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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

The Power of Gregorian Chant

Richard J. Clark · March 31, 2013

OME STYLES OF MUSIC do certain things better than others. I work in a parish that utilizes many styles from chant and polyphony to Gospel and contemporary. This is a product of three merged parishes, the preferences of the pastor, and the pastoral realities of an inner city parish. However, chant and polyphony are normative. They are present in some way at every liturgy.

While we do not process to the Introit propers from the Graduale Romanum, we often sing them as a prelude before mass in lieu of an organ prelude. This allows the congregation to enter into a prayerful state and meditate on the text which is provided on the worship aid.

Keep in mind, I am an organist who studied for many years with James David Christie, organist of the Boston Symphony Orchestra. I have a wonderful four manual, fifty rank pipe organ to play in an extraordinary acoustic. As I did not play any preludes or postludes during Lent (save Laetare Sunday), I am certainly itching to get back to letting the organ roar again!

However, I LOVE singing the Gregorian Introits as does my schola. They get EXCITED when we sing them. To forego an organ prelude on Easter Sunday speaks to the power of the Mode IV Introit, Resurrexi.

So this morning, something very blessed happened. Easter Sunday is filled with many people who are not regular churchgoers. Instead of griping about it, this is an opportunity to reach out and evangelize to those who do not attend church with any frequency.

As such, there was a standing room only overflow crowd of close to 1,000 people. There was a LOT of noise and talking before mass. It was certainly not a prayerful or reverent environment.

But then, amidst the cacophony the schola began to sing Resurrexi. By the time we got to the first “alleluia” there was a hush… The crowd slowly quieted down to a still silence. They listened through the antiphon, and the extraordinarily intimate verse from Psalm 139: “O Lord, you have searched me, and know me; you know when I sit and when I rise up.” At the end of the last antiphon one could hear nothing—nothing at all. A crowd of nearly 1,000 people, many who don’t come to mass, many who may not prefer Gregorian Chant, many who know nothing about chant—fell silent.

I don’t know what was in their hearts and minds, but intuitively, a sense of reverence and awe prevailed. Perhaps for many it was a rare moment of stillness in a busy, noisy world. Perhaps it was an opportunity for interior prayer. Perhaps it was a moment to revel in presence of the Risen Christ—the Salvation of the World. My hope is that the ineffable mystery of the Resurrection shone forth in these words:

I am risen, and am always with you, alleluia; you have placed your hand upon me, alleluia; your wisdom has been shown to be most wonderful, alleluia, alleluia. v. O Lord, you have searched me and know me; you know when I sit down and when I rise up. Psalm 139: 18, 5, 6 and 1-2

Happy Easter!

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

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It’s good that you are in the USA, otherwise who is going to—in the best sense—make music?

— Ignaz Friedman writing to Josef Hofmann (4 January 1940)

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