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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

Chants of the Diaconate Ordination

Richard J. Clark · September 23, 2024

HE PERMANENT Diaconate is an ancient tradition that was restored by Vatican II. Men who are married with children make up the vast majority of the Permanent Diaconate. These men are grounding, stable, and bedrock figures in their parishes. As such, the ordination Mass of the Permanent Diaconate has a bit of its own flavor. Families with wives and children have a greater presence. Crying babies are heard — an unusual occurrence at most ordinations!

Cardinal Seán O‘Malley’s last ordination as the Archbishop of Boston was on Saturday, September 21st where he ordained seven men to the Permanent Diaconate. Such events in the Archdiocese of Boston regularly feature a both/and approach of singing a hymn and an antiphon often from the Gradule Romanum which offers various options for ordinations.

Two of my absolute favorite chants for Diaconate Ordinations are the Introit, Dominus secus mare Galilaeae, Mode I and the stunningly tender Communion chant, Simon Ioannis.

One need not be a Latin scholar to get the general understanding of the Latin text from Matthew which describes the calling of Peter and Andrew by the sea of Galilee:

“The Lord, walking by the sea of Galilee, saw two brothers, Peter and Andrew, and he called out to them: “Follow me, and I will make you fishers of men.” V. The heavens declare the glory of God, and the firmament proclaims the work of his hands.”

Listen here to the last of verse of Old Hundredth followed by the Dominus secus mare Galilaeae. Richard Kelley is playing piccolo trumpet. (Many thanks to The Catholic TV Network!)

MOST FASCINATING is the text of the Mode VI communion chant, Simon Ioannis, most fascinating. It is taken from John’s Gospel in which Jesus asks Peter not once, but three times “Do you love me?” Peter, in his frustration replies: “Lord, you know everything; you know that I love you.”

The antiphon strangely ends there. But most conspicuous by its absence is the following mandate from Jesus: “Feed my sheep.”

The chant melody is exceptionally warmhearted in this loving and challenging exchange between Jesus and Peter — a most complex man whom Jesus chose to lead his Church. Understanding this dynamic dramatically changes the way a schola approaches and sings this chant.

You can listen here, followed by the Anthem Prayer of Abandonment set to the words of Saint Charles de Foucauld. (You’ll hear some crying babies as promised!) This piece was dedicated to His Eminence Cardinal O’Malley.

THE SINGING OF two verses in a row is not common practice, but done here to accommodate time, and multiple choirs often featured at such archdiocesan celebrations. The Archdiocesan Festival choir — mostly volunteer — sings chant in octaves. While chant is most exquisite in unison voices, this gives all the opportunity to pray these words, and they do so with upmost sensitivity for which I am deeply grateful!

Furthermore, I often accompany chants which can add energy or supprt, but I often decide not to when I wish to highlight the exquisite beauty and sensitivity of some of the melodies. Often, the silence between phrases speak the loudest.

Soli Dio gloria

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

Filed Under: Articles Last Updated: September 23, 2024

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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” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski

Quick Thoughts

    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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“Thus, by the celebration of a single Mass (in which he offers Jesus Christ in sacrifice), a priest gives greater honor to the Lord than if all men by dying for God offered to him the sacrifice of their lives. By a single Mass, he gives greater honor to God than all the angels and saints—along with the Blessed Virgin Mary—have given or shall give to him; for their worship cannot be of infinite value, like that which the priest celebrating on the altar offers to God.”

— Saint Alphonsus Liguori

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