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Views from the Choir Loft

An FYI on EP in the OF – Part 3

Andrew R. Motyka · June 12, 2013

For Part 2 of this series, please click HERE.

AST WEEK, we covered the reading and responsory during Evening Prayer. This week, we will wrap up the liturgy with the Gospel Canticle, Intercessions, and the Our Father.

The Gospel Canticle for Evening Prayer is the Magnificat, or the Canticle of Mary. This timeless text is the high point of this liturgy. Historically, this piece has been executed as a choral piece. There are countless settings of it by many composers. The magnitude in which the Magnificat outnumbers an other musical setting of the canticle shows how much more popular this particular Hour was among the general public throughout time. Simply put, the people came to pray at Vespers, and this song is the climax of that prayer.

Its format is exactly like those of the psalms: the proper antiphon is followed by the canticle itself, followed by the doxology, and rounded out by the repetition of the antiphon. It can be executed in the same way that the psalms are, but I would comment that it seems awkward in this case to interrupt this text after each verse to sing an antiphon or refrain. It is not specifically forbidden, but I would argue that it’s in bad taste. This is definitely the time to “do it up.” If you have a choir, this is a good time for them to shine. Make this the high point of the liturgy.

Following the Magnificat are the Intercessions. These are just like the petitions offered at Mass. There is typically a specific response given in the ritual, tied to the given day or feast. Other than that, it is straightforward. Consider chanting these in the same way you would at Mass.

The Lord’s Prayer follows the Intercessions. This is common prayer; let the people sing this.

The proper prayer of the day rounds out the liturgy. This is proclaimed by the priest or other leader. The final blessing is either the normal one offered by the priest, or the formula:

May the Lord bless us, protect us from all evil, and bring us to everlasting life. Amen.

if prayed in common.

I hope this series has been of some use to those of you with little experience praying the hours. This beautiful liturgy is the prayer of the whole Church, and deserves more attention in the local parishes. Let us all offer our thanks to God in prayer and song through the beauty and tradition of the Hours.

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

    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —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

Re: Low Mass: “It is desirable that in read Masses on Sundays and feast-days, the Gospel and Epistle be read by a lector in the vernacular for the convenience of the faithful.”

— 1958 document, issued under Pope Pius XII

Recent Posts

  • Simplest “Agnus Dei” Ever Published
  • Bishop François Charrière Vs. Hannibal Bugnini
  • 14th Sunday in Ordinary Time (Year C)
  • “My First Year with the Latin Mass” • A Music Director’s Perspective
  • Boston Auxiliary Bishop: “In offering the Traditional Mass for the first time, after removing the vestments, I knelt in the back pew and wept.”

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