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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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Corpus Christi Watershed

President’s Corner

    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
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —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

The Latin language, “far from being held in little regard, is certainly worthy of being vigorously defended.”

— Pope Saint Paul VI (15 August 1966)

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