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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

Four Eucharistic Motets for the Year of the Eucharist

Richard J. Clark · July 9, 2021

IN 2019 CARDINAL Seán Patrick O’Malley, O.F.M. Cap. announced 2020 would begin the “Year of the Eucharist” in the Archdiocese of Boston (extended to June of 2022). This was in response to a Pew survey that revealed only a minority of Catholics believe in the Real Presence in the Eucharist. Indeed, “The Eucharist is ‘the source and summit of the Christian life.'” (Catechism of the Catholic Church, No. 1324)

The Catechism also states:

The Council of Trent summarizes the Catholic faith by declaring: “Because Christ our Redeemer said that it was truly his body that he was offering under the species of bread, it has always been the conviction of the Church of God, and this holy Council now declares again, that by the consecration of the bread and wine there takes place a change of the whole substance of the bread into the substance of the body of Christ our Lord and of the whole substance of the wine into the substance of his blood. This change the holy Catholic Church has fittingly and properly called transubstantiation.” (Catechism of the Catholic Church, No.1376)

Little did we know what was in store for the entire world in 2020. Forced abstinence from the Eucharist heightened for many the appreciation of the sacraments that one can take for granted. During countless daily virtual Masses, I felt I was one of the lucky ones to be in the presence of the Eucharist while many could not.

Further inspired by the artistry of the Cathedral’s quartet, I composed a set of four Eucharistic motets. Composed early in 2021, these have all been sung at various liturgies at the Cathedral of the Holy Cross. These were also recorded in the South Bell Tower of the Cathedral. Working with pandemic restrictions, these motets are limited to four SATB voices. You may listen here:

Four Eucharistic Motets • Clark

** Scores are available here. 

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Ave Verum Corpus • Richard J. Clark • Boston Cathedral Singers
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Adoro te devote • Clark • Boston Cathedral Singers
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Pange Lingua • Richard J. Clark • Boston Cathedral Singers
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O sacrum convivium • Clark • Boston Cathedral Singers
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• Ave verum corpus • Clark

• Adoro te devote • Clark

• Pange lingua • Clark

• O sacrum convivium • Clark

Tremendous gratitude is owed to Barbara Hill, soprano, Jaime Korkos, mezzo-soprano Michael González, tenor, and Taras Leschishin, bass for creating beauty and upholding dignity and reverence in the Sacred Liturgy during this time.

Photo: Michael Kieloch, Blessed Sacrament Chapel at the Cathedral of the Holy Cross, Boston 

Soli Deo gloria

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

Filed Under: Articles Last Updated: September 1, 2022

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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

Far from dreading an encounter with the Iroquois, Fr. Garnier often told us he would be quite content to fall into their hands and remain their prisoner if—while they were torturing him—he at least had a chance of instructing them as long as his torments lasted. If they allowed him to live, it would afford him a golden opportunity to work for their conversion, which was now impossible, since the gateway to their country was closed as long as they were our enemies.

— Father Ragueneau (Jesuit Relations)

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