Three Entrance Antiphons for the Celebration of Marriage

EDDINGS ARE a vital part of the sacramental life of the Church. Likewise, the music must reflect the joy of a life with Christ at the center.

The catalyst for this collection of simple Entrance Propers in English was Msgr. Rick Hilgartner. In 2016, I was assisting with music for an FDLC workshop on the Revised Order of Matrimony. During a lengthy discussion on processions, Msgr. Hilgartner suggested singing one of the three antiphons for Marriage in the Roman Missal, all of which he read aloud for emphasis. Another priest turned to me and made a gesture that I should get busy writing. Inspired by my wife, I got to work.

These texts are beautiful, inspiring, and should be sung in their own right. Singing the Entrance Antiphon at a wedding is not simply a liturgically conservative gesture. It is a progressive act—an invocation inviting God to permeate the center of their love. As the couple confers the sacrament upon each other, these texts are a beautiful way to being the Mass. They are a beautiful way to begin life together.

PDF Download:
      * * Three Entrance Antiphons for the Celebration of Marriage • for Assembly, Cantor, SATB, Organ, Trumpet
      * * Congregation inserts are included at the end.

       Designed to work for a Liturgical Procession
       OR sung as a Gathering Song after the more typical procession
       All are in the key of D to transition easily from any number of common processional pieces.
       Antiphons are METERED in 4/4
       The Verses are identical for all three: Psalm 128 — very appropriate for a wedding–and found as the verse for Deus Israel conjugat vos, the Introit from the Graduale Romanum for the Nuptial Mass.
       While choirs are not the norm for weddings, the option is available.
       Given the potential for varied instrumentation at weddings, guitar chords are provided. Although composed for organ and trumpet, these can be adapted for piano and other instruments.

Here are more free scores for weddings compiled and arranged by Jeff Ostrowski.

Finally, here are practice videos for the Nuptial Blessing: Nuptial Blessings • Practice Videos • Order of Celebrating Matrimony

Soli Deo gloria

Kelley & Clark in Concert • Boston Preview Event

OSTON — Friday, September 29, 2017 • 7:00 p. m.  • Richard Kelley, trumpet, and composer/organist Richard J. Clark team up again at St. Cecilia Church, Boston in a concert of American composers Clark, Hovhaness, Pinkham, and Sowerby. This concert offers Boston audiences a preview of their upcoming performance at St. Patrick’s Cathedral in New York on All Souls Day (11.2.2017 @7pm). St. Cecilia Church is an extraordinary sacred space with its opulent acoustics and the Smith & Gilbert Organ (IV/53 3,023 pipes.)

Richard Kelley, trumpet, has been a soloist with the Boston Symphony Orchestra and plays with the Boston Pops. He has performed with artists such as Andrea Bocelli, Ray Charles, Steven Tyler, and James Taylor. He can be heard on a variety of recordings including the Oscar and Golden Globe-winning soundtrack to Disney’s Pocahontas and Stephen Paulus’ Grammy-nominated Concerto for Two Trumpets and Band.

“The career of trumpeter Richard Kelley is not only a testament to the versatility of his instrument, but also to the ability of one individual to excel across the broadest possible range of music.” — Brian McCreath, WCRB

Composer and organist Richard J. Clark’s eclectic appearances range from the Celebrity Series of Boston and the Boston Philharmonic to Jive Records (Sony BMG), Fenway Park, and the New York Songwriter Circle at the historic Bitter End in Greenwich Village. Clark’s compositions have been heard worldwide including performances under the baton of Fernando Malvar-Ruiz, The American Boychoir, EWTN, SiriusXM, and the Russian premiere of Ascent to Freedom by organist Mark Husey. He is the Director of Music & Organist at St. Cecilia Parish, Boston, and St. Mary’s Chapel, Boston College.

These concerts will feature two works composed specifically for Richard Kelley: Pinkham’s Scenes and Clark’s Requiem pour une américaine à Paris. Recorded by Kelley and Clark, Requiem has been featured on SiriusXM’s Sounds from the Spires, various radio programs around the US, and will be performed at Saint-Eustache in Paris in 2018.

Requiem – Order CD
Requiem – Order from iTunes

When: Friday, September 29, 2017 • 7:00PM

Where: St. Cecilia Church, 18 Belvidere St., BOSTON, Massachusetts 02115
Admission: FREE
Event website:
Press Contact: Mark Donohoe
Phone: 617-536-4548 ext. 115
Email: RJC AT rjcceciliamusic DOT com

“That’s not Eucharistic” • Why We Sing the Communion Antiphons

NE SUDAY I received (through a third party, of course) a complaint about what the choir had been singing during communion. We frequently included the proper communion antiphon. The criticism was terse: “That’s not Eucharistic.” Correct. It was not. Well, not directly or in an obvious manner.

But it was.

During the 1990s, my choir had been singing the Communion antiphons from the Graduale Romanum nearly every week, often in addition to another sacred liturgical work. I not only became addicted to singing chant, I was also deeply drawn to the texts. Always from scripture, these texts have been sung during communion for well over a millennium. I always provided translations and the scripture references in a worship aid so that all could meditate on the Word.

The edition we were reading from was Solesmes’ Gregorian Missal for Sundays. Published in 1990, this book provided the propers from the Graduale Romanum, the translations in English, and were adjusted to the Novus Ordo three-year cycle of readings. This publication absolutely transformed my life.

S CHRISTIANS, WE BELIEVE in something rather unusual and perhaps very strange. We believe in the Incarnation—that God “lowered” Himself to dwell among us. (Rather, he emptied himself, taking the form of a slave, coming in human likeness; Phil 2:7) The Word of God took human form—the Word made Flesh. We take these words for granted. Do not.

What does this have to do with the Communion Procession? A great deal. The Communion Antiphons, whether from the Gradual Romanum or The Roman Missal (there is a great deal of overlap and some variation) most always point back to the Gospel reading of the Day or Feast.

The Body and Blood of Jesus is made present not only from the bread and wine, but also in the Word. By receiving the Word, we receive Jesus. The Gospel, which is the Good News proclaimed by Jesus who is the Word made Flesh—is in itself an encounter with Jesus.

Saint Cecilia and Why the Word is Preeminent

To sing or meditate on the Gospel and the Word of God while receiving the Body and Blood of Jesus is precisely what the Church intends today, tomorrow, and has intended for over a thousand years. If Jesus is the Way, the Truth, and the Life, so too do we embrace the Gospel—the Word while in His presence.

T IS WORTH REMEMBERING that during the early Church, Gregorian Chant and the Roman Rite grew up side by side. Chant is simply elevated text (if highly evolved over a millennium). Just as the Hebrew People sang the Torah for thousands of years (and not simply their favorite songs), so too is the Mass ideally sung.

As a Church, we have become accustomed to singing our favorite songs that comfort us. We have become accustomed to singing exclusively about bread and wine during the Communion Procession—a very good thing! But I would propose that we occasionally dig deeper into the Word of God as sung and prayed by our ancestors in faith. Receive the Word made Flesh. Receive Jesus.

UCH OF THIS was inspired by conversation with Alan Hommerding, Senior Liturgy Publications Editor at World Library Publications. During his visit to Boston for WLP’s “Sing the Seasons” we had time to trade stories, chat about music, life, liturgy, theology, etc. During the choral reading of beautiful and varied new works from WLP, he kindly highlighted the liturgical and theological connection between scripture and Eucharist, and the Church’s need to revisit these Antiphons.

