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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

A Model of Sacred Music at Priest’s First Mass

Richard J. Clark · May 27, 2016

HAT MUSIC DOES a newly ordained priest, who currently plays the drums in a jazz band, choose for his first Mass? This priest also has a degree from the Hartt School of Music in Music Production and Technology.

Why, he opts to sing nearly the entire Mass! He utilizes English settings of the propers. Sung parts included the readings and Credo! He chants a final blessing in Latin. The Mass was worthy of a CMAA Colloquium.

How did such a thing happen? One would have to ask Rev. Patrick Fiorillo of the Archdiocese of Boston about his musical interests and his calling to the priesthood. He speaks a little bit about it here in The Boston Pilot. I mostly suspect it comes from his understanding that sacred music is wedded to the Word. He understands that the role of sacred music is to help us pray the words of the Mass.

To the heart of Fr. Fiorillo’s understanding, please read his words below that were printed in the program of his first Mass. It is very much worth your time, and should give many of us hope, coming from someone with such a well-rounded musical and personal background.

His words are beautifully articulated for ordinary parishioners to understand, something of which he is most mindful. (This goes to his choice of English as a way of introducing the propers to parishioners.) Most impressive was the wonderful level of congregational singing, (despite a lack of mainstream songs or hymns), and the warm feedback from parishioners who clearly never experienced a Mass like this: one that was beautiful, prayerful, with a sense of transcendence.


FROM THE PROGRAM FOR FR. PATRICK FIORILLO’S FIRST MASS:

HE MUSIC AT TODAY’S MASS will undoubtedly be a new experience for many in attendance. One may notice right away the lack of hymns in the program. Instead of employing this common practice, we will be using what are referred to as the “chant propers” of the Mass: the introit, offertory, and communion. They are one or two sentences, often scriptural, that provide a spiritual meditation on the particular liturgical day. Every Sunday, Solemnity, and Feast Day has a specific set of propers assigned to them. The collection of these Latin chants for the entire liturgical year form the Roman Church’s most ancient repertoire of Gregorian chant; many date back to the 6th century and earlier, and have been used ever since! Thus, the proper chants of the Mass are not mere musical additions to the liturgy, but form an integral part of the whole liturgical action. While we will not employ the original Latin chants in today’s Mass, we will use the same texts set to adapted melodies in English.

One may also be struck by the amount of singing at today’s Mass. Why all this singing? The reason has not to do with a preference of style or musical taste, but with the nature of chant itself. In its broadest definition, chant is fundamentally an elevated form of proclamation. The melody serves not to draw attention to itself, but to reflect and emphasize the meaning of the text in a way that is more profound than a spoken proclamation. As soon as one hears a text chanted, even to the most basic melody, one instinctively recognizes that something beyond the sphere of everyday human activities is taking place. Indeed, at Mass we become participants in the heavenly liturgy. This is why the Church has always promoted the use of beauty in sacred art, architecture, and music as a means of aiding such participation.

While many know of my love for music through my drumming and production work, my deepest musical passion has more recently become Sacred Music. It is for this reason that I feel inspired to display the best of the Church’s musical tradition in a contemporary context at this Mass of thanksgiving. I am blessed with many talented musician friends who are able to sing in the choir today, and it is my sincere hope that their voices will help us to raise our hearts and minds to God in the greatest act of worship that we can render him: the Holy Sacrifice of the Mass. —Fr. Patrick

WAS HONORED TO HAVE been commissioned a new setting of the Introit for this occasion, which took place on the Solemnity of the Holy Trinity at Our Lady Comforter of the Afflicted Parish in Waltham, Massachusetts.

FREE DOWNLOAD:
PDF • Blessed Be the Holy Trinity • Introit
for Schola, SATB, Organ, Congregation

LISTEN HERE:
MP3 • Blessed Be the Holy Trinity • Introit

Bridgette Wargovich directed the extraordinary choir. Fr. Michael Ruminski from the Diocese of Hartford served as organist. Corey Bassett-Tirrell, a seminarian at Pope Saint John XXXIII Seminary was the cantor.

Offerings from several contemporary composers of sacred music were featured. The offertory and communion chants were by Fr. Samuel Weber. The Mass in Honor of the Immaculate Conception by Dr. Peter Latona, a Responsorial by Jeff Ostrowski, and an exquisite, yet simple arrangement of Jesu Dulcis Maria by Paul Jernberg were also sung. This was in addition to Byrd’s Ave Verum Corpus and the Mode I Salve Ragina. Also noteworthy, was a superbly sung Gospel proclaimed by Fr. Ryan Sliwa of the Diocese of Springfield.

Photography by Darcie Nielsen
Recordings by Evan Landry

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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President’s Corner

    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski

Quick Thoughts

    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

Random Quote

“Every experienced choirmaster’s work is founded on the following three axioms: (1) Few boys have a really good natural voice; (2) No boy is able to control his voice and produce good tone without training; (3) Most boys have a good ear, and considerable imitative capacity. It is on the last of these axioms that the choirmaster must begin his work.”

— Sir Richard Runciman Terry (1912)

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