Views from the Choir Loft

Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross. He is also Chapel Organist (Saint Mary’s Chapel) at Boston College. His compositions have been performed worldwide. Read more.

Repeating Repertoire? • Richard J. Clark

Richard J. Clark · March 28, 2020

“Repetition” in the Age of Streaming Masses…

The Fruit of Silence is Prayer

Richard J. Clark · March 19, 2020

The list of concerns is endless. Today, we may be given the gift of an overabundance of silence, but perhaps its fruit will reverberate for years.

Two Reasons for Fewer Vocations

Richard J. Clark · January 31, 2020

The marketing and commercialization of sacred music has had vastly mixed results, some positive, but some deleterious.

Liturgy is the work of Christ and His Body, the Church.

Richard J. Clark · January 24, 2020

When we consider the redemptive power of the Mass, our eyes, hearts, and minds are opened wide!

Chant, Mighty Pipe Organs • Two Sundays, Two Cathedrals

Richard J. Clark · January 10, 2020

Gregorian Chant and mighty pipe organs will be front and center at two concerts: Boston’s Cathedral of the Holy Cross and Saint Patrick’s Cathedral, New York City.

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski