• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Vocation Directors Immersed in Chant—Immersed in Prayer

Richard J. Clark · October 7, 2016

HIS ISN’T ABOUT chant. This isn’t about a style of music. This is about scripture. This is about prayer. This is about vocations.

The National Conference of Diocesan Vocations Directors (NCDVD) recently held its fifty-third annual convention in Boston. A gathering of approximately three hundred priests, nuns, and laity, its daily schedule was appropriately anchored in prayer: Lauds, Vespers, and Mass. This is no small matter. All service to God is best supported and sustained by prayer—hence the great importance of preparing beautiful liturgies.

Notable in all the liturgies was the predominance of Gregorian Chant in Latin as well as new settings in English of the Entrance and Communion Chants. For a national event, one would surmise that few experience liturgies like these on a regular basis. However, from the incredibly robust singing, who would not know it? Whether in English or Latin, modern or Gregorian notation, it mattered not. Credo III in Latin and Gregorian notation? Not a problem. Nor was anything else.

Again, this is not about chant or a style of music. Roman Catholic sacred music is rooted entirely in scripture. This is most obvious in the Liturgy of the Hours. Using Fr. Samuel Weber’s settings, any novice to chant could pray the scriptures. While some hymns were sung at Mass, they were secondary to singing the Mass.

It was decided to use contemporary settings of the Entrance and Communion chants in English as a bridge and an element of catechesis. Sung were settings by Christoph Tietze and Adam Bartlett, plus some settings of my own for the optional memorials.

Here is a sample from one liturgy: (Forgive the recording with an iPhone near the organ.) Note the singing grows dramatically with each repetition of the antiphon:

      * *  Mp3 Download • Adam Bartlett’s Entrance Antiphon • 27th Sunday (Lumen Christi Missal)

Instead of an organ prelude, we sang the corresponding Introit from the Graduale Romanum as a matter of connecting the contemporary settings with our ancient roots.

ITURGIES IN HOTELS are always a challenge. But the primacy of chant created a prayerful and reverent environment in a challenging space. Whether this was everyone’s favorite music or not was not the point. I’m sure for many it was not. Most conferences attempt to please the diversity of people present—a difficult to impossible task. But here, the simplicity of the music leant to its prayerfulness.

But this week in Boston, praying for the success of vocation directors was paramount. Everyone recognizes the urgency we face across the country with regard to vocations.

Once again, none of this is about chant. Preached from the sanctuary multiple times was this reminder: success for vocation directors is not simply about numbers. It is about quality. For only Jesus can call men and women to religious life. Success is in how well we respond to God’s call, and how well we assist those in their formation.

OU MAY BE SURPRISED to see that actor and Boston native, Mark Wahlberg created a video to welcome those in attendance at the conference. His reflections on the sacraments and the importance of good priests in his life are beyond beautiful. You can read about it and watch the video here in The Pilot.

Such events take an enormous amount of teamwork and support. Fr. Jason Jalbert, Bishop’s Priest Secretary Office of Vocations/Sacred Worship in the Diocese of Manchester put in untold hours to make the liturgies beautiful and sacred. Organ builder Richard Pelland graciously donated the use of a Makin Thirlemere digital organ, which was key to the success of the liturgies, keeping three hundred voices in a very dry space together. Enormous thanks is due to cantor Marc DeMille who sings the scriptures so prayerfully. In addition, organist Ryan Lynch was of great assistance. Dr. Janet Hunt directed the seminarians of St. John’s Seminary in Boston in a special Mass with Cardinal O’Malley.

I am personally very grateful to have had the honor of praying with so many this week. it transformed me. My hope is that this past week’s conference and prayer will transform countless lives in ways we may never know.

Soli Deo gloria

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st Sunday in Ordinary Time (Year C). 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. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski

Quick Thoughts

    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
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

Agnes De Mille: “When I see my work, I take for granted what other people value in it. I see only its ineptitude, inorganic flaws, and crudities. I am not pleased or satisfied.” — Martha Graham: “No artist is pleased.” ADM: “But then there is no satisfaction?” — MG: “No satisfaction whatever at any time,” she cried out passionately. “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”

— “Martha Graham on the Life-Force of Creativity”

Recent Posts

  • Brave Schola Director Posts ‘Live’ Recording
  • “Cracker Barrel & Catholicism” • Logos and Lessons
  • “Reform of the Reform” officially embraced by USCCB
  • “The Worm That Dieth Not”
  • Father Chris Smith Celebrates 20 Years as a Priest

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.