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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

    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski
    Music List • (1st Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I’ve prepared for this coming Sunday—22 February 2026—the 1st Sunday of Lent (Year A). 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 available at the outstanding feasts website alongside the official texts in Latin. I spent an enormous amount of time preparing this ORDER OF MUSIC—because the children’s choir will join us—and some of its components came out great. For example, the COMMUNION ANTIPHON with Fauxbourdon is utterly resplendent, yet still ‘Lenten’.
    —Jeff Ostrowski
    2-Voice Arrangement for Lent
    Those seeking a two-voice arrangement for LENT and PASSIONTIDE should click here and scroll down. It’s based on number 775 in the Brébeuf Hymnal, with an enchanting melody written by Kevin Allen (the legendary American composer of sacred music). That text—“Pendens In Crucis Cornibus”—is often used for the Feast of our Lady of Sorrows. That link is important because, in addition to the musical score, it provides free rehearsal videos for each individual voice: something volunteer choirs appreciate!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we forget that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.”

— Statement by the Supreme Pontiff (Sacramentum Caritatis, 22-feb-2007)

Recent Posts

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  • PDF Download • “Atténde Dómine”
  • “Chant Is Not a Penitential Act” • Lenten Reflection by Daniel Marshall
  • (Ash Wednesday) • Medieval Illumination Depicting the Distribution of Ashes
  • Music List • (1st Sunday of Lent)

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