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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

Frank La Rocca • Contemporary Music for the Sacred Treasury

Richard J. Clark · August 28, 2015

SACRED BANQUET! The Eucharist gives us food for a difficult journey. Appropriately, the Mass is our greatest prayer. It is in a way, a rehearsal for our life in heaven. The chant Ave Verum describes Jesus’ body as “a foretaste (of heaven) in the trial of death.” The Mass is nothing less than this. But we are human and we fall short. Faith and reliance upon God must bridge our failings.

As such, music for the Sacred Liturgy must trend toward the transcendent—holy, beautiful, and universal. What it is not called to do is to please anyone other than God. This is a very tall order. Once again, our frail humanity is a frequent obstacle to such ideals. Again, we must rely upon God and the gift of the sacrament of Himself–the Eucharist.

But there are many gems that area beautiful, sacred, and universal. It is our sacred treasury of music, given highest value by Vatican II: “The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art…”(Constitution on the Sacred Liturgy, §112.) Occasionally, there are gems added to this sacred treasury.

F YOU ARE NOT FAMILIAR with the works of composer Frank La Rocca, you should be. His transcendent setting of O Sacrum Convivum is rooted in traditional polyphony, yet is thoroughly modern at every turn. The harmony is modal yet often very accessible to the contemporary modern ear. At other times, the harmonic language is defiant of traditional harmony in the vein of progressive works of the Twentieth and Twenty-first Centuries.

Through it all La Rocca achieves symmetry and wholeness and therefore holiness. It depicts the eternal Eucharist, while simultaneously addressing and calming the anxieties, evils, and depression of modern life. He paints the text beautifully, ultimately filling a besieged world with the hope promised by the Sacred Banquet.

A work such as this moves contemporary sacred music towards the realization of Vatican II. It represents an ideal not because of style or preference but because of transcendence and significance. Anchored in tradition, it speaks with the authority of the ages yet with the innovation of modernity. Imbued with the Spirit, it is timeless.

O Sacrum Convivium
text: St. Thomas Aquinas (1225-1274)

O sacred banquet!
in which Christ is received,
the memory of his Passion is renewed,
the mind is filled with grace,
and a pledge of future glory to us is given.

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

    Spectacular Communion Setting!
    The FAUXBOURDON setting of the Communion for the Baptism of the Lord (which will occur this coming Sunday) strikes me as quite spectacular. The verses—composed by the fifth century Christian poet, Coelius Sedulius—come from a long alphabetical acrostic and are deservedly famous. The feast of the LORD’S BAPTISM was traditionally the octave day of Epiphany, but in the 1962 kalendar it was made ‘more explicit’ or emphasized. The 1970 MISSALE ROMANUM elevated this feast even further.
    —Jeff Ostrowski
    PDF • “Music List” (Sunday, 11 January)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Baptism of the Lord (SUNDAY, 11 January 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon—to say nothing of the antiphon itself—are breathtaking. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the monumental feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of January (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski
    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski

Random Quote

Dom Vitry never claimed chant could not be used successfully with English words. No one need take my word for it. He was a pioneer on the matter of vernacular adaptation, and I need only refer you to the many publications of his own “Fides Jubilans” press. What he said was that adaptation involved some mutilation, and that we were faced with one or the other.

— Monsignor Francis P. Schmitt (1963)

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