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Views from the Choir Loft

Incredible News! • Re: Mæstro Richard J. Clark

Jeff Ostrowski · October 22, 2018

87289 RICHARD J CLARK UR VERY OWN contributor has been appointed to one of America’s most prominent sacred music positions! Richard J. Clark has been named DIRECTOR OF MUSIC of the Archdiocese of Boston and the Cathedral of the Holy Cross.

One of the most sought after liturgical musicians and composers, it is no wonder Richard has been asked to lead music for the fourth largest Archdiocese in the United States. A dedicated servant of the church, Clark’s compositions range from humble settings (for simple parishes) to works performed by the finest choir and musicians in the world. In addition to being a husband and father, he maintains a pretty nifty website.

In some ways, his path to becoming a church musician was unlikely. At age nine, my understanding is that he declared, “being a church musicians has to be the lowest musical aspiration possible.” Instead of beginning studies at a conservatory, be began at Berklee College of Music. Interestingly, it was there he discovered composition in the styles of J. S. Bach and Palestrina. Somewhat late in life he began playing the organ—not until his early twenties. Yet, he fell in love with the instrument so instantly, he quickly become one of Boston’s most notable organists, performing in the Boston Symphony Hall, St. Patrick’s Cathedral (New York), Saint-Eustache (Paris), and so forth.

87279 Richard


Richard is at ease with a vast array of musical styles; from Gregorian Chant to classical to jazz and pop. This eclectic background informs his unique voice as a composer. Always filtered through the prism of reverence and prayer, any influence Clark draws from results in a work surging with emotion and spirit. Perhaps most importantly, Richard’s experience of working in parishes for decades makes him eminently qualified to guide an archdiocese. While he is devoted to and respects the traditional music of the Church, Richard’s hand in many musical styles affords him the ability to see multiple points of view. He has had a gift for unifying musicians and people (no mater how diverse) in prayer through sacred music. By the way, several of Richard’s hymn settings were chosen to be in the Brébeuf hymnal, and they’re absolutely marvelous—I think people will really enjoy them.

87286 Fenway Park in 2017. 87287-Richard-Clark-Organ 87288-Orchestra-Rehearsal-2017

Never doubt one thing: Richard is a man of INTEGRITY. 1

I was blessed to make his acquaintance through a mutual friend, Edmund G. Murray (who is also a phenomenal church musician). About half a decade ago, I served on the faculty of the CMAA Colloquium, and we both ended up stranded in the same airport for a few hours. We had a wonderful talk, and I’m happy to say we’ve been friends ever since. In light of this sensational appointment, wherein he’s now the musical leader of the Archdiocese of Boston, I can only say one thing: “Please don’t forget the little people, Richard!”



NOTES FROM THIS ARTICLE:

1   How many people can you say that about these days? Honestly?

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 Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): 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.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —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

Although the New Testament is now so much more important to us than the Old, we must remember that the archetype of the Canon of Scripture is the Old Testament. At first that was the whole Bible, to Christians as to Jews. When the apostles speak of “Scripture” they mean the Old Testament only. Indeed, the way in which the books of the New Testament came to be considered canonical was by making them equal to those of the Old.

— Rev’d Doctor Adrian Fortescue

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  • Now Available! • “Hymns of Cardinal Newman: Kevin Allen’s Legendary Choral Settings”
  • Bugnini’s Statement (6 November 1966)
  • (Rehearsal Clips) • Sacred Music Symposium 2025

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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