Views from the Choir Loft

Communion Antiphons for Lent • RCIA and Scripture

Richard J. Clark · January 8, 2016

AM PLEASED to announce the release of my Communion Antiphons for Lent with World Library Publications. These thirteen antiphons are set from the English translation of the Roman Missal, Third Edition. All the verses set are those prescribed by Graduale Romanum.

This collection is also very useful as Candidates and Catechumens prepare for full initiation at the Easter Vigil. The Cycle A antiphons of the Third, Fourth, and Fifth Sundays of Lent tie in closely to each of the Scrutinies, reflecting the related Gospel reading.

This is generally the case with all communion antiphons, as they all point back to the Gospel or another important scripture of the day. Likewise, the verses, usually from the Book of Psalms, reinforce the day’s scriptures. For example, in the case of the antiphon for Palm Sunday, Father, if this chalice cannot pass… the verses are from Psalm 22, which is also the Responsorial of the day. But the seven verses of the communion proper dig even more deeply into the psalmist’s foretelling of the Lord’s Passion. Furthermore, it concludes with Psalm 22’s promise for all generations to remember and serve the Lord. Such scriptures make for a profound meditation while receiving our Lord in the Eucharist.

With regard to RCIA, a responsibility shared by all of the faithful, it is important that we pray and sing these scriptures in support of those seeking God’s call. This remains true not only during Lent, but during the period of mystagogy and beyond. It is the work of a lifetime.

Scores are available in hard copies or digital format:

Order • View sample pages:
Octavo • “Communion Antiphons for Lent” (for SATB Choir; Cantor; Assembly)

“Click & Print” • PDF Download:
PDF • “Communion Antiphons for Lent” (for SATB Choir; Cantor; Assembly)

• All are chant based.
• Can be sung with cantor or unison schola
• Ample opportunity for optional SATB

HERE YOU CAN LISTEN to recordings of seven of the thirteen communion propers directed by Paul French. French and his singers beautifully captured the joy, movement, and energy of these chant based works.

About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross. He is also Chapel Organist (Saint Mary’s Chapel) at Boston College. His compositions have been performed worldwide.

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski

“Sharing Is Caring”

I would like to share a message from a highly respected scholar. (His articles appear in distinguished journals such as Études grégoriennes and Oxford’s Early Music.) He wrote as follows:

The Brébeuf Hymnal is very tastefully done. Your team has exquisite literary and musical taste. I see from my copy of the hymnal that you also set Ex more docti to “Rockingham” (one of my favorite melodies for “When I survey the wondrous cross”). I especially appreciate the background information at the bottom of the page. When I played at the Lutheran church, I would always have a little note about the music, sometimes about a hymn, if the “Hymnal Companion” offered something of interest. The church we attend has battered Worship II hymnals (one per pew), but almost nobody seems to want to sing. I congratulate you on the staggering amount of work it took to produce the Brébeuf hymnal: excellent contents and production.

—Jeff Ostrowski