• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

PDF Download • “The Saint John’s Gradual”

Richard J. Clark · September 13, 2024

HE ABUNDANCE of creativity and subsequent generosity continues with a very useful new collection that comes directly out of Saint John’s Seminary in Brighton, Massachusetts: The Saint John’s Gradual. Composed by Fr. Steven B. Lewis (now a priest in the Diocese of Rochester) while a seminary student, and refined after his ordination, the entire book is most generously offered for free on the Saint John’s Seminary website. Notably, this volume is offered with Ecclesiastical Approbation from his Eminence Cardinal Seán O’Malley, O. F. M., Cap., Archbishop of Boston on May 16, 2024.

*  PDF Download • THE SAINT JOHN’S GRADUAL (313 pages)
—Rev. Steven B. Lewis • Copyright © 2024 • IMPRIMATUR by Boston’s Archbishop, 16 May 2024.

It includes a comprehensive collection of Graduals and Alleluias, all in English with the Solesmes Abbey translations (most generously licensed in the Creative Commons). The Graduals are set to simple Gregorian melodies. The Alleluia and Tract melodies are from the Graduale Romanum, but the verses in English set to simple Gregorian tones. This edition is not yet available in a printed format, however, one may be developed in the future.

WHY A BOOK OF JUST Graduals, Alleluias, and Tracts? To understand this, one must examine that the Graduale Romanum as intended is the primary source for parish musicians, like a manual or guide. Therefore, it has been customary at Saint John’s Seminary to sing all the propers of the Mass and to do so on a daily basis. While some chants from the Graduale Romanum are sung, other simpler chants from Fr. Samuel Weber, OFM, Adam Bartlett, and others would also be sung. However, no such equivalent in English existed for the Graduals or the Alleluias. The real creative catalyst for Fr. Steven Lewis was a ban in many places on congregational singing during the pandemic. This opened wider the door to explore the Graduals, especially the texts. These some of the most complex chants in the repertoire. Simpler version and in English filled an important pastoral need with great usefulness well beyond the pandemic.

Paragraph 61 of the General Instruction of the Roman Missal §61 allows for singing the Responsorial Gradual from the Graduale Romanum. In addition to their brevity, these became most practical during and even after the pandemic, especially for short weekday Masses. These are great for singing with any Mass on a tight schedule especially for students or working commuters. One might consider that singing two lines of scripture may be a more profound and beautiful meditation on the First Reading than simply reading the Responsorial Psalm — a time-saving norm.

This collection has since become a staple at St. John’s Seminary. Like many things, when exploring something new, one may discover great hidden value. As such, this collection provides a valuable and very accessible alternative. It may also provide a gateway into the exploring the Graduals from the Graduale Romanum. Michael Olbash professes that what the men at the seminary seemed to appreciate the most about the Graduals is the text itself.

THE ALLELUIAS ALONE make this collection invaluable. The Alleluias and Tracts from the Graduale Romanum are exquisitely beautiful; some are not too complicated. However, the complexity of the verses in Latin may be dealbreaker for parishes. Key to this collection, is that while it maintains the Alleluia melody from the Gaduale Romanum, it offers a very simple psalm tone for the verse in English. This is a wonderful pastoral approach and a bridge to exploring some of these beautiful Alleluias. In the book’s introduction, Rev. Steven Lewis describes in greater detail the origins and historical complexities of this project. Behind every ambitious project one often finds a team of support behind it. Rev. Lewis gives credit to Rev. Fr. Peter B. Mottola, JCL of the Diocese of Rochester. He also gives gratitude to Seminary Music Directors Michael Olbash, Dr. Janet Hunt, whom he credits with instilling his love for Gregorian Chant.

Brief Word on Translations:
As I pointed out above, the English translation followed in THE SAINT JOHN’S GRADUAL is identical to the translation found in the following liturgical books:

Gregorian Missal (Solesmes Abbey, Imprimatur 16-Nov-1990)
Simple English Propers (CMAA, 2011)
Vatican II Hymnal (CCWatershed, 2011)
Lalemant Propers (CCWatershed, Imprimatur 13-Apr-2013)
Saint Isaac Jogues Illuminated Missal, Gradual, and Lectionary (Sophia Institute Press, Imprimatur 25-Mar-2014)
Laudate Antiphon Collection (Andrew Motyka, 2011)
Choral Communio—English Anthems for Mixed Choir on the Communion Chants of the Modern Graduale Romanum (Richard Rice, 2012).

The English translation is based upon—broadly speaking—the translation found in the 1965 Missal, which was “approved by the National Conference of Bishops of the United States on 3 Sept. 1965 and confirmed by the Consilium for the Implementation of the Constitution on the Sacred Liturgy on 15 October 1965.” Below is what Richard Rice said about this 1990 translation, which he selected for his 241-page “CHORAL COMMUNIO” collection:

No official translation of the Graduale exists, and so far as any of us has been able to determine, none is forthcoming. For the Graduale chants not reflected in the Missal, we are left to find acceptable English translations from various approved sources. […] I decided to use the most comprehensive and readily available source for English translations of the Graduale chants, which is the GREGORIAN MISSAL, published by the Abbey of Solesmes in 1990.

Concluding Thoughts • It’s a great blessing to all of the Church when projects such as these come to fruition. This is an act of service, and love for the liturgy.

Soli Deo gloria

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

Filed Under: Articles, PDF Download Last Updated: September 13, 2024

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th Sunday in Ordinary Time (Year C). 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.
    —Jeff Ostrowski
    Little Encouragement?
    In the Gospel, our Savior tells about 10 lepers who were healed. Only one went back to give thanks. Precious few express gratitude, yet many have endless energy to complain. For that reason, I deeply appreciate receiving messages like the following, which arrived a few days ago (about the parish where I direct in Michigan): “Last Sunday, a couple I knew from Grand Rapids was at Mass at 10:00 a.m. I got a chance to talk to them after Mass. I wanted to let you know what they said about the choir. They were absolutely floored by our sound!!!!! They both said they could continuously listen to our choir and the beauty of it. They asked me: “Do you always sound like that?” And they were also very surprised at how packed the church was. They said it was nice for them to be in such a full church. I just thought you would be interested to know their thoughts about our choir.”
    —Jeff Ostrowski

Quick Thoughts

    “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
    “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

Random Quote

“We know that originally the offertories of the repertoire included a series of verses, just like the introit and the communion, but generally more ornate. Many of these are musical compositions of great beauty. They quickly fell into disuse, and we find them only in the most ancient manuscripts. The only remaining trace of this older arrangement in our present-day liturgy is that of the offertory of the Requiem Mass.”

— Dom Joseph Gajard (1956)

Recent Posts

  • Typo in the “Missale Romanum” (1962)
  • “Music List” • 30th in Ordinary Time (Year C)
  • “Our Father” • Musical Setting?
  • Little Encouragement?
  • Children’s Repertoire • Mueller’s Recommendations

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.