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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

On Emptiness, Wisdom, and Fortune • Music and Discernment

Richard J. Clark · July 1, 2017

USIC HAS A way of revisiting the soul when necessary. It seems as though time is not always linear, but elastic. Such is the transcendent effect music has upon us all.

Recent days have brought a choral work composed a few years ago back to consciousness. I believe it is brought upon by the struggle of friends in dire need coupled with a sense of gratitude for my God.

Perhaps it is a sense of discernment—a most sacred duty. What does God call us to do? Or rather, how does God call us to be? The obsession to find things to do often eclipse God’s call for us to be, in His presence—in prayer—in quiet solitude with Him, but for a moment or more.

On Emptiness, Wisdom, and Fortune (2014) combines two poems by Adam Wood: On Fortune and On Emptiness. Through gradual harmonic expansion of modes and mindset, internal reflection leads to eternal resolution.

I find the text of this work to be a useful call to discernment as outlined in the first stanza:

I trust, O God, your Wisdom to fulfill
All needs I have, yet beg for blessings too.
But if you take all else, take first my will,
That I may know that all I need is You.

I have long admired the writing of poet Adam Wood (b. 1982); his poetry, prose, and commentary are distinct, stemming in part from eclectic passions which include liturgy, theology, technology, economics and the Open Source. The results of such combination of interests are fascinating. His dedication to the spirit, art, and intellect (often infused with sharp wit) constitute a distinctly unique body of work from which one will elicit much inspiration and insight.

Here is a recording of the world premiere by The Seraphim Singers, Jennifer Lester, Director.

On Emptiness, Wisdom and Fortune
Adam Wood

I trust, O God, your Wisdom to fulfill
All needs I have, yet beg for blessings too.
But if you take all else, take first my will,
That I may know that all I need is You.

“Nay, chiefly are we born to die,
it matters not” he says, and I,
though tempted, and like sailors drawn,
to siren calls that bid them on,

I stay. Transfix’d by word,
so often read, so often heard,
my soul (must then it empty be?)
redoubles and re-sounds the sounds of Thee.

If emptiness be then my one defense
against seduction’s war on every sense,
remove from me, oh God, what fills my mind
that resonances there your Word may find.

And if my soul be empty, so my heart,
That it may sing the music of your Art.
My will, my life, my all be emptied too:
Libations poured out — nay, drawn out by You.

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

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    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

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

We should note that upon being opened up, the Scriptures proved to contain such “rich fare” that parts of the banquet were removed at once from the “table of God’s word,” lest they should prove indigestible to liberal stomachs. In twenty-two places the new lectionary expunges whole verses from the text of the Gospels used at Mass in order to remove references to the Last Judgment, the condemnation of the world, and sin.

— Fr. John Parsons (2001)

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