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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

Gregorian Impressions • Plainchant Settings for Organ

Richard J. Clark · June 29, 2018

BRAND NEW release from The Sacred Music Press/The Lorenz Corporation, Gregorian Impressions is a collection of organ works based on familiar and beloved plainchants.

Shifting in character, they are designed to accommodate a variety of liturgical or concert circumstances. At the very least, this music can be performed on a two manual instrument with limited ranks. However, colorful registration, especially in animating chant melodies is encouraged on instruments with larger resources.

With intense dynamic and expressive intent, this collection cries out for the pipe organ to breathe and to sing.

• View Sample pages and Forward with notes on registration here.

• Order Score: Gregorian Impressions • Plainchant Settings for Organ

      YouTube:  I. Pange lingua
      YouTube:  II. Adoro te devote
      YouTube:  III. Jesu dulcis memoria
      YouTube:  IV. Ubi caritas
      YouTube:  V. O filii et filiae
      YouTube:  VI. Veni, creator Spiritus
      YouTube:  VII. Ave Maria

• Tracks 1, & 3-7 were recorded on the 1999 Smith & Gilbert Organ (IV/54), Saint Cecilia Church, Boston, MA.
• Track 2 was recorded on the D. A. Flentrop (I/8) at Saint Mary’s Chapel, Boston College, Chestnut Hill, MA.


PLAYLIST:


OWE A GREAT debt to Timothy E. Smith and Theodore Gilbert, builders of a unique instrument. Featured at several concerts during the 2014 National Convention of the American Guild of Organists and celebrated by the Boston Music Intelligencer as “Cavaillé-Coll-esque,” it is situated in one of the most glorious (and useful) acoustics in New England.

To the casual listener it is somewhat notorious for its power. But noted by every distinguished organist is the warmth and richness of its foundations and strings (voiced by Theodore Gilbert). More recent additions to the instrument by Timothy E. Smith have only added to the array of richness and color, seamlessly complimenting ranks with Gilbert’s voicing.

Such richness and warmth is certainly on display in these recordings, e.g., the introduction and coda of Veni, creator Spiritus or the building up of foundation stops and reeds on Jesu dulcis memoria.

None of this begins to speak of the highly pragmatic liturgical design of the instrument: foundation stops that speak clearly into the nave to support congregational singing, dynamic flexibility to accompany soloists, choral works, and chant, and an antiphonal division that unites a 19th Century architecture with the 21st Century liturgy. All of these necessary elements are the design and vision of Timothy E. Smith.

Finally, what is quite special to me, is not always the full array of the organ, but the quiet moments of reflection while composing and improvising. A few soft 8’ stops speak into an empty and darkened sanctuary, expressing most exactly what I ask. I thank God for an abundance of these moments for nearly twenty years. Such moments of musical and prayerful sanctuary have saved my life.

Soli Deo gloria

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

Filed Under: Articles Tagged With: Gregorian Chant, Pipe Organ 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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“There is no music worth hearing save that written in the last 40 years.”

— Johannes Tinctoris (1477)

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  • “Reminder” — Month of October (2025)

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