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Views from the Choir Loft

OFFERTORY: Chant Propers in Three Parts for Sundays & Feasts

Fr. David Friel · June 14, 2015

629 Naples MONG THE MOST neglected of the propers is the offertorium. The Gregorian propers assigned to this moment of the liturgy are exceedingly rarely heard, yet so many of them are exquisitely beautiful.

There are numerous reasons why they are so often ignored, including their relative complexity. Many choirs & scholae do not have the time to practice these chants week to week, or they simply choose to focus their efforts elsewhere. The offertory chants have also been somewhat overlooked in the revolution of new vernacular resources we have seen in the world of sacred music over the last decade.

The need for more quality resources for the offertory has now been supplied.

Today, I would like to introduce to our readership a unique resource: Offertory, a new publication by Dr. Jon Naples. Offertory is a volume of choral chant propers in three parts for Sundays and feasts (complete). The project utilizes the Revised Grail Psalm texts for the verses and takes the antiphon texts from the Graduale.

Here are two audio samples (sung by Matthew Curtis) to give you a sense of the compositional style:

    * *  Audio Sample • EASTER SUNDAY OFFERTORY

    * *  Audio Sample • PALM SUNDAY OFFERTORY

There are several strengths worth highlighting about this collection. First, it is well organized and cleanly engraved, making it very user-friendly. Additionally, the composition is limited to only three voices, making each antiphon & verse accessible to a wide range of choirs. These voices are easily invertible, such that the various parts may be sung variously by men or women.

Moreover, this volume shows great respect for the unmetricality of English vocabulary and syntax. The employment of Psalm tones by Fr. Samuel Weber & Adam Bartlett make this a useful book for easily singing propers in English. For most Sundays and feasts, the composer has provided two disparate settings of the antiphon. In both, the melody remains the same, but the harmonization has been changed, lending greater musical interest when these options are used in alternatim.

Finally, these settings were developed by a parish musician in the context of his own parish choir, so they are practical in addition to being beautiful. I would recommend this work for parish & seminary use. It draws its inspiration from the chant tradition, and it offers beautiful settings of proper English texts.

Offertory was released earlier this year and is now available for purchase HERE. A few sample pages are available HERE.

R. JON NAPLES holds his D.M.A. in Music Composition from the University of Southern California (1995), where he studied under Morten Lauridsen. He has a background in several instruments and voice. His compositions have placed in major competitions, and he has work published through CanticaNOVA Publications. He is now in his 11th year as Director of Sacred Music at St. Margaret Parish in Oceanside, CA. Dr. Naples was also involved in the Adventus Dona conference that I covered HERE back in November.

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

Filed Under: Articles Tagged With: Polyphony For Three Voices, Proper of the Mass in English, Simple English Mass Propers, Simple Steps To Improve Parish Music, Singing the Mass Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel served as Parochial Vicar at Saint Anselm Church in Northeast Philly before earning a doctorate in liturgical theology at The Catholic University of America. He presently serves as Vocation Director for the Archdiocese of Philadelphia.—(Read full biography).

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Quick Thoughts

19 May 2022 • “Trochee Trouble”

I’m still trying to decide how to visually present the “pure” Editio Vaticana scores, using what is (technically) the official rhythm of the Church. You can download my latest attempt, for this coming Sunday. Notice the “trochee trouble” as well as the old issue of neumes before the quilisma.

—Jeff Ostrowski
16 May 2022 • Harmonized Chant?

This year’s upcoming Sacred Music Symposium will demonstrate several ways to sing the CREDO at Mass. This is because—for many parishes—to sing a full-length polyphonic CREDO by Victoria or Palestrina is out of the question. Therefore, we show options that are halfway between plainsong and polyphony. You can hear my choir rehearsing a section that sounds like harmonized plainsong.

—Jeff Ostrowski
14 May 2022 • “Pure” Vatican Edition

As readers know, my choir has been singing from the “pure” Editio Vaticana. That is to say, the official rhythm which—technically—is the only rhythm allowed by the Church. I haven’t figured out how I want the scores to look, so in the meantime we’ve been using temporary scores that look like this. Stay tuned!

—Jeff Ostrowski

Random Quote

[Speaking about the Silent Canon, with audible “per ómnia”] — “So in all such cases it is usual for the otherwise silent celebrant occasionally to sing a clause aloud, to show how far he has arrived.”

— Father Fortescue (pages 313-314) • “A Study of the Roman Liturgy”

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