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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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    President’s Corner

      Liturgical Round (“Canon”) in C-Major
      Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
      —Jeff Ostrowski
      Latin Liturgy Association
      We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
      —Corpus Christi Watershed
      “Music List” • 28th in Ordinary Time (Year C)
      Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
      —Jeff Ostrowski

    Quick Thoughts

      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
      “Canonic” • Ralph Vaughan Williams
      Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
      —Jeff Ostrowski

    Random Quote

    “Each of our sins was one more thorn in our Lord’s crown; one blow the more to His scourging.”

    — Cardinal Merry Del Val (shortly before his death)

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