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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

“That’s not Eucharistic” • Why We Sing the Communion Antiphons

Richard J. Clark · August 11, 2017

NE SUDAY I received (through a third party, of course) a complaint about what the choir had been singing during communion. We frequently included the proper communion antiphon. The criticism was terse: “That’s not Eucharistic.” Correct. It was not. Well, not directly or in an obvious manner.

But it was.

During the 1990s, my choir had been singing the Communion antiphons from the Graduale Romanum nearly every week, often in addition to another sacred liturgical work. I not only became addicted to singing chant, I was also deeply drawn to the texts. Always from scripture, these texts have been sung during communion for well over a millennium. I always provided translations and the scripture references in a worship aid so that all could meditate on the Word.

The edition we were reading from was Solesmes’ Gregorian Missal for Sundays. Published in 1990, this book provided the propers from the Graduale Romanum, the translations in English, and were adjusted to the Novus Ordo three-year cycle of readings. This publication absolutely transformed my life.

S CHRISTIANS, WE BELIEVE in something rather unusual and perhaps very strange. We believe in the Incarnation—that God “lowered” Himself to dwell among us. (Rather, he emptied himself, taking the form of a slave, coming in human likeness; Phil 2:7) The Word of God took human form—the Word made Flesh. We take these words for granted. Do not.

What does this have to do with the Communion Procession? A great deal. The Communion Antiphons, whether from the Gradual Romanum or The Roman Missal (there is a great deal of overlap and some variation) most always point back to the Gospel reading of the Day or Feast.

The Body and Blood of Jesus is made present not only from the bread and wine, but also in the Word. By receiving the Word, we receive Jesus. The Gospel, which is the Good News proclaimed by Jesus who is the Word made Flesh—is in itself an encounter with Jesus.

• Saint Cecilia and Why the Word is Preeminent

To sing or meditate on the Gospel and the Word of God while receiving the Body and Blood of Jesus is precisely what the Church intends today, tomorrow, and has intended for over a thousand years. If Jesus is the Way, the Truth, and the Life, so too do we embrace the Gospel—the Word while in His presence.

T IS WORTH REMEMBERING that during the early Church, Gregorian Chant and the Roman Rite grew up side by side. Chant is simply elevated text (if highly evolved over a millennium). Just as the Hebrew People sang the Torah for thousands of years (and not simply their favorite songs), so too is the Mass ideally sung.

As a Church, we have become accustomed to singing our favorite songs that comfort us. We have become accustomed to singing exclusively about bread and wine during the Communion Procession—a very good thing! But I would propose that we occasionally dig deeper into the Word of God as sung and prayed by our ancestors in faith. Receive the Word made Flesh. Receive Jesus.

UCH OF THIS was inspired by conversation with Alan Hommerding, Senior Liturgy Publications Editor at World Library Publications. During his visit to Boston for WLP’s “Sing the Seasons” we had time to trade stories, chat about music, life, liturgy, theology, etc. During the choral reading of beautiful and varied new works from WLP, he kindly highlighted the liturgical and theological connection between scripture and Eucharist, and the Church’s need to revisit these Antiphons.

To this end, World Library Publications has published, to date, the following collection of Communion Antiphons with texts from the English translation of The Roman Missal, Third Edition:

  • Communion Antiphons for Advent • SATB, Organ, Assembly
  • Communion Antiphons for the Christmas Season • SATB, Organ, Trumpet, Assembly
  • Communion Antiphons for Lent • SATB, Organ, Assembly
  • Communion Antiphons for Easter • SATB, Organ, Assembly
  • In addition, I have composed antiphons for all of Ordinary Time including Feasts and Solemnities that replace a Sunday. WLP is currently looking at these.

    HAVE COMPOSED THESE AS A BRIDGE in two directions. First, I hope these settings in English can be an introduction to many who have not encountered the propers at Mass. While maintaining the traditional form, these sometimes modal, chant-based works are set with contemporary sensibilities in mind. Furthermore, I hope these settings can be a bridge to inspire more composition in various liturgical styles.

    Secondly, my most sincere hope is that some may put my settings down and consider singing the antiphons from the Graduale Romanum and in doing so, rediscover the transcendent beauty of our traditions. (See Richard Rice’s book Communio.) This music is truly the music of the Roman Catholic Church. It has lived on for centuries upon centuries, gave birth to nearly all of Western Music (although its roots are shared with the East!), and reflects the wisdom of the ages.

    As musicians of the Church, may we all live to serve.

    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

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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

      New Bulletin Article • “21 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
      —Jeff Ostrowski
      Cheap! Cheap! Cheap!
      It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
      —Jeff Ostrowski
      PDF Download • Dom Murray Harmonies
      Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
      —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

    On 12 March 1908, Feast of St. Gregory the Great, the complete publication of the “Graduale” was issued by the Vatican Press. That very day, Dom Pothier solemnly presented the first copy to the Holy Father. Pius X wished to be the first to see the new book; he opened it at random, at page 128 of the supplement “pro aliquibus locis”—the Introit of the new Feast of Our lady of Lourdes. The Pope sang it with perfect taste to the last note.

    — A witness of the papal audience writing circa 1915

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