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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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Corpus Christi Watershed

President’s Corner

    Responsorial Psalm Fauxbourdon?
    When it comes to singing Responsorial Psalms in Fauxbourdon, what does this sound like in practice? Can such a thing be done successfully with volunteer choirs in real Catholic parishes? Listen to this audio excerpt from Good Friday and see what you think. Our parish volunteer choir did so well this year—and the ceremonies were ‘standing room only’. For the record, that musical score can be downloaded (completely free of charge) from the flourishing feasts website.
    —Jeff Ostrowski
    Music List • (Easter Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Easter Sunday—a.k.a. “Ad Missam in die Paschae”—which is 5 April 2026. Please feel free to download it as a PDF file if such a thing interests you. The Fauxbourdon for Communion is particularly moving.
    —Jeff Ostrowski
    PDF Download • “Sprinkling Rite”
    Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —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

Random Quote

“Both priests and people in this country [viz. ENGLAND] were largely taken by surprise by the recent restoration of the Easter Vigil, by the changes in the laws of fasting for Holy Communion, and the advent of the Evening Mass.”

— Dom Oswald Sumner (1955)

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  • Music List • (Easter Sunday, 2026)

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