Views from the Choir Loft

Misereris omnium | Ash Wednesday Introit

Richard J. Clark · March 5, 2014

EW PARISHES ARE WILLING to sing Gregorian Introits for the Entrance procession. A growing practice is to sing the Introit followed by a hymn. If even this is too much, one may want to sing the Introit as a prelude. This practice allows the faithful to be exposed to the prayerful power of Gregorian Chant when singing the propers is not feasible. Furthermore, this is an excellent opportunity to engage the congregation more deeply and frequently with these transformative texts and chants.

For example, one can seize this opportunity on Ash Wednesday when the pews are filled with many who do not attend mass regularly. It is significant that the very first Introit of Lent sings 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)

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PDF • Misereris omnium | Introit | Ash Wednesday

N THIS RECORDING of Misereris omnium, the antiphon is followed by organ variations. The transformation and variety of colors in the organ indicate that through the Lenten season, we do not end up in the same place that we started. Beginning with the thick and rich clarinet stop in the tenor, the piece explores many colors, ending with very light 4’ flutes, in anticipation of Christ’s resurrection.

DESPITE BEING AN ORGANIST with a wonderful instrument at my disposal, I tend to not play instrumental preludes or postludes during Lent with the exception of Laetare Sunday. As such, I find the sung preludes to be effective and even popular as a way of preparing the congregation for prayer, which is the intention of a prelude after all. (That being said, I cannot help but to compose organ variations on this wonderful chant.)

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

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).

New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.

—Jeff Ostrowski

Cheap! Cheap! Cheap!

It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…

—Jeff Ostrowski

PDF Download • Dom Murray Harmonies

Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”

—Jeff Ostrowski

Karl Keating • “Canonization Questions”

We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.

—Corpus Christi Watershed

Vatican II Changed Wedding Propers?

It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.

—Corpus Christi Watershed

Solemn “Salve Regina” (Chant)

How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).

—Corpus Christi Watershed