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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

An FYI on EP in the OF – Introduction

Andrew R. Motyka · May 15, 2013

o you’ve been asked to plan Evening Prayer (aka “Vespers”) at your parish. This is a wonderful opportunity for common prayer in your community, and is strongly recommended by the Church:

Where possible, the principal Hours should be celebrated communally in church by other groups of the faithful. The most important of these groups are the local parishes – the cells of the diocese – established under a pastor acting for the bishop. These “represent in some degree the visible Church established throughout the world.” (General Instruction on the Liturgy of the Hours #21)

The only problem is that you have no idea how this is supposed to go. Sure, you’re picked up the latest edition of Magnificat, or maybe even have a book of Christian Prayer. However, you’re a music director, and you’ve never sung Vespers before. What do you do? Let’s take a walk through Evening Prayer in the Ordinary Form, and offer some good suggestions (that are by no means exhaustive) to use in St. Joe Schmoe’s Average Parish.

Note: If you’ve been asked to prepare sung Morning Prayer, you’re in luck. It is identical to Evening Prayer in every way except for the Gospel Canticle, which is the Canticle of Zechariah in the morning where it is the Canticle of Mary in the evening. Also, Morning Prayer takes place in the morning instead of the evening, in case you need everything laid out for you.

The order of liturgy (and yes, Evening Prayer is liturgy) follows:

Introduction
Hymn
1st Psalm
2nd Psalm
Canticle
Reading
(Homily)
Responsory
Gospel Canticle (Canticle of Mary, AKA the Magnificat)
Intercessions
Our Father
Prayer
Conclusion

The first thing you might notice is that there is neither an entrance nor a concluding procession. That is simply because, in the Liturgy of the Hours, there is not the same significance of a priest’s entrance as there is in the Holy Sacrifice of the Mass. A celebration of Evening Prayer does not require a priest or deacon at all. However, if a priest or deacon leads the prayer, there are slight differences in the liturgy, especially at the introduction and conclusion.

The second thing I would call your attention to is the fact that nearly all, if not all, of this liturgy is sung. The Liturgy of the Hours is sung prayer, especially because they are primarily marked by the proclamation of the Psalms, which are the Church’s song. Keep this in mind as you prepare for this liturgy. Historically, Evening Prayer has been the focus of much effort on the part of composers, more so than any other Hour of the day. This is primarily because it took place at the end of the day, when workers could easily attend the rite, and is evidenced by the overwhelming number of choral Magnificats, which greatly outnumber their counterpart canticles in the other Hours.

Next week, we will begin with suggestions on how to handle the first parts of Evening Prayer: the introduction, Hymn, and Psalms. This is where the real “meat” of Evening Prayer is, and there are lots of options for good celebration.

For Part 1 of the series, please click HERE.

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 Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    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
    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

“Who dreamed on that day that within a few years, far less than a decade, the Latin past of the Church would be all but expunged, that it would be reduced to a memory fading into the middle distance? The thought of it would have horrified us, but it seemed so far beyond the realm of the possible as to be ridiculous. So we laughed it off.”

— Archbishop Dwyer of Portland (26-Oct-1973)

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