Views from the Choir Loft

Propers

Richard J. Clark · March 5, 2014

Misereris omnium | Ash Wednesday Introit

Few parishes are willing to sing Gregorian Introits for the Entrance Procession, but it is SIGNIFICANT that the very first Introit of Lent sings of God’s infinite MERCY.

Veronica Brandt · March 1, 2014

Preparing for Lent

Renewing the adventure of exploring Gregorian chant by making recordings.

Richard J. Clark · January 17, 2014

Gregorian Propers at a Nuptial Mass in “Southie”?

“Southie” is a section of Boston better known from the films “Good Will Hunting” and “The Departed.” It is also infamous for the convicted murderer and gangster, James “Whitey” Bulger. But, yes, glorious Gregorian Propers, polyphony, and hymnody at a Nuptial Mass in “Southie.”

Richard J. Clark · January 10, 2014

Improvising – and Praying – on the Propers

A close friend, a priest once told me years ago something I’ve never forgotten. “The people don’t need to know what it is to understand it.” They will understand the prayer interiorly if not in words. Since hearing that, I have always thought it important to play and pray music related to a relevant text.

Richard J. Clark · December 6, 2013

Chris Mueller’s Unique Voice in the Propers

Chris Mueller has a very unique collection of Offertory Propers in English. He refers to them as “miniatures”, but each is unique revealing a depth of character that gives them lasting power.

Fr. David Friel · December 1, 2013

Chant Behind Bars

Might Chant Scholas Flourish in Prisons?

Richard J. Clark · November 29, 2013

A Challenge for the “Big Three” — Is there a Market for the Propers?

I have a challenge to the “Big Three” publishers. The propers are the new frontier of liturgical composition. I propose that they get ahead of the curve now.

Richard J. Clark · November 22, 2013

Saint Cecilia and Why the Word is Preeminent

I confront a challenge most musicians of sacred music face: the battle between the Word and musical “feel.” From the Word, emanates a life: all that is love, all that is beauty, all that is sacrifice and service to God.

Richard J. Clark · March 20, 2013

Free Communion Propers for the Easter Season, Year C

Free download of Communion Propers for the Easter Season, Year C

Organ Accompaniment • “Kyrie IV”

Fans of Gregorian Chant may wish to download the organ accompaniment (PDF file) I created for KYRIE IV a.k.a. Cunctipotens genitor Deus. It adheres to the official rhythm and was inspired by Flor Peeters (a famous Belgian organist and composer who studied with Oscar De Puydt at the LEMMENSINSTITUUT).

—Jeff Ostrowski

Which Gospel Acclamations?

Some have asked which Gospel acclamations (“Alleluia”) we use at my church. We use this gorgeous printed resource available on AMAZON PRIME. Once both congregation and cantor have sung their parts, our choir launches into a beautiful SATB “choral extension” (cf. Saint Noël Chabanel Mass Setting).

—Jeff Ostrowski

“Entrance Chant” • Immaculate Conception

Download the ENTRANCE ANTIPHON in English for the Immaculate Conception (9 December 2024). It’s in the third mode—which some consider the most beautiful of all—and mimics the authentic version in a laudable way. Corresponding to the vocalist score is this free organ accompaniment. If you’re someone who enjoys rehearsal videos, I attempted to sing it while simultaneously accompanying my voice on the pipe organ.

—Jeff Ostrowski

The Breviary in the Life of the Laity

Recently I have been enjoying looking through the inaugural (1927) edition of a 20th-century liturgical magazine called Orate Fratres. The July 1927 issue included an excellent article by a Chicago laywoman named Ellen Gates Starr entitled “The Delights of the Breviary: From the Point of View of a Lay Woman.” As we in the 21st century have recently undergone a (blessed!) re-translation of the missal into English, and as we await with joyful hope (please God, before Jesus comes back!) a similar re-translation of the breviary, the opening of her article reminded me of that old saying, “the more things change, the more they stay the same.” Nearly a hundred years ago, she penned words that could just as easily have been written today: “It is indeed a privilege to be allowed any participation, however slight, in the liturgical movement in the Church – the movement to bring back the classics of devotion, the Missal and the Breviary, into general use by the laity. The wonder is that they should ever have fallen into disuse. Nothing can take the place of these great universal prayers of the Church, the prayers of the Mass and the divine Office. One has only to know them to find them indispensable. And alas, how few of the laity know them!” I know that I have been tremendously nourished by regular praying of the breviary as of late, and my wish is that you and I, dear reader, may continue to nourish our interior lives with the official prayer of the Church, which present to us (in the Mass) and extend (in the Office) the fullness of Christ’s greatest gift to us – the gift of Himself – in the Most Holy Eucharist.

—Daniel Tucker

Principles vs Preferences

I ran into this idea recently: principles vs. preferences in planning out a curriculum or music lineup. In this idea, it is imperative to not misconstrue personal preferences into principles—that the music (or subject matter) is great because: “I have good taste, and I like it.” De gustibus… Education, study and docility to the Magisterium of the Church on matters of liturgical music must be present in those who make the music at the Holy Sacrifice of the Mass and the Hours. Who knows? Maybe you might start to prefer the music that is fitting according to the principles Catholic Sacred Music?

—William J. Fritz

Liquescent Notes in the Official Edition

The official edition—the EDITIO VATICANA itself—is somewhat inconsistent when it comes to liquescent notes. If you wish to see a perfect “apples-to-apples” comparison, click here. Such “inconsistency” was not owing to ignorance on the part of Abbat Pothier: the manuscripts themselves are inconsistent when it comes to liquescent notes.

—Jeff Ostrowski