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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

Unapologetically Roman Catholic in New York City

Richard J. Clark · November 24, 2017

HERE IS the old story of the blind men and the elephant—each with a different perspective and experience—each coming up with their own understanding or interpretation of their interaction—and none with a complete and accurate picture.

With that story in mind, I understand that a single point of view is rarely the entire truth. On the other hand, an outside observer is occasionally helpful to draw attention to certain worthy characteristics.

I recently had the opportunity to perform in concert at St. Patrick’s Cathedral in New York City, certainly one of the most well known Roman Catholic landmarks in the United States. As a native New Yorker, I have taken it for granted as a part of the landscape.

However, after a few days of preparation (on the Kilgen Organs of more than 9,000 pipes, 206 stops, 150 ranks and 10 divisions), I was able to observe much of daily life at the Cathedral. This view—from the choir loft and behind the scenes—left me with some enduring impressions.


DISADVANTAGE INTO ADVANTAGE

Teeming with tourists, quiet refuge from the city may be hard to come by at St. Patrick’s Cathedral. Furthermore, its vast size, scale, and security needs pose myriad liturgical challenges.

Located on Fifth Avenue in Midtown Manhattan near Rockefeller Center, NBC Studios, Broadway, Times Square, etc., St. Patrick’s enjoys unprecedented foot traffic. As such, those who walk through its doors are from all walks of life—Catholics, non-Catholics, believers and non-believers. It is similar perhaps to cathedrals in Europe that in the public mind it is more of a tourist destination rather than a place of prayer.

Registering the organ in the afternoons during the height of tourist activity, magnified by unusually beautiful weather, was at times a challenge. This holy edifice could get quite noisy!

INSTEAD OF HIDING FROM THE DISTRACTION of tourists and tucking their seven daily Masses (five with music) in a secluded chapel, the celebration of the Eucharistic is boldly held in the main sanctuary amid sightseers and faithful alike.

Confession is widely available including after each of the morning daily Masses.

Furthermore, there is daily Exposition and Adoration of the Blessed Sacrament from 1pm-6pm in the Lady Chapel. Tourists cannot escape hearing O Salutaris Hostia.

Attending Mass before and sometimes after practice, I found it to be quite reverent regardless of how many were not there for the Eucharistic celebration. It was also refreshing to sing the Missa de Angelis for the Ordinary as well as the Gregorian Mysterium fidei at typical daily Masses.


EVANGELIZATION

Amidst one of the most secular places in the world, St. Patrick’s Cathedral is unapologetically welcoming and unapologetically Roman Catholic. They open the doors wide to people of all faiths and backgrounds, allowing them the freedom to move about and explore this historic sacred space. But they will celebrate the Eucharist, Adore the Blessed Sacrament, and administer the sacraments out in the open for all to witness and experience—nearly every hour of every day. In doing so, St. Patrick’s Cathedral fulfills its unique charism.

Related article: • Reverent and welcoming parishes are not mutually exclusive.

All are welcome. But none can escape hearing the prayers, Gregorian Chant, the organ, the devotions. All who have been welcomed off the streets encounter the good example of the faithful. And they may very well encounter God who is at the heart of daily life within the Cathedral. They may discover divine refuge from a world that all too often pushes God aside.


MUSICAL, PASTORAL, & LITURGICAL EXCELLENCE

N ADDITION I have enjoyed an up-close view of the cathedral musicians. Dr. Jennifer Pascual, Director of Music since 2003 (and host of “Sounds from the Spires” on SIRIUSXM 129 Radio, The Catholic Channel) is the same genuine human being off-air as she is on. Associate Director of Music, Daniel Brondel wins the award for providing the most helpful tips and tutorial for the largest and most complex instrument—all in the shortest amount of time. The mammoth Kilgen Organs are quite literally a city block apart—the Gallery Organ near Fifth Avenue and the Chancel Organ towards Madison Avenue. Most generous with practice time (significant because the Mass schedule allows little time for themselves), Daniel told me, “We want people to succeed.” Together with Assistant Director of Music and Organist Michael Hey, the three of them exude a working chemistry that should be envied by any faith community, great or small.

In the midst of putting Roman Catholicism out in the open in New York City, Dr. Pascual and her associates are not only superlative musicians, they are teachers and shepherds at heart. They combine musical and liturgical excellence with an understanding of pastoral musicianship. This is not to be taken for granted.

Likewise, we must all strive for excellence: musically, pastorally, and liturgically. God deserves our best.

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

    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th 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 top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Little Encouragement?
    In the Gospel, our Savior tells about 10 lepers who were healed. Only one went back to give thanks. Precious few express gratitude, yet many have endless energy to complain. For that reason, I deeply appreciate receiving messages like the following, which arrived a few days ago (about the parish where I direct in Michigan): “Last Sunday, a couple I knew from Grand Rapids was at Mass at 10:00 a.m. I got a chance to talk to them after Mass. I wanted to let you know what they said about the choir. They were absolutely floored by our sound!!!!! They both said they could continuously listen to our choir and the beauty of it. They asked me: “Do you always sound like that?” And they were also very surprised at how packed the church was. They said it was nice for them to be in such a full church. I just thought you would be interested to know their thoughts about our choir.”
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

“I have devoted myself too much, I think, to Bach, to Mozart and to Liszt. I wish now that I could emancipate myself from them. Schumann is no use to me any more, Beethoven only with an effort and strict selection. Chopin has attracted and repelled me all my life; and I have heard his music too often—prostituted, profaned, vulgarized … I do not know what to choose for a new repertory!”

— Ferruccio Busoni (to a colleague in 1922, when he was 56 years old)

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  • Little Encouragement?
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