To this end, World Library Publications has published, to date, the following collection of Communion Antiphons with texts from the English translation of The Roman Missal, Third Edition:

  • Communion Antiphons for Advent • SATB, Organ, Assembly
  • Communion Antiphons for the Christmas Season • SATB, Organ, Trumpet, Assembly
  • Communion Antiphons for Lent • SATB, Organ, Assembly
  • Communion Antiphons for Easter • SATB, Organ, Assembly
  • In addition, I have composed antiphons for all of Ordinary Time including Feasts and Solemnities that replace a Sunday. WLP is currently looking at these.

    HAVE COMPOSED THESE AS A BRIDGE in two directions. First, I hope these settings in English can be an introduction to many who have not encountered the propers at Mass. While maintaining the traditional form, these sometimes modal, chant-based works are set with contemporary sensibilities in mind. Furthermore, I hope these settings can be a bridge to inspire more composition in various liturgical styles.

    Secondly, my most sincere hope is that some may put my settings down and consider singing the antiphons from the Graduale Romanum and in doing so, rediscover the transcendent beauty of our traditions. (See Richard Rice’s book Communio.) This music is truly the music of the Roman Catholic Church. It has lived on for centuries upon centuries, gave birth to nearly all of Western Music (although its roots are shared with the East!), and reflects the wisdom of the ages.

    As musicians of the Church, may we all live to serve.

    Soli Deo gloria

    National Anthem • Choral Arrangement for Fenway Park

    RECENTLY, THE SAINT CECILIA PARISH CHOIR, Boston, sang The Star-Spangled Banner at Fenway Park prior to a Red Sox game. I took the opportunity to customize an arrangement that was not only well-suited to the strengths of this choir, but hopefully expresses the dignity, reverence, and passion worthy of our great country. At the very least, we owe a respectful performance to the selfless people who daily place their lives in mortal danger to defend freedoms we may daily take for granted.

    Unfortunately, the National Anthem in America is all too often used as a vehicle to showcase individual performances. Nearly gone are the days in which The Star-Spangled Banner is sung primarily by the entire community in a shared expression. And quite ubiquitous are self-indulgent performances in which the melody is embellished beyond recognition. Among myriad reasons for this is the overwhelming influence of television/media revenue in service of the American culture of entertainment over substance. But we must never forget.

    WITH THIS ARRANGEMENT, I HOPE TO BRIDGE THE GAP between individual performance and respectful tribute. It is based on a standard service version found in several hymnals including the new St. Paul Hymnal, the Hymnal 1982, Worship III, etc. However, I made numerous changes. There are small but calculated adjustments to keep repetition fresh. Then there are significant adjustments, (especially in the second half) to paint the text, e.g., a turning point of the text: “Gave proof through the night that the flag was still there.”

    PDF • The Star-Spangled Banner • National Anthem for the United States of America • for SATB Chorus



    I have clearly marked breaths in the score: commas for relatively shorter breaths, double lines for longer breaths. The tempo should be sprightly enough to easily sing four-bar phases in one breath. To this end, it helps greatly to very slightly crescendo on the half-notes into the next bar on the words “see,” “hailed,” “stars,” etc.

    One of my pet peeves is the common pronunciation of the word “perilous.” This word has a schwa on each of the last two syllables. The sung quarter-note rhythm unfortunately emphasizes the spoken unstressed vowels. This often leads to the word being pronounced: “Peh-RAH-LIS” fight. This annoys me. So, I gave explicit instructions to the choir to pronounce the short “i” and sing, “Peh-ri-lus.” Ironically, it also helps to avoid American “R”s (roll them) in a choral setting (and in such a large venue) to assist with diction.

    Pastorally Imperative: They are all we have.

    ARDINAL SEÁN P. O’Malley, OFM, Cap. recently ordained eight men to the Priesthood on Saturday, May 20, 2017, at Immaculate Conception Church in Lowell, Massachusetts. (The Cathedral of the Holy Cross in Boston is currently under renovation.)

