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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

New Release! • “Four Eucharistic Motets” (34 Pages)

Corpus Christi Watershed · September 2, 2022

N 2019, HIS EMINENCE Cardinal Seán Patrick O’Malley, O.F.M. Cap. announced 2020 would begin the Year of the Eucharist in the Archdiocese of Boston. “The Eucharist is the source and summit of the Christian life.” (CCC, No. 1324) 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. During this time of trial for all and inspired by the Cathedral of the Holy Cross’ quartet of singers, Richard J. Clark set four (4) well-loved Eucharistic texts from Saint Thomas Aquinas and Pope Innocent III.* With USCCB Eucharistic Revival, these new choral works are especially timely. These motets are for four voices (SATB) with no divisi, so smaller ensembles may perform them.

This marvelous score (34 pages) is now available on Amazon:

*  Amazon Link • “Four Eucharistic Motets” (SATB)
—A joint publication by RJC Cecilia Music and Corpus Christi Watershed.

In The Media • “Four Eucharistic Motets” appear on the album From the Bell Tower by the Boston Cathedral Singers (available on iTunes, Amazon, Spotify, etc.). The album and the “Four Eucharistic Motets” were featured by Rome Reports TV News Agency.

48156-FOUR-EUCHARISTIC-MOTETS-Richard-J-Clark
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I. Ave verum corpus:

M * Direct YouTube URL.

II. Adore te devote:

M * Direct YouTube URL.

III. Pange lingua:

M * Direct YouTube URL.

IV. O sacrum convivium:

M * Direct YouTube URL.

ICHARD J. CLARK, an exceedingly versatile and eclectic musician, is highly regarded as a composer of sacred music in particular for the Roman Rite. His choral and instrumental works have been performed worldwide. His choral works have been performed under the baton of Grammy-winning conductor Fernando Malvar-Ruiz with The American Boychoir, Jennifer Lester (The Seraphim Singers), and John Robinson (Saint Paul’s Choir School). The Boston Globe has called Clark’s music and that of the Holy Cross Cathedral’s choir “stirring” and “profound.” He is the founder of RJC Cecilia Music and RJC Cecilia Records. He has served as conductor and clinician for the Sacred Music Symposium run by the Priestly Fraternity of Saint Peter in Los Angeles. Mr. Clark currently serves as Archdiocesan and Cathedral DIRECTOR OF MUSIC and ORGANIST at the Cathedral of the Holy Cross in Boston. A New York native, he lives with his wife and four children just outside of Boston, Massachusetts.

* Richard J. Clark would like to thank John Dunn, Director of Music Emeritus of the Saint Paul’s Choir School and Jeff Ostrowski, President of Corpus Christi Watershed for editorial assistance in this publication.

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

Filed Under: Articles, Featured Tagged With: Four Eucharistic Motets, Richard J Clark Last Updated: September 2, 2022

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Corpus Christi Watershed

President’s Corner

    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). 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 top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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

Random Quote

Palestrina wrote two Masses in honor of the Blessed Virgin—one “a 6” before the Council of Trent, consequently with the tropes, and first published in 1570. In 1599 it was republished in Palestrina “Missarum Liber III” with the tropes removed, and in their place the liturgical words of the “Gloria” reiterated.

— Henry Coates

Recent Posts

  • Never Work For A Priest Or Bishop Who Believes Sacred Music Should Be “Entertainment”
  • When Pilgrims Sing, the World Disappears
  • “Offertory” at Catholic Funerals
  • “In Paradisum” • Gregorian Chant
  • The Beauty of the Propers for All Souls’ Day (and the Requiem Mass)

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