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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

A Challenge for the “Big Three” — Is there a Market for the Propers?

Richard J. Clark · November 29, 2013

N THIS “BLACK FRIDAY”, I AM DELIGHTED to see Russell Weismann’s Advent Communion Antiphons published with GIA Publications, Inc. Simple and accessible, they are expertly composed by the former Associate Director of Music at the Basilica of the National Shrine. Having had opportunity to preview and sing this wonderful collection a year ago, it is encouraging to see one of the “Big Three” put forth such a work. While I remain cautiously optimistic, one must take note of new directions by mainstream publishers as it signals a broader change in the market. (E.g., Chief Publishing Officer for the J.S. Paluch Co., Dr. Jerry Galipeau’s description of the “servant model of composition.”)

As settings of antiphons have been historically ignored by mainstream publishers, there are recent notable exceptions, e.g. Christopher Tietze’s Communion Antiphons for the Easter Season (World Library Publications) and Christopher Walker’s Communion Antiphons for SATB Choir. (Oregon Catholic Press) The current market share may be relatively small, but these publications reflect an emerging awareness of the propers, and hence an emerging market.

N THE SUBJECT OF THE APPROVAL OF TEXTS, the U.S. bishops long ago abdicated their authority. (“The texts of antiphons, psalms, hymns, and songs for the Liturgy must have been approved either by the United States Conference of Catholic Bishops or by the local diocesan bishop.”— STTL, no. 110; see GIRM, no. 48) As a result, Roman Catholic music publishing has been left to the free market and in many ways has been no different than the overall music industry. What is published is determined by what is popular and what will sell, i.e., supply and demand. Keep in mind, the “Big Three” (WLP, GIA, and OCP) have had long-term success, which means they have had solid and sustainable business models; they know how to gauge the market very well.

Not surprisingly, Catholic music publishers and composers face the same challenges that have plagued the popular music industry in the last decade. Rory Cooney describes here the detrimental impact iTunes, YouTube, and digital technology have had on profits in the music business—and likewise how difficult it is to make a living as a Roman Catholic songwriter.

BUT HERE IS WHERE IT GETS INTERESTING: Challenges for the music industry from digital technology have in fact propelled the “reform of the reform.” The universal business model has changed—one adopted readily by proponents of the “reform of the reform”: Give away a calculated amount of product for free in order to educate, promote, generate traffic, and therefore, sales.

Added to this are those who desire to catechize and serve the Church, considering sales secondary or even irrelevant. (The USCCB and ICEL’s proliferation of the Roman Missal Chants for FREE is a prime example.) This influences the supply side even further, but subsequently may generate increased demand in the long run. (That remains to be seen.) Many have composed various settings for the propers, available for free online—some that accompany book sales—just to name a few:

• Adam Barlett: Simple English Propers and Lumen Christi Missal
• Jeff Ostrowski: Lalemant Propers
• Richard Rice: Simple Choral Gradual
• Andrew Motyka: Laudate Dominum Communion Antiphons
• My own collection of Advent, Lent, and Easter Communion Propers

PROPOSE A CHALLENGE TO THE “BIG THREE” publishers. The communion antiphons are the easiest gateway to singing the propers. I challenge the “Big Three” to get ahead of the curve now:

• GIA: Commission a larger collection from Russell Weismann and additional composers, including Michael Joncas, who has shown for well over thirty years an affinity for setting the scriptures to music in diverse and evolving styles. (See his Psalm 63 “As the Watchman” and his recent mass setting, Missa ad Gentes)

• WLP: Commission a collection of communion propers from Steven C. Warner, a composer who has shown an ability to communicate universally.

• OCP: Commission a collection of propers from Christopher Willcock, S.J. His unparalleled talent in setting text to music is among the most versatile I’ve seen (and had the privilege to work with at Boston College.)

• To GIA, WLP & OCP: I challenge one of you to promote and distribute the work of Adam Bartlett, clearly the leading figure in the United States and the entire English Speaking world on this subject. The Simple English Propers have already established a market and track record of book sales. His Illuminare Publications is ripe for distribution.

HE AVERAGE PARISHIONER COULND’T CARE LESS about the GIRM, Sacrosanctum Concilium, or any encyclical of Pope Saint Pius X. Therefore, the question should not be framed as “Are we singing the antiphons and psalms, which take precedence over hymns and songs as outlined by the various liturgy documents?” Instead, the question should be, “Are we singing the mass and therefore the scriptures, which enrich our prayerful devotion toward God?” Typical parishioners do respond to singing the scriptures; this is the vital question.

I believe composing for the propers is the frontier of Roman Catholic composition, and therefore publishing. The mustard seed we plant will yield great fruit for the Church and for our prayer.

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

Filed Under: Articles Tagged With: Propers, Singing the Mass 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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

Amid all these old liturgical books, I find that I am happy and at ease; I feel at home.

— Dom André Mocquereau (1884)

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