traditional version, as you can see.

—Jeff Ostrowski

Random Quote

Many declare that Vatican Council II brought about a true springtime in the Church. Nevertheless, a growing number of Church leaders see this “springtime” as a rejection, a renunciation of her centuries-old heritage, or even as a radical questioning of her past and Tradition. Political Europe is rebuked for abandoning or denying its Christian roots; but the first to have abandoned her Christian roots and past is indisputably the post-conciliar Catholic Church.

— ‘Pope Francis’ Chief Liturgist (31 March 2017)’

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