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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

“Woman of No Distinction” World Premiere

Richard J. Clark · February 22, 2019

HRIS KINSELY wrote a landmark poem in 2006 about the Samaritan woman at the well and her encounter with Jesus. What makes this poem unique is its perspective: written entirely from the point of view of the Samaritan woman. This poem has much to teach us today. (See the poem below.)

Jennifer Lester, Director of The Seraphim Singers, asked me to compose a work When I saw the text, I thought “This is the poem.” It was an honor and privilege to composer on this work and this topic. (Liturgically notable is the role the Samaritan Woman plays in Lent, and in particular the First Scrutiny for Catechumens seeking full reception into the Church.)

In Orthodox and Eastern Catholic traditions, the Samaritan woman at the well is revered as a saint and considered “equal to the apostles.” Witnessing to the truth of Christ, she was martyred during the persecutions of the Emperor Nero.

I ASKED SOPRANO Anna Ward to be the “voice” of the Samaritan Woman. She adds her superlative artistry and perspective to this work!

* *  YouTube • A conversation with Lester, Ward, and Clark about the work and what it has to say to us today.

IF YOU ARE IN THE BOSTON AREA be sure not to miss this premiere as part the Seraphim Singer’s “Women’s Perspectives.” This concert will present works exploring the voices of women as composers, subjects, storytellers, and poets.. There will be two performances:

Friday, Friday, March 1, 2019, 8:00pm
St. Cecilia Parish, 18 Belvidere St., Boston, MA

Sunday, March 3, 2019, 3:00pm
First Church (Congregational) 11 Garden St., Cambridge, MA

Tickets: $22 General Admission / $18 Students & Seniors online or $25/20 at the door
• Tickets are available at the door or purchase online here
• Download the concert poster here

Hope to see you there!

WOMAN OF NO DISTINCTION
By Chris Kinsley

I am a woman of no distinction
of little importance.
I am a woman of no reputation
Save that which is bad.

You whisper as I pass by and cast judgmental glances,
Though you don’t really take the time to look at me,
Or even get to know me.

For to be known is to be loved,
And to be loved is to be known.
Otherwise what’s the point in doing
either one of them in the first place?

I want to be known
I want someone to look at my face
And not just see two eyes,
a nose, a mouth and two ears;
But to see all that I am, and could be
all my hopes, loves and fears.

But that’s too much to hope for,
to wish for,
or pray for
So I don’t, not anymore.

Now I keep to myself
And by that I mean the pain
That keeps me in my own private jail
The pain that’s brought me
Here at midday to this well.

To ask for a drink is no big request
But to ask it of me?
A woman unclean
Ashamed, used and abused
An outcast, a failure
A disappointment, a sinner.

No drink passing from these hands
To your lips could ever be refreshing
Only condemning
As I’m sure you condemn me now
But you don’t.

You’re a man of no distinction;
Though of the utmost importance.
A man with little reputation, at least so far.

You whisper and tell me to my face
What all those glances have been about
And you take the time to really look at me.
But don’t need to get to know me.

For to be known is to be loved and
To be loved is to be known.

And you know me.
You actually know me;
All of me and everything about me.
Every thought inside and hair on top of my head;
Every hurt stored up, every hope, every dread.
My past and my future, all I am and could be.
You tell me everything,
You tell me about me!

And that which is spoken by another
Would bring hate and condemnation.
Coming from you brings love, grace,
Mercy, hope and salvation.

I’ve heard of one to come
Who could save a wretch like me
And here in my presence,
You say, “I am he.”

To be known is to be loved;
And to be loved is to be known.

And I just met you.
But I love you.
I don’t know you,
But I want to get to.

Let me run back to town
This is way too much for just me.
There are others
Brothers, sisters, lovers, haters.
The good and the bad, sinners and saints
Who should hear what you’ve told me;
Who should see what you’ve shown me;
Who should taste what you gave me;
Who should feel how you forgave me.

For to be known is to be loved;
And to be loved is to be known.
And they all need this, too.
We all do
Need it for our own.

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 Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF • “Cantus Mariales” (192 pages)
    Andrea Leal has posted an absolutely pristine scan of CANTUS MARIALES (192 pages) which can be downloaded as a PDF file. To access this treasure, navigate to the frabjous article Andrea posted Monday. The file is being offered completely free of charge. The beginning pages of the book have something not to be missed: viz. a letter from Pope Saint Pius X to Dom Pothier, in which the pope calls Abbat Pothier “a man versed above all others in the science of liturgy, and to whom the cause of Gregorian chant is greatly indebted.”
    —Jeff Ostrowski
    Music List • (2nd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 2nd Sunday of Lent (1 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its somber INTROIT is particularly striking—using a haunting tonality—but the COMMUNION with its fauxbourdon verses is also quite remarkable. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“Like all other liturgical functions, like offices and ranks in the Church, indeed like everything else in the world, the religious service that we call the Mass existed long before it had a special technical name.”

— ‘Rev. Adrian Fortescue (THE MASS, page 397)’

Recent Posts

  • PDF Download • “Ubi Caritas” (SATB)
  • PDF • “Cantus Mariales” (192 pages)
  • PDF Download • Fourteen (14) Versions of the Splendid Hymn: “Salve Mater Misericordiae”
  • Fulton J. Sheen • “24-Hour Catechism”
  • Music List • (2nd Sunday of Lent)

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