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Corpus Christi Watershed

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

Listening and Mission

Richard J. Clark · April 20, 2018

HE MOST difficult and most important aspect of having a conversation is listening. Few things are more annoying than speaking with someone who looks past you, talks over you, and is more concerned about making their next point. Or wants to fix you, when you simply need to be heard. They are not listening. I’ve had more scintillating conversation with a brick wall.

And perhaps I am guilty of this at times, and I need to be less self-absorbed. For when we truly listen (and keep silent for a time) we then know how to respond. This response may or may not be in the form of words, but in action—or simply being in that person’s presence—which may mean everything.

Likewise in prayer and in music, listening is most important. Listening to each other in an ensemble allows us to cultivate a beautiful musical “response.” Cultivating a congregation’s voice, and then supporting their singing requires listening. Otherwise, we are that annoying person who just wants to dominate the conversation, the music, the microphone, the agenda.

ITH REGARD to agenda, God is in change. Sempre. One of the hardest lessons I’ve needed to learn is to trust God and God alone. (Psalm 118: “Better to take refuge in the LORD than to put one’s trust in mortals.”) This requires loss and sacrifice, and strangely enough, only this leads to happiness. (Perhaps such sacrifice for God is no sacrifice at all.)

Ultimately, anyone who makes a life in sacred music, especially in parishes, has probably been listening to God on some level. They have already sacrificed much—time with family, financial security, and quite likely no small amount of sanity from time to time. God has called them to do this work and accomplish his mission. But we can still get lost, thinking it’s only about music, prestige, or ego. People can get lost. Parishes can get lost, overlooking God’s mission.

All that matters is God’s call of service—God’s agenda. This mission of service is primary. Service is a form of love.

OMETIMES WHAT God asks us to do changes, grows, evolves. To keep pace, we need to listen. What do you do best that has the greatest impact on people’s lives?

Service may even require doing what comes naturally and doing what we do best—perhaps something we love to do—what God built us to do. This is often coupled with things we don’t necessarily want to do, but must for the sake of carrying out God’s agenda. Discerning this grows form listening to God, trusting God (and God alone), and getting past the fear of sacrifice required of us.

Maybe God’s trying to tell you something. Listen.

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 chapter orders that only grandees (and their immediate relatives), counts, marquises, and provincial governors may in future enter the choir enclosure during divine service: such a restriction being imposed so that quiet can be the better maintained during cathedral solemnities.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (25 May 1558)

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