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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 Older I Get…

Richard J. Clark · April 28, 2017

HE PIPE ORGAN changed my life. I was a pianist as a child and I avoided playing the organ because the only organs I ever heard were electronic instruments that were not played very well. Why play hymns on the organ when you can play Chopin and Beethoven on the piano?

A lot has changed since! A life-changing moment was playing a real pipe organ for the first time and hearing a simple 8’ flute stop resonate throughout an empty church. My life has never been the same since.

What followed were studies in counterpoint and organ performance including repertoire from French and German Baroque to contemporary classical composers. I devoted my craft to years of study and practice of such repertoire. Registration is an essential art and science. Appropriate tempo, articulation, and registration depend on architecture and the tonal design of the organ. Adaptability, yet striving for authentic historic practice has been my life.

For church, the vast majority of practice was on preludes and postludes. Hymns were nothing. Easy, right?

GAIN, MUCH HAS CHANGED. Not that focusing on repertoire is not important. It is. But the older I get, the more time I spend on practicing hymns, even ones I have played for decades. (Hymn playing alone is an art!) The older I get, the more time I spend practicing the congregational antiphons and responses. The older I get, the more time I devote to making sure I can conduct clearly—perhaps while singing one of the choral voices all from the organ console.

If the choir doesn’t respond the way I like them to, perhaps I should conduct better. If the congregation doesn’t sing comfortably, perhaps I should adjust the tempo or registration.

Playing daily Mass and singing each verse of every hymn will influence one’s view. Type setting hymns and antiphons for worship aids will heighten one’s awareness of the quality (or lack thereof) of any text.

Hymns are important. Hymnals are important. Liturgical texts are important. Making the congregation’s job easier to sing these is the ultimate goal. The older I get, the more I spend on these. If not, what good am I to the prayer of the people?

Finally, this often begs an important question: Who is the leader of song anyway? Read. And practice.

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

    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski
    Music List • (1st Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I’ve prepared for this coming Sunday—22 February 2026—the 1st Sunday of Lent (Year A). 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 available at the outstanding feasts website alongside the official texts in Latin. I spent an enormous amount of time preparing this ORDER OF MUSIC—because the children’s choir will join us—and some of its components came out great. For example, the COMMUNION ANTIPHON with Fauxbourdon is utterly resplendent, yet still ‘Lenten’.
    —Jeff Ostrowski
    2-Voice Arrangement for Lent
    Those seeking a two-voice arrangement for LENT and PASSIONTIDE should click here and scroll down. It’s based on number 775 in the Brébeuf Hymnal, with an enchanting melody written by Kevin Allen (the legendary American composer of sacred music). That text—“Pendens In Crucis Cornibus”—is often used for the Feast of our Lady of Sorrows. That link is important because, in addition to the musical score, it provides free rehearsal videos for each individual voice: something volunteer choirs appreciate!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

It should be borne in mind that there is no preference expressed in the liturgical legislation for either “versus populum” or “ad orientem.” Since both positions enjoy the favor of law, the legislation may not be invoked to say that one position or the other accords more closely with the mind of the Church.

— ‘Congregation for Divine Worship (Vatican City), 10 April 2000’

Recent Posts

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  • PDF Download • “Atténde Dómine”
  • “Chant Is Not a Penitential Act” • Lenten Reflection by Daniel Marshall
  • (Ash Wednesday) • Medieval Illumination Depicting the Distribution of Ashes
  • Music List • (1st Sunday of Lent)

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