    Please pray for these new priests! Fr. Jason Rinaldo Giombetti, Fr. Pablo Gomis, Fr. Kevin Paul Leaver, Fr. Godfrey Musabe, Fr. Wellington Oliveira, Fr. Joel Americo Santos, Fr. William Paro Joseph Sexton, and Fr. Michael Louis Zimmerman

    FFORDED THE OPPORTUNITY to direct the music for this ordination, I hoped to emphasize to the choir the following:

    What we do is not simply “important” music for an “important” Mass. This is a day that these eight men will carry in their hearts for the rest of their lives. Not only what we sing, but how we sing will have spiritual impact beyond a nice memory. It will help shape their formation.

    Music itself won’t solve any problems or persuade any newly ordained priest to adjust their liturgical inclinations. That’s not the point.

    But music sung in prayer and with joy hopefully permeates their hearts and minds. It can reach the hearts of their family and friends who will support and accompany them throughout their lives. To sing in prayer and with joy is pastorally imperative for they are all we have.

    ERHAPS OF INTEREST, you can watch a video of the Ordination in the Archdiocese of Boston here. We are deeply grateful to Evan Landry for this recording.

    Recording for broadcast is always tricky, especially capturing the true blend of a choir in the room. Mr. Landry did an exceptional job (with omnidirectional microphones) capturing a fairly representative blend of the choir while contending with specific restrictions in space.

    Music of note:

    • 4:15 • INTROIT • Sacerdotes Dei, benedicite, Mode VI • (Marc Demille intones verses) I chose to have men and women sing in unison for a brighter sound, to create a more energetic pronouncement. This was followed by the hymn This Is the Feast of Victory by Hillert.

    • 20:45 • Kyrie and Gloria from the Mass of the Angels (Allesandra Cionco-Dahlberg, soprano)

    • 28:30 • Psalm 23 • Jeffrey Ostrowski (Jaime Korkos, psalmist)

    • 34:15 • Gospel Procession, Alleluia, Theodore Marier

    • 36:24 • The Gospel is beautifully chanted by Rev. Mr. Joseph J. Sanderson

    • 1:07:56 • Litany of the Saints (Marc DeMille Cantor)

    • 1:16:30 • Holy Spirit, Come and Shine Chant, arr. Leo Abbott (Tom Manguem, cantor) and improvisation • repeated at 1:27:25

    • 1:44:00 • Christ the Lord, a Priest Forever, RJC, Ps. 100

    • 1:52:00 • You are My Friends, RJC • Jn. 15:14, Ps. 100

    • 2:27: 40 • Agnus Dei XVI, Byrd/Agnus Dei XVIII

    • 2:30:13 • Sicut Cervus Palestrina

    • 2:33:28 • Adordo Te devote

    • 2:53:45 • THAXTED, O God Beyond All Praising, arr. Richard Proulx

    • 2:59:45 • Processional, Mathias • Dr. Janet Hunt, FAGO, organ

    Photos by George Martell • Archdiocese of Boston

    I Am the Land: A Poem in Memory of Óscar Romero • E. Ethelbert Miller & Richard J. Clark

    ARCH 24TH marks the anniversary of the assassination of Blessed Óscar Romero, Archbishop of San Salvador. On Sunday, March 23, 1980, the day before his assassination, Romero addressed the soldiers in his homily:

    “En nombre de Dios, pues, y en nombre de este sufrido pueblo, cuyos lamentos suben hasta el cielo cada día más tumultuosos, les suplico, les ruego, les ordeno en nombre de Dios: ¡Cese la represión!”

    “In the name of God, in the name of this suffering people whose cries rise to heaven more loudly each day, I implore you, I beg you, I order you in the name of God: stop the repression!”

    Listen to a recording of this part of his homily here.

    While Romero was not interested in Liberation Theology, he spoke vehemently against the human rights abuses of the Salvadoran government. He gave voice to those who had no voice: the oppressed, the poor, the victims of abject cruelty. For this, he paid with his life.

