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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 Music in Honor of Óscar Romero • E. Ethelbert Miller & Richard J. Clark

Richard J. Clark · March 24, 2017

ARCH 24TH marks the anniversary of the assassination of Blessed Óscar Romero, Archbishop of El Salvador. On March 23, 1980, the day before his assassination, Romero addressed the soldiers in his homily:

”En nombre de Dios, pues, y en nombre de este sufrido pueblo, cuyos lamentos suben hasta el cielo cada día más tumultuosos, les suplico, les ruego, les ordeno en nombre de Dios: ¡Cese la represión!”

“In the name of God, in the name of this suffering people whose cries rise to heaven more loudly each day, I implore you, I beg you, I order you in the name of God: stop the repression!”

Listen to a recording of this part of his homily here.

Romero spoke vehemently against the human rights abuses of the Salvadoran government. He gave voice to those who had no voice: the oppressed, the poor, the victims of abject cruelty. For this, he paid with his life.

His cause for canonization was opened in 1997 by Pope St. John Paul II. At a standstill for some years, it was furthered in 2012 by Pope Benedict XVI. On February 3, 2015, Pope Francis decreed that Romero was martyred in odium fidei (“in hatred of the faith”). Romero was then beatified in El Salvador on May 23, 2015.

N 2016 JENNIFER LESTER, Music Director of the The Seraphim Singers, was intent on commissioning from me a work to honor Óscar Romero. The result was music set to I Am the Land: A Poem in Memory of Óscar Romero by E. Ethelbert Miller (b. 1950).

The text of the poem is here and below.
A Spanish translation by Nancy Morejón can be found here.

Here is a recording of a live performance by the Seraphim Singers in 2016:

E. Ethelbert Miller writes:

I Am The Land: A Poem In Memory of Oscar Romero was first published in my collection First Light: New and Selected Poems (Black Classic Press, 1994). It’s one of the few poems I wrote specifically for a public reading.

The “tone” of the poem echoes the work of Walt Whitman, Langston Hughes and Ernesto Cardenal.

One of the major issues in our world today continues to be poverty. “The people of El Salvador are the people of the world.” This line should connect with everyone. I hope my poem also speaks to the role of the church in our society. The doors of this institution must always remain open, for pilgrims and strangers. Our faith must be made visible. I believe it begins with an open heart. Finally, the poem connects life to land. I wanted to link Oscar Romero to the grass, trees and wind. Even after Romero’s death, one should be able to open a window and inhale his beliefs and memory.

He who is resurrected is revolutionary.
He who is resurrected believes in peace.
This is the meaning of light.
This is the meaning of love.

– E. Ethelbert Miller, March 14, 2017

From my own program notes: “…Romero’s message is a powerful voice crying out for the voiceless, the oppressed, and the slaughtered. Phrases in a modern harmonized Gregorian Chant style are in complete service of Miller’s text, and therefore Romero’s lifelong example of humble service towards justice and peace.”

NE OF THE GREAT JOYS of the creative process is to work with and meet great artists who also happen to be beautiful people. Out of Jennifer Lester’s vision came the opportunity to live intimately inside of E. Ethelbert Miller’s words. His poetry evokes images far beyond the vivid emotions on the page. His words elicit further questions, leaving in their wake a burning desire to experience more that has already come alive on the page.

A man of kindness and vision, Miller’s work lives well beyond his words, flowing into action, exuding a joy of living.

I Am the Land: A Poem in Memory of Óscar Romero

I am the land.
I am the grass growing.
I am the trees.
I am the wind, the voice calling.
I am the poor.
I am the hungry.

The doors of the church are open
as wide as the heart of a man.
In times of trouble
here is a rock, here is a hand.

God knows the meaning of our prayers.
I have asked our government to listen.
God is not dead
and I will never die.

I am the land.
I am the grass growing.
I am the trees.
I am the wind, the voice calling.
I am the poor.
I am the hungry.

He who is resurrected is revolutionary.
He who is resurrected believes in peace.
This is the meaning of light.
This is the meaning of love.

The souls of my people are the pages of history.
The people of El Salvador are the people of the world.

I am Oscar Romero, a humble servant.
I am the land.
I am all the people who have no land.
I am the grass growing.
I am all the children who have been murdered.
I am the trees.
I am the priests, the nuns, the believers.
I am the wind, the voice calling.
I am the poets who will sing forever.
I am the poor.
I am the dreamer whose dreams overflow with hope.
I am the hungry.
I am the people.
I am Oscar Romero.

– E. Ethelbert Miller

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

    PDF Download • “Sprinkling Rite”
    Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.
    —Jeff Ostrowski
    ‘Sarum’ Good Friday?
    Plainsong of the Roman Rite has many variants—i.e. slight ‘variations’ or ‘alterations’ made to the ancient melodies. Variants often thrive in particular religious orders. Likewise, before Henry VIII broke away from the Catholic Church, Gregorian Chant variants were frequently associated with individual cathedrals in England: Hereford, Lincoln, Salisbury, and so forth. In the early 20th century, the (Anglican) organist at Westminster Abbey married “Let All Mortal Flesh Keep Silence” to this beautiful variant melody from England. Those who sing Gregorian Chant on Good Friday will recognize the melody. What do you think of this pairing?
    —Jeff Ostrowski
    PDF Download • “Eb Organ Postlude”
    Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“We know that originally the offertories of the repertoire included a series of verses, just like the introit and the communion, but generally more ornate. Many of these are musical compositions of great beauty. They quickly fell into disuse, and we find them only in the most ancient manuscripts. The only remaining trace of this older arrangement in our present-day liturgy is that of the offertory of the Requiem Mass.”

— Dom Joseph Gajard (1956)

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