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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

It’s No Fluke

Richard J. Clark · September 13, 2013

N RECENT MONTHS, I have had opportunity to direct music for a number of liturgies at two USCCB conferences in Boston. In my previous post, Reason for Encouragement, I described how a diverse congregation from all over the country sang quite robustly not only the ICEL Chants but also settings of the propers by Adam Bartlett. Considering the musical experience in their home parishes was likely quite varied, I found this development most encouraging.

With that encounter under our belt, a similar approach was taken for the next conference. Realize, that most of these liturgies took place in hotel ballrooms with horrendous acoustics, and little to remind one of a sacred space. (One half expects to see a tip jar on the piano and a cash bar nearby.) Remember too, that incense is a problem as it is likely to set off the fire alarms, and special permits are needed even for the candles on the altar. However, chant and new chant-based music is the one element of the environment that truly says, “We are in a sacred space.” That we could do!

So, once again, this new group of Diocesan leaders that came as far away as Alaska, easily sang Adam Barlett’s settings from his Lumen Christi Missal. Likewise, the ICEL Chants were no obstacle, even when the cantor accidentally sang one in Latin! No one skipped a beat.

Also sung were psalm settings by Jeff Ostrowski from the Chabanel Responsorial Psalms collection, psalms by yours truly, and a beautiful Gospel Acclamation from Royce Nickel from the St. Charles Garnier Gospel Acclamations collection. Additionally, we sang settings of the introit (as a prelude) from the Simple English Propers and from the Graduale Romanum. I find singing chant as a prelude to be another useful tool to introduce the propers, as well as a way set a prayerful tone before mass. (N.B.: ALL of the above music is downloadable for FREE!)

I’m taking away a few observations from these conferences. For starters, that Adam Bartlett’s antiphons are so singable, speaks to the quality of the compositions, not only in melody, but in the natural clarity of phrasing the texts. Each phrase intuitively follows the next as it should. Furthermore, cantor Marc DeMille, whose exquisite diction, phrasing, and humility of character, expressed those works in such a way that the congregation grasped the music almost immediately. It certainly helps to have someone who not only has a beautiful voice, but understands sacred liturgy and chant intimately. These characteristics Mr. DeMille possesses in abundance. Finally, that all of this chant could work in a hotel ballroom means this music travels well and will likely work most anywhere, even in less than ideal conditions.

Adam Bartlett has also suggested that what makes an antiphon singable, sometimes is more attributed to its length, not just its simplicity of melody. In other words, even a very simple melody for a very long antiphon, may discourage a congregation to sing. However, I must say these were moderately lengthy, and they still worked beautifully.

LSO NOTABLE in this conference was a mass at the Cathedral of the Holy Cross with music lead by John Robinson and the St. Paul Choir School, Harvard Square who sang beautiful settings by Gary Davidson (Hardwicke Mass), Handel, Arthur Wills, and Kenneth Leighton. That bishops and diocesan leaders from all over the country were exposed to such music and responded so positively, is indeed reason for encouragement. One hopes that more seeds have been planted to further the cause of sacred music. As Director of the Office of Divine Worship, Fr. Jonathan Gaspar’s influence on the quality of the sacred music at these conferences is unmistakable. He has set the bar high, and one hopes this mindset will spread—that beautiful liturgy uplifts the faithful so that they may do God’s work.

One day after mass, a woman told me how wonderful it is to sing the scriptures while receiving communion. I doubt she knows at all what the propers of the mass are. However, I find her observation intriguing. She demonstrated that it is far easier to connect the texts of the propers to the mass itself than potentially a hymn or song. The propers beautifully reinforce God’s word.

The power of chant and the propers is no fluke. Try it!

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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President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“It is also customary in many lands that a brief but meaningful hymn be sung between the Gospel and the sermon. (I note in passing that this custom also preserves the original and primary function of the medieval congregational hymn, which was to frame the sermon.)”

— Professor László Dobszay (2003)

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