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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

    Music List • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

If it is the explicit will of the Council that the faithful are to be able to sing the “Gloria” or the “Credo” together in Latin [which it is] then indirectly there is being expressed here the obligation of regularly celebrating Mass with Latin Gregorian chant. And not merely occasionally, but with such frequency and constancy as to make the singing of these Latin texts a genuine possession of the faithful.

— Heinrich Flatten, Apostolic Protonotary & Canon Law Professor (Bonn)

Recent Posts

  • Music List • (Palm Sunday, 2026)
  • Easter • Would You Sing This Hymn?
  • “Priest Saying Mass” • Medieval Illumination
  • From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass
  • Pipe Organ “Answers” in Plainsong?

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