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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

Silence and The Thoughts of His Heart

Richard J. Clark · June 19, 2020

HERE HAS BEEN been too much hurt and suffering in the world to express anything adequately in words. There is societal and personal pain, grief in the music world, challenge in our liturgical and sacramental life.

Our souls are hurting and in crisis.

I am reminded of the need for silence: “Music arises out of silence and returns to silence…The importance of silence in the Liturgy cannot be overemphasized. (§118. Sing to the Lord: Music in Divine Worship)

I have no words.

I LEAVE YOU WITH TWO instrumental works upon which to meditate, first, an organ work based on the Introit to the Solemnity of the Sacred Heart of Jesus: The Thoughts of His Heart.

The second is a four-movement meditation on Psalm 139 Fearfully and Wonderfully Made with Richard Kelley, trumpet. This work will be published with WLP/G.I.A. You’ll notice the Covid-19 spacing in our informal video.

Wishing you peace and love,
Richard



Fearfully & Wonderfully Made
I. Lord, You Have Searched Me
Psalm 139:1 Lord, you have searched me, you know me.



II. You Know When I Sit and When I Arise.
139:2 You know when I sit and when I arise; you know my thoughts, even from afar.



III. Where Can I Flee from Your Presence?
Psalm 139:7 Where can I run from your spirit or where can I flee from your presence? If I should go to the heavens, there you are; if I sleep in the depths, you are also there.



IV. I Am Fearfully and Wonderfully Made
Psalm 139:14 I praise you, for I am fearfully and wonderfully made. All your works are wonderful; this I know full well.



Recorded at the Cathedral of the Holy Cross, Boston

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: June 26, 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

    “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
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —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

Jeffrey Tucker: “What are your thoughts on what passes for sacred music in most Catholic parishes today?” Richard Morris: “There’s nothing sacred about it. The tunes, rhythms, and messages are drawn mainly from secular culture. When it isn’t aesthetically repugnant and downright offensive to the Faith, it is utterly forgettable.”

— James Richard Morris (concert organist)

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