    His cause for canonization was opened in 1997 by Pope St. John Paul II. At a standstill for some years, it was furthered in 2012 by Pope Benedict XVI. On February 3, 2015, Pope Francis decreed that Romero was martyred in odium fidei (“in hatred of the faith”). Romero was then beatified in El Salvador on May 23, 2015.

    N 2016 JENNIFER LESTER, Music Director of the The Seraphim Singers, was intent on commissioning from me a work to honor Óscar Romero. The result was music set to I Am the Land: A Poem in Memory of Óscar Romero by E. Ethelbert Miller (b. 1950).

    The text of the poem is here and below.
    A Spanish translation by Nancy Morejón can be found here.

    Here is a recording of a live performance by the Seraphim Singers in 2016:

    E. Ethelbert Miller writes:

    I Am The Land: A Poem In Memory of Oscar Romero was first published in my collection First Light: New and Selected Poems (Black Classic Press, 1994). It’s one of the few poems I wrote specifically for a public reading.

    The “tone” of the poem echoes the work of Walt Whitman, Langston Hughes and Ernesto Cardenal.

    The work was an outgrowth of my interest in liberation theology. One of the major issues in our world today continues to be poverty. “The people of El Salvador are the people of the world.” This line should connect with everyone. I hope my poem also speaks to the role of the church in our society. The doors of this institution must always remain open, for pilgrims and strangers. Our faith must be made visible. I believe it begins with an open heart. Finally, the poem connects life to land. I wanted to link Oscar Romero to the grass, trees and wind. Even after Romero’s death, one should be able to open a window and inhale his beliefs and memory.

    He who is resurrected is revolutionary.
    He who is resurrected believes in peace.
    This is the meaning of light.
    This is the meaning of love.

    – E. Ethelbert Miller
    March 14, 2017

    From my own program notes: “…Romero’s message is a powerful voice crying out for the voiceless, the oppressed, and the slaughtered. Phrases in a modern harmonized Gregorian Chant style are in complete service of Miller’s text, and therefore Romero’s lifelong example of humble service towards justice and peace.”

    NE OF THE GREAT JOYS of the creative process is to work with and meet great artists who also happen to be beautiful people. Out of Jennifer Lester’s vision came the opportunity to live intimately inside of E. Ethelbert Miller’s words. His poetry evokes images far beyond the vivid emotions on the page. His words elicit further questions, leaving in their wake a burning desire to experience more that has already come alive on the page.

    A man of kindness and vision, Miller’s work lives well beyond his words, flowing into action, exuding a joy of living.

    I Am the Land: A Poem in Memory of Óscar Romero

    I am the land.
    I am the grass growing.
    I am the trees.
    I am the wind, the voice calling.
    I am the poor.
    I am the hungry.

    The doors of the church are open
    as wide as the heart of a man.
    In times of trouble
    here is a rock, here is a hand.

    God knows the meaning of our prayers.
    I have asked our government to listen.
    God is not dead
    and I will never die.

    I am the land.
    I am the grass growing.
    I am the trees.
    I am the wind, the voice calling.
    I am the poor.
    I am the hungry.

    He who is resurrected is revolutionary.
    He who is resurrected believes in peace.
    This is the meaning of light.
    This is the meaning of love.

    The souls of my people are the pages of history.
    The people of El Salvador are the people of the world.

    I am Oscar Romero, a humble servant.
    I am the land.
    I am all the people who have no land.
    I am the grass growing.
    I am all the children who have been murdered.
    I am the trees.
    I am the priests, the nuns, the believers.
    I am the wind, the voice calling.
    I am the poets who will sing forever.
    I am the poor.
    I am the dreamer whose dreams overflow with hope.
    I am the hungry.
    I am the people.
    I am Oscar Romero.

