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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

Why Should We Sing the Psalms at Mass?

Richard J. Clark · May 8, 2015

HE PSALMS ARE AN endlessly rich source of spiritual nourishment. Whether it is the liturgy of the hours or the mass, the Psalms—some of the most ancient of scripture—are a central focus of our prayer. But for many who attend mass regularly, this is a head scratcher. Often “The Psalm” only refers to the Responsorial Psalm. And that’s it. No more psalms sung in the mass.

Furthermore, only a few short verses appear in the Responsorial Psalm. This is intentional, of course, as it is a direct reflection or “response” to the previous reading. However, if we do not sing the antiphons proper to the day—and the corresponding psalm verses—this may be all we get.

AM VERY FORTUNATE to have a number of choir members with training in theology, some with advanced degrees. We have lively discussions, and I am often the beneficiary of their insights.

Recently, I received some reflections from one such choir member, comparing the version of Psalm 22 we sing as the Responsorial on Palm Sunday, and the verses of Psalm 22 we sing on the Fifth Sunday of Easter in Cycle B. (Keep in mind, that if one sings the Communion Antiphon on Psalm Sunday, a great deal more of Psalm 22 is sung!)

Each year on Palm Sunday we rehear the striking words “My God, My God, why have you abandoned me?” I would propose for reflection that the many iterations of reflections on this one verse have trapped us into thinking a quite narrow and certain way. A case in point: if we say the word “prodigal,” we immediately add the word “son.” However, the father is much more lavish and generous in a substantial way than the younger son’s wild spending.

The real point in the use of the psalm comes from an understanding of how those who heard it said would have understood. Jesus was preaching from the cross. He was using the words his Father spoke through him [THE WORD] to proclaim his mission to the last breath. The psalms are among the earliest scripture. By and large they were handed over orally. If a person heard the first words of a PSALM it would trigger the recollection of the whole psalm. So, the verses of Ps 22 on Palm Sunday lead us to the verses used here [Easter 5B] as well and those of today looking back to Palm Sunday—certainly much more than a lament and how “abandoned” Jesus felt. We are not abandoned, we are saved.

The final words of Psalm 22 are not well known: Psalm 22:32. “The generation to come will be told of the Lord, that they may proclaim to a people yet unborn the deliverance you have brought.” Jesus’ message from the cross was ultimately that of redemption.

This is what the psalms teach us. Jesus taught through the psalms. Sing the Mass. Sing the Psalms!

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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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

“Edwin Fischer was, on the concert platform, a short, leonine, resilient figure, whose every fibre seemed to vibrate with elemental musical power.”

— Daniel Barenboim (1960)

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