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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

Richard J. Clark • Article Archive

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 full biography (with photographs).

Richard J. Clark · July 8, 2016

Those Pesky Letters of Complaint

As surely as the sun rises in the East and sets in the West, someone will be unhappy. Displeasure does not discriminate.

Richard J. Clark · July 1, 2016

The Frontier of Liturgical Composition

The frontier of composition is clearly producing new settings of the propers in the vernacular, useful for a typical parish.

Richard J. Clark · June 24, 2016

New Organ Work • Madonna & Child

It took me—the composer—to realize this is really a work about mother and child.

Richard J. Clark · June 10, 2016

Two Concerts • Two Milestones • 101-rank E. & G. G. Hook & Hastings Organ, Opus 801

2016 marks two milestones: the 140th Anniversary of the Dedication of the E. & G. G. Hook & Hastings, Opus 801 and the thirtieth anniversary of Leo Abbott’s tenure as Cathedral Music Director in Boston

Richard J. Clark · June 3, 2016

“Insidious Form” of Clericalism? A Jesuit Speaks Out

“The presider claims a form of privilege to change things that do not belong to him…”

Richard J. Clark · May 27, 2016

A Model of Sacred Music at Priest’s First Mass

What music does a newly ordained priest, who currently plays the drums in a jazz band, choose for his first Mass? A priest who also has a degree from the Hartt School of Music in Music Production and Technology? The answer will surprise you.

Richard J. Clark · May 20, 2016

Composing Saves My Life

By shear will I chip away at the wretched dumpster fire of incongruence on the page. Then a purpose languidly surfaces with each revised note: Composing is a form of prayer.

Richard J. Clark · May 6, 2016

Working With People With Whom One Disagrees

One’s ability to work effectively with someone else does not actually rely very much on how much one agrees with the other. Why? It comes down to three things.

Richard J. Clark · April 29, 2016

Children’s Choir in a Typical Suburban Parish? Endless Possibilities!

Children who sing today will be the foundation of our Church in the future.

Richard J. Clark · April 22, 2016

Musician • Center of Attention or Servant?

Applause from a congregation for musicians, or musicians that impede congregational singing for the sake of personal artistry, are but symptoms. The church musician has been misidentified as a separate entity—a showpiece—and not properly identified as a servant of the liturgy, a servant of God, a servant of the people.

Richard J. Clark · April 8, 2016

I Claim You for Christ

“One of the most emotional experiences of my life was during the baptism of my second child. The words hit me like a ton of bricks…time froze, and I was bowled over in my heart…”

Richard J. Clark · April 1, 2016

O Happy Fault • Nine things that are pure privilege

Such a reference to original sin—a positive reference—seems quite strange to us.

Richard J. Clark · March 31, 2016

Sequence During the Octave of Easter

Singing the sequence, “Victimae Paschali Laudes” is truly appropriate every day this week.

Richard J. Clark · March 18, 2016

As the Tension Grows

As Holy Week approaches, the tension is palpable.

Richard J. Clark · March 11, 2016

When the Liturgy Astounds • The Fire of Divine Love

I found these words to be jaw dropping—utterly astounding.

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Corpus Christi Watershed

President’s Corner

    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). 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 top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski
    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

“What matters is to prefer God to all else; to be ready to sacrifice all, rather than commit one sin.”

— Cardinal Merry Del Val (shortly before his death)

Recent Posts

  • “In Paradisum” • Gregorian Chant
  • The Beauty of the Propers for All Souls’ Day (and the Requiem Mass)
  • Gospel Options for 2 November (“All Souls”)
  • “Music List” • All Souls (2 November)
  • 2-Voice Arr. • “Creator of the Starry Height”

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