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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

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” • 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
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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 Sanctus and Benedictus are one text and should be sung through without a break. The practice—once common—of waiting till after the Consecration and then singing: “Benedictus qui venit…” is not allowed by the Vatican Gradual.

— Father Fortescue, writing in 1912

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