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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

Msgr. Michael F. Groden’s Contribution to Sacred Music

Richard J. Clark · January 12, 2018

HE RECENT passing on Christmas Day of Msgr. Michael F. Groden punctuated not only what was, but what is, and what hopefully is yet to come. Something of a “quiet lion,” his presence came roaring back as a great reminder of his contributions to the Church, the City of Boston, the liturgy, and the the responsibility we have to continue to build upon this work.

Ordained in the historic year of 1965, he founded the Planning Office for Urban Affairs for the Archdiocese of Boston in 1969. He knew his mind and he knew his sense of mission. He dedicated decades of his life to developing low and affordable housing in Boston. Under his direction, the Planning Office created over twenty-six projects with over 3,000 units of affordable housing in one of the most expensive cities in the country. His life was driven to serve the Church’s mission of caring for the most vulnerable and offering them great dignity and worth. His work was a model of Lex Vivendi; how we live rises forth from our prayer and from our belief. (Lex Orandi, Lex Credendi, Lex Vivendi)

As such, Msgr. Michael Groden was not particularly well known for his liturgical or musical knowledge and interest. (Some of his liturgical malapropisms still bring a smile to our faces.) But what did being a developer, builder, and leader have to do with the sacred liturgy? Apparently, in the case of Fr. Mike Groden, quite a bit.

N 1989 HE WAS NAMED Pastor of St. Cecilia Parish, Boston, a decrepit, dying parish in financial and physical ruins. I can attest to this as this was the same year I entered the Berklee College of Music. My dorm room was perhaps 15 meters from the church.

A 19th Century building with a beautiful acoustic, the church had a partially functioning and poorly voiced pipe organ. I was hired within a year as organist. Within three years (and hardly out of the fiscal weeds) he took an enormous financial risk by to hiring me at the age of 23 as the full-time director of music. He told another priest “I have no idea how I’m going to pay for this.” He made the decision on faith—and in confidence—that the investment would pay off. Not that I needed such motivation, but knowing what trust was placed in me pushed me that much harder.

Quite curiously, the first full-time employee this developer/builder hired as pastor was a musician. A musician? Really? Yes.

Why? Good question. I’m not sure I fully have an answer. Msgr. Groden was not noted as a music lover. I don’t believe he attended many concerts. But he understood music as prayer was helping build the parish that desperately needed new life. (Significant early credit is due to my colleague and mentor, David Farwell, whom Msgr. Groden described as a “catalyst” who jump-started life into the parish in the earliest days of his tenure.) Somehow, he understood music and liturgy as the key and therefore the first steps to rebuilding a dying parish.

IS MANAGEMENT STYLE had several critical attributes that lead to success for the music program and the parish. This most important attribute is quite rare: Even if Msgr. Groden didn’t agree with your decision or your work was not his preference, when he saw the fruit it bore, he gave you free reign to build upon your efforts and develop a successful program.

For example, the pipe organ was not of particular interest to him. But when we desperately needed to rebuild the failing instrument, he raised funds and gave his full backing to what became the Smith & Gilbert Organ, dedicated on November 22, 1999. This organ was featured prominently at the 2014 AGO National Convention.

Furthermore, he supported the building of the Antiphonal Division in 2001, critical to enabling a 19th Century architecture to have liturgical flexibility in the 21st Century. Once we could afford it, he also supported hiring section leaders to bring our sacred music to another level. It was up to me to make sure his trust was well placed and the resources well-utilized.

Boston Pilot: • Msgr. Michael F. Groden, pastor, urban vicar, planning director

HILE STUDYING ORGAN with James David Christie, I also became hooked on Gregorian Chant. In the 1990s we were routinely singing Gregorian Ordinaries as well as the Gregorian Communion antiphons. This was also side by side, various styles of music of the day. No one thought it was odd or unusual that we sang the true music of the Church during an era not particularly known for such sacred music. Nor do I think any of this was Msgr. Groden’s particular preference. But he knew the music program was growing and with that came his support.

He surrounded himself with competent, self-motivated people. He hired Mark Donohoe and Scott MacDonald, extraordinary colleagues with whom I still work today at St. Cecilia. Once you earned his trust, he had your back and you knew it. You could build upon your work and move the mission forward. This was not only a personal gift, but a pragmatic way to build a community. As a few years passed, we slowly began to realize, this dead parish was not only beginning to flower. It was beginning to thrive.

Interestingly, his liturgical attitudes could be summarized by his approach as the macro-manger he was: observing the Church’s vast history, he had no interest in the latest liturgical fads and experimentation. This was perhaps a shrewd and centered view in an age of overzealous experimentation.

But it would be a gross miscalculation to refer to him as “conservative.” A very complex man who defied labels, he was concurrently simple and straightforward by virtue of possessing enormous self-knowledge. This in turn translated into being an efficient and effective leader.

ERTAIN LEADERSHIP skills indeed made him a powerful force for change and renewal. Perhaps I can name a few. Others who knew him well can certainly name more:

      • Know oneself very well—true sense of self
      • Dedication to a mission/calling rather that to oneself
      • Attract, employ, and support competent people—set them up to succeed
      • Ability to separate one’s personal emotions and preferences for the greater good
      • Not drawn into political drama or distractions (despite being surrounded by them)
      • Spoke the truth despite the consequences
      • Expressed genuine gratitude

Msgr. Groden’s dedication to the mission of the Church earned him great respect and loyalty. More importantly, he created an environment in which the sacred liturgy, prayer, and hence the parish could rise from the ashes and experience a renaissance. This set the stage for what was to follow. It models perhaps what is yet to come.

S A YOUNG MUSICIAN, I was deeply fortunate to stumble upon this nurturing environment few will ever experience. Msgr. Groden was consciously or not, a patron of the arts for sacred music. He allowed me room to develop, experiment, compose, and grow. As such, the sacred music program could expand, evolve, and strive for excellence while nurturing the prayer of the community. As the years pass, this gift becomes more and more special.

As such his impact upon our lives professionally and personally is incalculable. I owe him my career, my life, and my family. For all of this I am forever grateful.

Requiscat in Pace
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 Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla Cathedral: Chapter Resolution (13 December 1564)

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  • Communion • “Ask & You Shall Receive”
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