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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

From Ashes to the Living Font

Richard J. Clark · March 1, 2013

ANTE’S DIVINE COMEDY begins, “Nel mezzo del cammin di nostra vita…”

Midway on our life’s journey, I found myself in dark woods, the right road lost. To tell about those woods is hard – so tangled and rough…

As when Divine Love set those beautiful lights into motion at creations dawn, and the time of day and season combined to fill my heart with hope…
(translation by Robert Pinsky, Poet Laureate Consultant in Poetry to the Library of Congress, 1997-2000)

Sometimes we do our best work while in exile or subject to persecution. It is in struggle that we find out of what we are truly made. We also find out that God sustains us every step of the way when otherwise we might meet with destruction. I know God has sent people into my life to whom I owe my very life. Each has saved me and sustained me at just the right time. But that is a story for another day.

Dante, considered the greatest Christian poet, is the author of the greatest literary work in the Italian language. His masterpiece, which fostered the evolution of the Italian language itself, was written while in exile under the threat of being burned at the stake if he ever returned to Firenze.

In the Forward of Robert Pinsky’s translation of The Inferno, John Freccero states, “Hell is a limit situation, like the prison camp or the cancer ward, where all illusions are stripped away and one has no choice but to acknowledge one’s powerlessness.”

It is in our powerlessness that we often find God.

As Dante wrote his epic poem “midway upon life’s journey” we too are almost midway through our Lenten journey. Today, the Chair of Peter lies empty. This Lent, we will certainly end up in a different place than where we started. Hopefully, we will be transformed individually and as a Church.

Reflecting this journey, the Ash Wednesday Collect from the Roman Missal refers to Lent as “this campaign of Christian service…” Through this campaign, Lent is marked by two themes: preparation for baptism and penance. But Lent is also a joyful season with its expectation of resurrection and as a time of healing.

As such, I find it absolutely fascinating that the Introit for Ash Wednesday – the very first prayer of Lent – Misereris Omnium – is full of humankind’s acknowledgement of God’s infinite mercy:

“Your mercy extends to all things, O Lord, and you despise none of the things you have made. You overlook our sins for the sake of repentance. You grant them your pardon, because you are the Lord our God.” –Wisdom 11:24-25, 27; Psalm 57 (56)

(St. Cecilia Schola, singing Misereris Omnium with organ variations)
Variations published by RJC Cecilia Music

Just as fascinating to me is that when we wake up on Easter Sunday morning, the Church prescribes one of the MOST glorious texts to be sung (in Phrygian mode IV no less): Resurrexi: Psalm 139: 18, 5, 6, and 1-2:

“I am risen, and I am always with you, alleluia; you have placed your hand upon me, alleluia; your wisdom has been most wonderful, alleluia, alleluia. v. O Lord, you have searched me and known me; you know when I sit and when I rise up.”

This text from Psalm 139 is most loving and intimate – a mutual love poured out from our God and from His people who offer praise and thanksgiving to our Lord who watches over us and cares for us. I am risen and I am always with you. Christ, who suffered death on a cross for us, will never leave us comfortless or abandoned.

Furthermore, the musical setting is thoroughly surprising to our modern sensibilities. The ancient modal scheme contains two surprises: one, that Easter Sunday begins with a series of minor intervals; two, that the first and final “alleluias” end unresolved, a half step below a modern “major key” resolution and a step above a modern “minor” resolution. In between and timeless – unresolved for eternity. “I am always with you.” Unlike a nice C Major hymn with organ and brass (and who doesn’t love that? Nothing wrong with that!) the Introit for Easter Sunday, Resurrexi, expresses the transcendent. Mode IV may be the ideal mode to express what Karl Rahner, S.J. identifies as surrender to the “incomprehensible Mystery called God.” The “unresolved” ending is in fact strangely satisfying. It reveals without words an act of faith. It expresses the ineffable mystery that is the Resurrection, the eternity of God and God’s love for us.

Here is my setting of I Am Risen, Resurrexi
St. Cecilia Parish Choir, Boston, Massachusetts
Published by RJC Cecilia Music

At times in life, we may be in exile. We may be persecuted. We will suffer in ways we don’t deserve, nor expect. Some will suffer the unfathomable cruelty of great tragedy. But exile is where we find God closest to us. We find the God who never abandons us and will never leave us comfortless. It is in exile that we find our true calling from God.

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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President’s Corner

    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“A striking detail: at Solesmes, we remember hearing Justine Ward criticize accompaniment sometimes or seeing her cover her ears, especially when the organ accompanied a soloist, which is something she could not accept.”

— Dom Pierre Combe

Recent Posts

  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)

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