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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

Inviolable Refuge

Richard J. Clark · September 20, 2013

EHAN ALAIN wrote the following in the score of his organ work Le jardin suspendu — The Hanging Garden (1934):

“Le Jardin suspendu, c’est l’idéal perpétuellement poursuivi et fugitif de l’artist, c’est le refuge inaccessible et inviolable.”

“The Hanging Garden is the artist’s ideal, perpetually pursued and eternally elusive; it is the inaccessible and inviolable refuge.”

Despite Jehan Alain’s short life (1911-1940; killed in action during WW II), he created a unique musical language of his own. His influence on composers and organists carries extraordinary weight, quite disproportionate to his brief musical career. What he would have accomplished had he lived as long as his friend Olivier Messiaen is unfathomable. Still, his influence remains unquestioned.

As church musicians, we try to bring beauty and art in service of the Lord and God’s people. Yet, most of the time, it is a challenge to convince others that sacred music must indeed be beautiful. We are tested, sometimes every day. We must find creative ways to catechize and educate. We must slowly introduce the sacred, the beautiful, the universal a little at a time, often over a period of years. Sometimes it takes decades to build a program. It can takes weeks to tear it down.

At one time or another, all artists are tested in the same way that faith is tested. For musicians of sacred music, this reality is intertwined. Yet, with all odds against us, we forge on in faith. In this test—the infliction we will endure at one time or another—our faith is made stronger.

This is where our interior prayer life sustains us. Prayer is the “inviolable refuge” that gives us the strength to carry on. For an artist, prayer can take many forms, including our work itself. How do we know if we are truly in prayer? A simple litmus test is to ask the following question: Are our “batteries” being recharged? If not, we must find a form of prayer that works, or else we will be sapped of our strength to do the Lord’s work.

For Mother Theresa, it took the form of meditating for two hours in front of the Blessed Sacrament starting at 5a.m. How else could she get through the day of helping the poorest of the poor?

OR MUSICIANS, THE INVIOLABLE REFUGE is in our art. Possessing the liberty, or support, to create beauty is truly unusual, so sometimes we must create our own opportunities. This may seem selfish. It is not. If we do not create and pray in that creation, we will surely be lost in our work of ministry. We must at times attend to ourselves that we may attend to others! Otherwise, this work will become nothing more than a paycheck (perhaps a meager one at that) which entirely defies the object of ministry.

We all have unique responsibilities. Our inviolable refuge is a necessity. It may take different forms for different people. With a dozen or so liturgies per week, I often find myself physically present at all—spiritually present at few to none. So, mindful I must be when I can. Certain liturgies give opportunity for more interior prayer. At one in particular, I take the opportunity to improvise on the propers of the day. I meditate upon the text, while hopefully in tune with the liturgical action. Sometimes this is my inviolable refuge, and I hope my prayer helps others. Sometimes, it is composition. Often, it is the diligent work with my incredibly generous choirs.

Always, it is the eyes of my children.

Recognize God in your work. Pray unceasingly. Do what fulfills you and makes you happy. Otherwise, we are of no use to others we serve in ministry. Meanwhile, be joyful that God has a plan for each of us, a plan to carry out his work.

Jeremiah 29:11: “I know the plans I have in mind for you, declares the Lord; they are plans for peace, not disaster, to give you a future filled with hope.”

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

Filed Under: Articles Last Updated: January 1, 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” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

There is a lack of that kind of organization which favors mature judgment. Move on, move on, get it out. Schemata are multiplied without ever arriving at a considered form. The system of discussion is bad … Often the schemata arrive just before the discussions. Sometimes, and in important matters, such as the new anaphoras, the schema was distributed the evening before the discussion was to take place … Father Bugnini has only one interest: press ahead and finish.

— Cardinal Antonelli (Peritus during the Second Vatican Council)

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