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Views from the Choir Loft

All Souls — gave hope to me, too.

Richard J. Clark · October 31, 2014

T IS A SIGNIFICANT opportunity when All Souls – The Commemoration of All the Faithful Departed – falls on a Sunday as it does this year. There are great opportunities, not only for music, but for exploring the depth of scripture and theology.

There are in fact several choices for readings, even on a Sunday. This includes options for the responsorial psalm as well as verses for the Alleluia. All readings are provided in the Lectionary for Mass for the Commemoration of All the Faithful Departed (no. 668). In addition, one may also choose readings from for Masses for the Dead (nos. 1011-1016, Lectionary, Vol. 4). As such, the propers are that of the Requiem Mass, Missa pro Defunctis. Furthermore, it is quite notable that there is no Gloria, even this year when it falls on a Sunday.

It is especially in the propers of the Requiem Mass, and therefore All Souls Day, that I find great hope.

Consider the following:
Both the Introit and the Gradual use the same antiphon text—such is its importance it bears repetition:

4 Esdras 2: 34, 35: “Requiem aeternam
• Eternal rest grant unto them, O Lord, and may perpetual light shine upon them.

Sequence | From the “Dies Irae”:
• You who absolved Mary, and heard the Robber, gave hope to me, too.

Communion | 4. Esd. 2: 35: “Lux aeterna…”
• May eternal light shine upon them, O Lord, in the company of your saints for eternity, for you are full of goodness.

Various Chants for the Last Farewell:

• Subvenite: Come to her assistance, O you saints of God, go forth to meet her, O you Angels of the Lord; receive her soul and present it in the sight of the Most High.

• Credo quod Redemptor: (Job 19: 25, 26) I believe that my Redeemer lives, and that on the last day, I shall rise from earth and in my flesh I shall behold God my Savior.

• In Paradisum: May the Angels lead you into paradise; may the martyrs receive you and lead you into the holy city of Jerusalem. May the choir of Angels receive you and, with Lazarus, who once was poor, may you enjoy eternal rest.

• Ego sum resurrectio (John 1: 25, 26): I am the resurrection and the life. He who believes in me, even though he is dead, shall live; and whoever lives and believes in me shall never die.

If this does not evoke hope in God’s infinite mercy, than what will? It is upon God alone that we depend.

Furthermore, it is a great act of mercy and love that we pray for the Faithful Departed. Pray unceasingly and pray for each other. Oramus pro invicem.

equiem pour une américaine à Paris is a seven-movement work composed for trumpet and organ, it is reminiscent of an early Twentieth Century French Romantic style. Although quite faithful to many of the Gregorian Chants, this is not a liturgical work, but a concert work. However, I hope this may be a helpful and hopeful meditation on God’s merciful love, and our hopeful expectation of eternal life in the words of Credo quod Redemptor: “I believe that my Redeemer lives, and that on the last day, I shall rise from earth and in my flesh I shall behold God my Savior.”

The CD is available for purchase ($9.99) and for download ($6.93)
• Score available at RJC Cecilia Music

YouTube:  I. Introit | Requiem aeternam”
YouTube:  II. Gradual | Requiem aeternam
YouTube:  III. Dies Irae
YouTube:  IV. Jubilis!
YouTube:  V. Offertory | Domine Jesu Christe”
YouTube:  VI. Communion | Lux aeterna
YouTube:  VII. Last Farewell

HIS WORK WAS COMPOSED for Richard Kelley, trumpet. Certainly, the trumpet is rarely, if ever associated with Gregorian Chant. However, Mr. Kelley possesses unusually extraordinary grace, dignity, and humility, all which sing beautifully through his playing. (Listen especially to IV. Lux Aeterna and the quote of “In Paradisum” in the VII. Last Farewell.)

The one movement, which is a departure from the Requiem mass, is the “IV. Jubilis!” It briefly quotes the Tract (which of course comes before the Sequence in the mass—the order is reversed in this concert piece.) It is also loosely based on the Post-Vatican II addition of the “Alleluia” The “Jubilis!” theme returns at the end of the final movement, in hopeful expectation of eternal life in heaven.

ICHARD KELLEY, TRUMPET was a soloist with the Boston Symphony and Boston Pops 1984 and 1985 at the age of 16 and 17. He studied at the Juilliard School in NYC, he is a former member of Boston Brass Quintet and a current member of the Brass Band of Battle Creek. His credits include Broadway shows in NYC, TV ads, and film soundtracks. He has performed with artists such as Andrea Bocelli, Ray Charles, Steven Tyler, James Taylor, Glenn Close, Bernadette Peters, Jennifer Aniston, and Vanessa Williams. Conductor of the New England Swing in Nashua New Hampshire, he now plays frequently with the Boston Pops.

• CD Cover Photography by Rev. James Martin, SJ | Window from St. Mary’s Chapel, Boston College
• Recording Engineer: Evan Landry
• Mastering: Paul Umbach
• Richard Clark played the 1999 Smith & Gilbert Organ Recorded at St. Cecilia Church, Boston

Requiem pour une américaine à Paris has been featured on “Sounds from the Spires” on SIRIUS XM 129 Radio, The Catholic Channel.

Richard Kelley and I had the opportunity to speak with the program’s host, Dr. Jennifer Pascual, Director of Music for Saint Patrick’s Cathedral in New York City.

• PODCAST • Listen here to the program broadcast on 10.6.2013:

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

Filed Under: Articles Tagged With: All Souls, Requiem 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

    “What Martin Luther Said…”
    My pastor asked me to write little columns for the bulletin each week. The article for 20 July 2025 has been posted, and it’s called: “What Luther Said…” Martin Luther (an ex-priest and apostate) was an infamous heretic whose ignorance of JESUS CHRIST was only exceeded by his filthy and disgusting vulgarity.
    —Jeff Ostrowski
    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 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 propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —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

“This chapter hereby extends the prohibition of 13 June 1561 against loaning singers or instrumentalists on any account whatsoever to include even the humblest choirboy.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (10 June 1562)

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