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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

Let This Holy Building Shake with Joy!

Richard J. Clark · April 10, 2015

HERE ARE TIMES when everything comes together. The congregation sings robustly, the celebrant is wonderful, and the choir sounds beautiful. That does not mean that everything was perfect, but it’s a sign that everyone is doing their job. It’s a sign of progress made when built upon previous hard work. It’s an example of full and active participation—participatio actuosa—participation that is richly external and internal.

How is this achieved? There is no one answer because it can only be achieved through teamwork. The priest cannot do it alone. Nor can the choir, or the congregation or any other ministers of the liturgy. Nor does it come about in a single instant.

Holy Week at St. Cecilia Parish in Boston was such an example. The congregation sang more loudly than I had ever heard in twenty-five years—which is saying a lot. Many times, the lines between choir and congregation were blurred. The faithful in the pews clearly took over at times as the “leader of song.”

There are many factors that contributed to this, but I will name a few:


1. THE INTENTIONALITY OF THE FAITHFUL

This includes not only the congregation but also the choir and all ministers of the liturgy. The faithful who come to worship are putting in a great deal of their own effort and energy. They listen intently. They respond intently. They pray passionately. They want to be there. They want to be nourished by the Word, by the liturgy.


2. THE MASS IS SUNG.

A priest who sings injects energy into liturgy. It is well-known that the best way to jumpstart congregational singing is to sing the dialogues—sing the mass. Singing the Presidential texts recto tono with a simple “Amen” response will go a long way to energize the liturgy while infusing greater reverence. (Reverence and energy are not mutually exclusive.)

Rev. James Flavin, the Episcopal Vicar of the Central Region in the Archdiocese of Boston, was the celebrant throughout Holy Week. His voice is not, shall we say…stellar…but he was clear, practiced, and confident. I would much prefer that he sing than not. As such, we ended up singing most of the mass (Ordinary Form). It was easier to list what was not sung.

Furthermore, unaccompanied music tends to illicit greater congregational response. With the unaccompanied dialogues, Missal Chants, and simple Gregorian melodies, new and ancient, this holy building shook with joy!


3. RUBRICS WERE FOLLOWED FAITHFULLY WITHOUT FEELING “STIFF”

The rubrics were followed faithfully, but without feeling stiff or forced in any way. It felt natural. And it should, if one is prepared and knows what is coming next. Secondly, musicians and ministers of the liturgy ere likewise prepared. It wasn’t perfect, but if a glitch arose, one can recover more quickly from it if prepared.

As I’ve written many times, following the rubrics is not the end, but the means. Following them opens the door for the Roman Rite to do what it is intended to do. It is not an obstacle, but an open pathway to “…the Glory of God and the edification and sanctification of the faithful.” (Tra le Sollecitudini, General principles §1)


4. PREPARATION OF THE CHOIR

Preparation time for choirs will vary for each choir’s needs and the demands placed upon it. We begin preparation at least a month prior to Holy Week, with significant rehearsals prior to certain liturgies. Doing so is akin to know knowing the rubrics. Learn the technical aspects of the music well, so that one may begin to infuse beautiful interpretation, emotion, and spirit. Know the technical aspects well, and a choir may better pray the words they are singing. Know the technical aspects well enough, that the music will sound natural—not stiff: Beautiful—not hesitant, Sacred—not mundane, Universal—not muddled.

Confidence with as much of the technical details of the music as is possible—even if far from perfect—opens the door to prayer.


5. ARCHITECTURE

It is worth mentioning the great importance of church architecture. While the music must be beautiful, sacred and universal, so must the architecture. This is something we may have no control over. However, it must be noted that carpeting is the enemy of congregational singing. It makes singing, and hence the liturgy, more difficult for everyone. It increases one’s reliance upon microphones. Nor is it aesthetically more pleasing or cheaper in the long run. I am grateful to our pastor, Fr. John Unni for getting rid of all of our carpeting! This truly helps music be more sacred.

Sometimes things all come together even in imperfection. This is a gift from God. Prepare, and enter into the mystery!

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

Filed Under: Articles Tagged With: congregational singing, Singing the Mass 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

The Princess of the Palatinate once described German Protestantism to Louis XIV with this formula: “In our country, everyone makes up his own little religion.” Every priest, or almost every priest, is at this point today. All the faithful have to say is “Amen.” They are still blessed when the pastor’s religion does not change every Sunday, at the whim of his reading, the foolery he has seen others at, or at his own pure fancy.

— Professor Louis Bouyer (1968)

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