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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

I’ve made this an essential part of concert preparation.

Richard J. Clark · December 1, 2017

NCE IN A while I gain insight or discover something that should have been obvious my entire life—so obvious, it is almost embarrassing. But instead, it has taken me nearly five decades to figure it out. I suppose I should get used to this sort of thing.

Musicians are very busy this time of year performing concerts. Much of what I say goes for preparation of the Sacred Liturgy. Concert preparation, especially of sacred music within one’s own parish, school, institution, etc., can be wonderful, and at the same time an added stress. As a Director of Music, one is often responsible for myriad things well beyond the scope of music.

For example, in addition to being a performer, one is also the promoter, contractor, program designer, music librarian, stage manager, building custodian, ad hoc recording engineer, etc. Did I leave anything out? Several items, I am sure.

It’s easy to become completely wrapped up. So much so, that it is a luxury to perform elsewhere in which one can concentrate fully on music.—on being an artist.

This brings me to an essential list of concert preparation. Some obvious, some subtle:


PRACTICE. OBVIOUSLY!

Clearly practice. But how much? That varies for each individual and for the task at hand. But I like to feel fully prepared about three weeks in advance if possible. Additionally, I’ve battled nerves many times in my life, so I make it a priority over prepare. This is not to be confused with risking tendonitis (which I have experienced) or risking one’s mental state.

If I’m conducting, especially an orchestral score, I have taken the advice of Edward Schaefer to mark my score with colored pencils, e.g., different colors for entrances, dynamic, tempo, meter changes, etc. My scores are lit up like a Christmas tree so my eight-year-old son should be able to follow them—and it helps me keep my eyes up.


TAKING CARE OF ONE’S BODY

Preparation that is less musical can have enormous impact on a program. Fatigue is the enemy! One is sleep and one’s surrounding schedule. As a parent of young children I lose sleep all the time. This affects performance and health. I’ve suffered from both as a result. It is vital to gain some control of one’s schedule surrounding practice and the concert itself. I have learned from my mistakes—having not performed the way I would like, or suffering poor health as a result of burn out.

Eating: I make it a ritual to eat a light meal high in protein before every rehearsal I conduct or before the concert itself. It’s gotten to the point that what I eat is entirely predictable. Additionally, one also should be careful to eat the right amount of time before a performance, e,g, avoid eating right before as the body needs to be energized, not slowed down. This varies on the individual, of course.


QUIET ALONE TIME THE DAY OF A PERFORMANCE

Quiet time away from one’s instrument (and time with one’s scores) is essential for all performances, especially the day of a concert. The day of a concert, it is ideal to practice little and rest—not always a possibility. Make it a priority!


ESSENTIAL: QUIET PRAYER IMMEDIATELY BEFORE A CONCERT

For many of you, this is already obvious. However, nearly five decades on planet earth, I’ve finally figured it out. I’ve made a certain amount of quiet prayer within minutes of a performance an essential concert ritual. I’ve only begun doing this only in the last year. I am not pious, and I am a great sinner. (Many of you are nodding your heads…) But I’m embarrassed to say, I feel I have only discovered this necessity recently. This does not simply make me “feel good” or calm my nerves. It might. But I could find any number of other things to do that.

But a quick decade of the rosary literally minutes prior to performance has recently helped me focus on what matters: Even in concert, what we do is not for our own glorification, but to serve God in the way He intends. Prayer assists one to be the mindset of gratitude to God for the opportunity to compose, perform, to transmit spirit, emotion, and therefore prayer to others. It is a rare opportunity and a gift to be able to do so.

I have found a bit (or all) of the rosary helpful in that I allow my mind to rest and for God to take over. I don’t have the right words.

It is also exceedingly important to set up a place to do this away from distractions: other performers, a page-turner, family, friends, etc. It may be anti-social in the moment, but it is for the greater good.

Performance is a time that a performer’s heart, soul, and mind is exposed—baring all to an audience. Likewise, prayer helps bare one’s heart, mind, body, and soul to God. What we do, we do for Him.

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

    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

“The pope regrets that this trade in African slaves, that he believed having ceased, is still exercised in some regions and even more cruel way. He begs and begs the King of Portugal that it implement all its authority and wisdom to extirpate this unholy and abominable shame.”

— ‘Pope Pius VII, writing to the King of Portugal’

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