    – E. Ethelbert Miller

    Communion Antiphons for Lent & Easter • NEW • World Library Publications

    I AM PLEASED to announce the release of my Communion Antiphons for Easter with World Library Publications. These thirteen antiphons are set from the English translation of the Roman Missal, Third Edition. All the verses set are those prescribed by Graduale Romanum. On a personal note, this is perhaps my favorite collection to date.

    You may also view and listen to the Communion Antiphons for Lent here or below.

    SCORES FOR EASTER are available in hard copies or digital format:

    Order • View sample pages:
    Octavo • “Communion Antiphons for Easter” (for SATB Choir; Cantor; Assembly)

    “Click & Print” • PDF Download:
    PDF • “Communion Antiphons for Easter” (for SATB Choir; Cantor; Assembly)

    All are chant based.
    Can be sung with cantor or unison schola
    Ample opportunity for optional SATB

    HERE IS A SMALL SAMPLE of recordings—four of the thirteen communion propers are directed by Paul French. French and his singers beautifully captured the joy, movement, and energy of these chant inspired works.

    Order • View sample pages:
    Octavo • “Communion Antiphons for Lent” (for SATB Choir; Cantor; Assembly)

    “Click & Print” • PDF Download:
    PDF • “Communion Antiphons for Lent” (for SATB Choir; Cantor; Assembly)

    HERE YOU CAN LISTEN to recordings of seven of the thirteen communion propers:


    Nuptial Blessings • Practice Videos • Order of Celebrating Matrimony

    R. JONATHAN GASPAR of the Archdiocese of Boston has kindly recorded the Nuptial Blessings of The Order of Celebrating Matrimony. The new English translation is according to the Second Latin Typical Edition, 1991.

    This revised rite has been mandatory for use as of December 30, 2016, the Feast of the Holy Family of Jesus, Mary, and Joseph—a most fitting beginning!

    Each Nuptial Blessing is comprised of a short invitation and a prayer. Whether sung or spoken, the rubric calls for silent prayer in between. (For the purposes of these practice recordings, there is simply a quick pause.) After the silent prayer, the chant elevates into a Preface-like reciting tone, marking a distinct transition in the blessing.

    The rubrics also indicate the following:

    205. In the invitation, if one or both of the spouses will not be receiving Communion, the words in parenthesis are omitted. In the prayer, the words in parenthesis may be omitted if it seems that circumstances suggest it, for example, if the bride and bridegroom are advanced in years.

    FR. GASPAR ELOQUENTLY emphasis key words and phrases, underscoring the beauty of the sacrament. Note especially how he sings in Nuptial Blessing A, “May her husband entrust his heart to her, so that, acknowledging her as his equal and his joint heir to the life of grace, he may show her due honor and cherish her always with the love that Christ has for his Church.” I found this to be deeply moving.

    Nuptial Blessing A is sung here in a higher key. B and C are in slightly lower keys. A is the longest (4:30). B is much shorter (3:40). C is by far the shortest (2:40):

    * *  YouTube • Nuptial Blessing A

    * *  Mp3 Download • Nuptial Blessing A

    * *  YouTube • Nuptial Blessing B

    * *  Mp3 Download • Nuptial Blessing B

    * *  YouTube • Nuptial Blessing C

    * *  Mp3 Download • Nuptial Blessing C


    Sacred Music for Christmas on “Sounds from the Spires”

    RECENTLY joined Dr. Jennifer Pascual, Director of Music for Saint Patrick’s Cathedral in New York City, on her program Sounds from the Spires. I am very fortunate to have been on the show several times. This will explain any drop in the ratings.

    Pascual’s weekly show can be heard on SIRIUSXM 129 Radio, The Catholic Channel, Saturday, 11pm-12am, Sunday, 6am-7am and 8pm-9pm (All Eastern times)

    You can listen to a PODCAST of this interview broadcast on 12.4.2016:


    Light Upon the World | Richard J. Clark, baritone; Produced by Paul Umbach | Available on iTunes and CD Baby.

