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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

“Fearfully and Wonderfully Made” • New album from Richard Kelley & Richard J. Clark

Corpus Christi Watershed · October 13, 2022

Available on all digital formats including:

•  Apple iTunes  •  Amazon Music •  Spotify • Compact Disc

BOSTON – Defying category and convention, famed Boston trumpeter Richard Kelley and Boston Cathedral choirmaster, organist, and composer Richard J. Clark explore the depths of human frailty, struggle, and dignity in their second album “Fearfully and Wonderfully Made.”

The album coincides with the print publication from WLP | GIA Publications of the title track “Fearfully and Wonderfully Made,” a four-movement meditation on Psalm 139. The album also includes one of the final compositions of iconic New England composer Daniel Pinkham: “Scenes.” Written for Richard Kelley and in the final months of his life, Pinkham explores the abyss, mourning, and transcendence.

Defying all convention the album concludes with a bonus track featuring Richard Kelley on vocals in Clark’s category bending setting of poet E. Ethelbert Miller’s “If My Blackness Turns to Fruit.” Miller’s poem was featured on NPR’s Morning Edition in 2019 (marking Walt Whitman’s bicentennial). While it has been compared to Abel Meeropol’s “Strange Fruit” made famous by Billie Holiday, “If My Blackness Turns to Fruit” offers a new challenge for America. Shortly after the NPR broadcast, Miller asked Clark to compose music for the poem. The result: a classical art song in its bones but a traditional jazz ballad in its flesh. Miller’s evocative, yet hope-filled message is passionately delivered in a new, distinctive genre.  

The recordings were digitally mastered by double-platinum-winning producer Paul Umbach.

• OFFICIAL TRAILER click here

• CD RELEASE CONCERT • SUNDAY, November 13 @2pm • Cathedral of the Holy Cross, Boston • Tix Eventbrite – click here

“The career of trumpeter Richard Kelley is not only a testament to the versatility of his instrument, but also to the ability of one individual to excel across the broadest possible range of music.” ~ Brian McCreath, WCRB, Director of Production.

“…Clark’s vivid sound colors and emotionally committed playing created a compelling, dramatic narrative.” ~ The Boston Musical Intelligencer

“The seasonal music (Clark) and his choir are making on this Sunday morning is something more than just nice. Stirring is one way to put it. Profound is another.” ~ The Boston Globe

Press Contact: Kara Clark | RJC Cecilia Records
Phone: 617-309-0343
Email: click here

PDF of this Press Release click here. 

Richard A. Kelley is Principal Cornet of the Brass Band of Battle Creek. He performs regularly with the Boston Symphony Orchestra, Boston Pops, Boston Philharmonic, and the Bach Beethoven Brahms Society. He currently serves as Adjunct Professor of Trumpet at the Boston Conservatory at Berklee. Mr. Kelley’s work can be heard on a wide variety of recordings, from national commercials to the Oscar and Golden Globe-winning soundtrack to Disney’s Pocahontas and Stephen Paulus’ Grammy-nominated Concerto for Two Trumpets and Band. Covering many styles of music, he has collaborated with many from John Williams and Yo-Yo Ma to Steven Tyler, Ray Charles and James Taylor. A passionate believer in the power of music education, Mr. Kelley taught for Juilliard’s Music Advancement Program for inner-city youth, and he continues to pass along his knowledge and love of music to younger generations in the Boston area.

Richard J. Clark is highly regarded as a composer of sacred music in particular for the Roman Rite. His choral, instrumental, and orchestral works have been performed worldwide. A highly versatile musician, his eclectic appearances range from the Celebrity Series of Boston, the Boston Philharmonic, and the Sacred Music Symposium in Los Angeles to Jive Records (Sony BMG), Fenway Park, and the New York Songwriters Circle at the historic The Bitter End in Greenwich Village. He currently serves as Archdiocesan and Cathedral Director of Music at the Cathedral of the Holy Cross in Boston. He served as Director of Music at Saint Cecilia Church in Boston from 1992-2018 and as Organist since 1989. A New York native, he currently lives with his wife and four children just outside of Boston, Massachusetts.

Produced by Richard J. Clark and Richard A. Kelley
Tracks 1-10 • Recorded at Saint Cecilia Church, Boston, MA
Richard J. Clark plays the 1999 & 2001 IV/54 Smith & Gilbert Organ
Mastered by Paul Umbach @The Snug Studio, Las Vegas, NV
Tracks 7-10 Engineered by Evan Landry
Photography: Lyndie Laramore, George Martell
Track 11 • Richard Kelley, vocals, trumpet • Richard J. Clark, piano

Recorded at the Cathedral of the Holy Cross, Boston, MA
COPYRIGHT © 2022 Richard J. Clark • R J C Cecilia Music • ASCAP • ALL RIGHTS RESERVED

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

Filed Under: Articles Last Updated: October 14, 2022

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Corpus Christi Watershed

President’s Corner

    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —Jeff Ostrowski
    How Well Does ICEL Know Latin?
    This year, the Feast of Saints Peter and Paul (29 June 2025) will fall on a Sunday. It’s not necessary to be an eminent Latin scholar to be horrified by examples like this, which have been in place since 1970. For the last 55 years, anyone who’s attempted to correct such errors has been threatened with legal action. It is simply unbelievable that the (mandatory) texts of the Holy Mass began being sold for a profit in the 1970s. How much longer will this gruesome situation last?
    —Jeff Ostrowski
    Is the USCCB trolling us?
    I realize I’m going to come across as a “Negative Nancy” … but I can’t help myself. This kind of stuff is beyond ridiculous. There are already way too many options in the MISSALE RECENS. Adding more will simply confuse the faithful even more. We seriously need to band together and start creating a “REFORM OF THE REFORM” Missale Romanum so it will be ready when the time comes.
    —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

Religious worship supplies all our spiritual need, and suits every mood of mind and variety of circumstance.

— John Henry Cardinal Newman

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