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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Radio Interview • Óscar Romero & New Beginnings

Richard J. Clark · September 21, 2018

N OCTOBER 14th, Óscar Romero will be canonized along with five others. 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.

In anticipation of Romero’s caconization, I was invited to speak with Dr. Jennifer Pascual, Director of Music for Saint Patrick’s Cathedral in New York City on “Sounds from the Spires” on SIRIUS XM 129 Radio, The Catholic Channel.

• PODCAST • Listen here to the program broadcast on 9.16.2018:

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 “I Am the Land: A Poem in Memory of Óscar Romero” a live performance by the Seraphim Singers in 2016:

Also featured on the program is my collection of chant-based organ works, Gregorian Impressions and Fearfully & Wonderfully Made for trumpet and organ.

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).

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 Óscar 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.”

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

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski

Quick Thoughts

    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
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Both of these appointments—of Cardinal Lercaro and Father Bugnini—to key positions on the Consilium made it possible for voices to be heard that could not be heard during the proceedings of the Council, and likewise silenced others.”

— Alfons Cardinal Stickler, Vatican II ‘peritus’

Recent Posts

  • “How to Conduct 90 Vespers Services Each Year and Live to Tell the Tale.”
  • 15th Sunday in Ordinary Time (Year C)
  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

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