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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

New Resource from the Archdiocese of Boston for First Communion and Confirmation

Richard J. Clark · August 19, 2016


“Every form of catechesis would do well to attend to the ‘way of beauty.’ Proclaiming Christ means showing that to believe in and to follow him is not only something right and true, but also something beautiful, capable of filling life with new splendor and profound joy, even in the midst of difficulties. Every expression of true beauty can thus be acknowledged as a path leading to an encounter with the Lord Jesus. …So a formation in the way of beauty ought to be part of our effort to pass on the faith.” — Pope Francis (Evangelii Gaudium, 167)

HE ARCHDIOCESE OF BOSTON has recently put forth a modest, yet important musical resource for the sacraments of First Communion and Confirmation: Music for First Communion and Confirmation – A Catechetical Guide for Liturgical Celebrations. Initiated by the Most Reverend Arthur L. Kennedy, Auxiliary Bishop of Boston, and the Episcopal Vicar for the New Evangelization, this resource was a collaborative effort with the RCAB Office of Divine Worship and a number of musicians from the Archdiocese of Boston.

This resource includes free downloads of a few essential hymns and chants. It is a starting point; the list is nowhere as comprehensive as A Reference for Catholic School Masses provided by The American Federation of Pueri Cantores and the National Catholic Education Association.

For some parishes, this resource will seem quite rudimentary. However, it is designed as a starting point towards catechesis and developing a more common repertoire that embraces our “unique cultural heritage.”

One of the Joys experienced by the parish community in the work of evangelization is the handing on of the faith to the next generation. Since this always takes place within a social context, the integration of faith and culture must be considered. Just as each culture is endowed with its own common forms of human expression, so too do Catholics possess a unique cultural heritage through which the faith has been handed down through the ages. A core element of this heritage is the Church’s musical tradition, which Vatican II identifies as “a treasure of inestimable value.” This treasury is preeminent among other art forms because, “as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.” (Constitution on the Sacred Liturgy, §112)

For certain, some parishes will find embracing this resource a challenge, perhaps for reasons musical and cultural. However, the language in this document is of gentle encouragement to “incorporate” some of this music within an already existing program:

We therefore offer here a small number of essential hymns chosen for their simplicity, suitability for young voices, timeless musical value, and substantial theological content. Mindful of the power of sacred music to raise hearts and minds to a deeper participation in the sacred mysteries, we encourage you to incorporate some of them into your catechetical programs and liturgical celebrations.

UT THE MOST IMPORTANT element of this document is not the list of hymns, but the vital coupling of faith formation and sacred music. (It is notable that the RCAB lists this resource on their Faith Formation page in addition to the Office of Divine Worship page.) Music and the Roman Rite have been inseparable for well over a millennium, as they developed together. Fifty years after Vatican II, this marriage of faith and sacred music, (and hence, liturgy) remains unwavering.

It offers liturgical guidance with an economy of words, beautifully recalling the Chirograph of John Paul II on Sacred Music, (§4-6), which is in itself a summary of Pope Saint Pius X’s Tra le Sollecitudini (“Instruction on Sacred Music”) which states liturgical music must be sacred, beautiful, and universal.

Additionally, it provides catechesis along with several suggested resources for the Responsorial Psalm. These span a range of styles—but all with liturgically approved texts. Finally, it provides various resources for the Roman Missal Chants, listed as the “Official Mass Setting of the Archdiocese of Boston.” There are links to various scores, accompaniments, and practice videos.

This is all but a very humble start. Please pray that this mustard seed will help deepen our faith and enrich our prayer.

“There is, then, an indissoluble link between the liturgy and the transmission of faith. We can say, in fact, that the celebration of the liturgy is the most important act of evangelization.” — (Goeffredo Bosilli, pg. 209, The Spiritual Meaning of the Liturgy)

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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

Participation at Mass must be “above all internal” (§15), and: “The faithful must be taught to unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God.”

— Musicam Sacram (5 March 1967)

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