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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Discouragement and Hope

Richard J. Clark · December 15, 2017

HE FEAST of Saint John of the Cross (Dec. 14) brings to mind a fragment of a favorite hymn (text by Charles William Everest): Take up thy cross, and follow Christ, Nor think till death to put it down.

Nor think till death to put it down.

This line is sometimes all I can remember.

DISCOURAGEMENT

Life is filled with unexpected discouragement. So much so, that one must expect it, and be prepared to adapt in order to survive. And working as a musician for the Roman Catholic Church is filled with fully predictable discouragement. The Universal Church is infamous for perpetuating an uphill battle to uphold its own musical and liturgical standards. The very Church that shaped nearly all of Western Music over the course of more than a millennium arguably sold out its musical soul in a few short years—a blink of the eye within its own history.

To compound such a global view, the discouraging news plays out locally quite accordingly. I have learned that no position however high profile or prestigious, no amount of longevity, and no accomplishments no matter how extraordinary render one immune from liturgical, musical, and even pastoral ignorance. Colleagues with decades of experience building up beautiful programs are routinely dismissed in further creative endeavors. I witness colleagues who have suffered physical, no less emotional problems from dysfunctional or even toxic work environments in the Church. Changes in leadership or other aspects of one’s professional environment can lead to serious vulnerability.

But this is life. Everyone deals with it in every profession. And the Church is run by humans as flawed and as sinful as me. It’s a wonder the Church has not imploded despite all its efforts to do so.

Yet the Church survives. Faith not only survives but thrives. That the Church is eternal is perhaps proof enough of the Divine. Is this hope?


HOPE

Despite such a cheerless account, so many musicians remain faithful and loyal servants of the Church throughout a lifetime. They relentlessly persist in making and creating extraordinary beauty in service of God and God alone regardless of challenge. By dogged determination, they will this beauty to come into existence. Despite having their hands tied in various aspects, art for God persists. As a result, prayer persists. Beauty perseveres because they love God and they love the Church. This is hope.

Furthermore, I witness colleagues who are deeply supportive of each other. Why? Because they know no other way. As one great musician said to me, “If we don’t support each other, who will?” This is love. This love breeds hope.

Such hopeful love is infectious. I can always rely on the support of artists—beautiful people who also possess the insight to know the tangible value of beauty.

Despite any moments of discouragement, I can rely on the beauty created by other musicians and artists to elevate my soul. One day may be bleak. But run a choir rehearsal and by the end of it, my spirit is reliably elevated to its highest point. So much so, that I rarely sleep well after a choir rehearsal. I am so energized and filled with joy that sleep is elusive. But hope is not!

I am filled with gratitude, because the love expressed by other musicians who strive for beauty for God, easily overrides the inevitable discouragement and roadblocks one will encounter. We never hope alone. Nor should we delude ourselves that all depends on us. Instead, we are dependent upon God who lifts us us in our darkest moments.


PRAYER

Overcoming discouragement is not just about riding a “high.” Furthermore, prayer is not just about the “buzz.” Prayer must be habitual, relentless, and persistent. Preparing and creating beauty for God is prayer, and prayer is powerful. Prayer is like Simon who helps carry the cross. This power that helps carry the cross is hope.

We each are called to carry a cross. Not that this justifies unjust treatment or enduring an unprofessional environment. However, we are always tested, and as such strengthened to do God’s will at every turn.

To carry a cross out of love for God and for the Church is to proclaim hope. And think not until death to put this hope of Christ down.

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

    “Common” Responsorial Psalm?
    I try to avoid arguing about liturgical legislation (even with Catholic priests) because it seems like many folks hold certain views—and nothing will persuade them to believe differently. You can show them 100 church documents, but it matters not. They won’t budge. Sometimes I’m confronted by people who insist that “there’s no such thing” as a COMMON RESPONSORIAL PSALM. When that happens, I show them a copy of the official legislation in Latin. I have occasionally prevailed by means of this method.
    —Jeff Ostrowski
    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

[Speaking about the Silent Canon, with audible “per ómnia”] — “So in all such cases it is usual for the otherwise silent celebrant occasionally to sing a clause aloud, to show how far he has arrived.”

— Father Fortescue (pages 313-314) • “A Study of the Roman Liturgy”

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