    Communion Antiphons for Christmas | SATB, Organ, Trumpet, Assembly • World Library Publications • Recordings Directed by Paul French

    Madonna & Child | Organ • recorded on the Smith & Gilbert Organ (IV/52) at St. Cecilia Church, Boston

    Although this conversation with my children happened before a prior interview, the story bears repeating:

    My six-year-old son put me in my place before a radio interview. My daughter, who was eight, said, “Daddy is lucky because he is famous because he is being interviewed.” My son who was six responded: “No, he’s not famous. Never, ever! Only God is famous.” This, coming from a boy who loves getting into mischief, especially if it gets a laugh from his siblings and disapproval from his parents. But here he was dead serious and spot on!

    Soli Deo gloria!

    The Seraphim Singers Premiere “I Am the Land: A Poem in Memory of Óscar Romero” • E. Ethelbert Miller & Richard J. Clark

    ENNIFER LESTER, director of The Seraphim Singers, molds highly adventuresome programming through faith and personal conviction. Seraphim’s upcoming program “Oppression, Exile, and Solidarity” will be another strong statement, musically and socially.

    From their website:

    This concert of musical works bearing witness and standing with human suffering includes James MacMillan’s Cantos Sagrados, on Argentina’s Dirty War; Zachary Wadsworth’s setting of Whitman’s “Old War Dreams”; the premiere of Richard Clark’s I Am the Land, a poem inspired by Óscar Romero, and Howells’ exquisite Requiem. With Heinrich Christensen, organ.

    ESTER was intent on commissioning a new work about Óscar Romero, a voice for the voiceless. The result was music set to I Am the Land: A Poem in Memory of Oscar Romero by E. Ethelbert Miller (b. 1950), a tribute to the late Archbishop of El Salvador. Assassinated on March 24, 1980 while saying Mass, Romero was beatified by Pope Francis on May 23, 2015.

    From my program notes: “…Romero’s message as a powerful voice crying out for the voiceless, the oppressed, and the slaughtered. Phrases in a modern harmonized Gregorian Chant style are in complete service of Miller’s text, and therefore Romero’s lifelong example of humble service towards justice and peace.”

    The text of the poem is here.

    From Miller’s publicist:

    E. Ethelbert Miller is a writer and literary activist. He is board chair of the Institute for Policy Studies and a board member for The Community Foundation for the National Capital Region. Miller is an inductee of the 2015 Washington, DC Hall of Fame and recipient of the AWP 2016 George Garrett Award for Outstanding Community Service in Literature and the 2016 DC Mayor’s Arts Award for Distinguished Honor. His most recent book is The Collected Poems of E. Ethelbert Miller, edited by Kirsten Porter and published by Willow Books.

    IF YOU ARE IN THE BOSTON AREA be sure not to miss this premiere as part the Seraphim Singer’s ” Oppression, Exile, and Solidarity.” There will be two performances:

    Sunday, November 6, 2016, 3:00 pm
    Eliot Church of Newton, 474 Centre Street, Newton

    Sunday, November 13, 2016, 3:00 pm
    First Church (Congregational) 11 Garden St., Cambridge, MA

    $20 general admission and $15 senior/student.

    • Tickets are available at the door or purchase online here
    • Download the concert poster here
    • Watch a video postcard here

    HE SERAPHIM SINGERS ARE ENORMOUS ADVOCATES of new music with several new commissions each year. Jennifer Lester’s programming is astonishingly vast, from Gregorian Chant and Renaissance Polyphony to Twenty-first Century works. Yet, her programming flows with astounding unity and beauty.

    The Boston Music Intelligencer writes:

    “Ingenious programming by Jennifer Lester…”

    “Anyone who cares about these genres owes it to him/herself to hear this gifted ensemble whenever possible.”

    “Technically, the ensemble was in fine form, performing incredibly challenging choral repertoire with a high degree of finesse.”

    Hope to see you there!