Ascent to Freedom

True freedom does not rise from the capacity to fulfill all desires. Freedom is captivity, followed by battle, followed by faith, followed by wisdom and compassion as seen through the eyes of love.

Of this struggle, true liberation is born.

“… Its five movements are quite accessible, sometimes displaying a French influence. The last three movements made imaginative use of, respectively, the Lutheran chorale If You But Trust in God to Guide You, the spiritual Go Down, Moses, and the hymn How Can I Keep From Singing. There was some compelling musical illustration in the spiritual movement when tortured chromaticism and crunchy reed chords gave way suddenly to diatonic harmonies on the solo clarinet accompanied by string celeste: the effect was like a release from bondage.” — The Boston Music Intelligencer

Reviewed from this Live Performance on the 1875 E. & G. G. Hook & Hastings, Opus 801, Cathedral of the Holy Cross, Boston, MA

VIEW SAMPLE SCORE: Ascent to Freedom 

  • Purchase Digital PDF copy ($12.95) comes with reprint license) 
    As recorded on the 1999 Smith & Gilbert Organ, St. Cecilia Church, Boston:





The Thoughts of His Heart

HAVE LONG BEEN FASCINATED with the text of the Introit for the Solemnity of the Sacred Heart of Jesus, Cogitationes, Ps. 33 (32): 11, 19: “The thoughts of his heart stand from generation to generation: that he might deliver their souls from death, and nourish them in times of famine.”

  • Digital PDF copy ($8.95 comes with reprint license for the buyer only.)  


HE THOUGHTS OF HIS HEART is an organ work based on Cogitationes. The chant is quoted in its entirety in the pedal with an 8′ oboe stop. (Even the psalm verse is quoted, with a return to the incipit.) This is played over an ostinato accompaniment in the left hand, with interjected improvisatory figures in the right hand. Within the realm of interior prayer, there is rest and comfort to be found, yet at the same time a restless joy exposed by the unusual harmonies and imposed melodies. Ultimately, it finds repose and peace.

The heart is resilient and complex. It leads us to Jesus and to his Heart.

Free Communion Propers for the Easter Season | Years ABC


HIS COLLECTION of communion propers for the Easter Season is an update which now includes settings for all three liturgical years (A, B, C).

To sing these texts is to journey from Christ’s Resurrection to the descent of the Holy Spirit. It is quite an emotional experience when one realizes just HOW MANY ALLELUIAS are in all of the Easter propers! After abstaining from “Alleluias” throughout Lent, it is a blessed relief to sing “Alleluia” over and over again within these beautiful texts from scripture.

Free Download:
PDF • “Easter Season Communion Propers | Years ABC” (for Schola, Organ, SATB)

• Includes seventeen settings from the Easter Vigil though Pentecost Sunday.

• All are chant based in style.

• Includes a setting for the Seventh Sunday of Easter in those dioceses in which The Ascension of Our Lord is not transferred to Sunday.

• Can be sung with cantor or schola with organ. There is enormous opportunity for optional SATB singing, designed to offer contrast with unison singing.

• Optional congregation inserts for worship aids found after page 37

• Antiphon texts are English translations of those found in the Graduale Romanum. (You will find variation with the Communion propers found in the Roman Missal, especially during the Easter Season. A MUST READ article regarding Antiphons in the Roman Missal vs. the Roman Gradual is written by Jeff Ostrowski.)

HESE ANTIPHONS SHOULD ALWAYS BE SUNG with forward, yet unhurried movement, and often with an air of lightness—not always in color but in spirit and energy. Even the intensity of the Pentecost antiphon should be sung with light forward motion, yet still unhurried (despite the “rush of a mighty wind”!). Do not be afraid of engaging in mystery and energy in chant!

Each antiphon colors the text simply and occasionally with symbolic gesture. For example, the Easter Vigil / Easter Sunday antiphon ends a half step below the tonic — unresolved and evoking the mystery of the empty tomb. The Pentecost antiphon uses a similar device, bookending this collection. Another example is found in the Sixth Sunday of Easter, which utilizes an augmented fifth chord—three equal intervals representing the Trinity — the augmented fifth, symbolizing the Holy Spirit. Furthermore, on Ascension Thursday, the final chords in both the antiphon and verses are unsupported by the root, but instead by the third providing a sense of elevated motion.

For future reference, here are Communion propers for Lent and Advent:

Free Download:
PDF • “Twelve Communion Propers for Lent”
(for Schola, Organ, SATB)

Free Download:
PDF • “Advent Communion Propers”
(for Schola, Organ, SATB)

Have a blessed Lent and Holy Week!

Christe qui lux es et dies | Compline Hymn for Lent, Choral setting


HRISTE QUI LUX ES ET DIES (Christ, who art the light and day) is based on the ancient Compline Hymn for Lent, likely dating back to the Fourth Century. Although it was not retained in the Roman Breviary, its continued pervasive use is perhaps attributed to its antiquity, exquisite poetry, and simple beauty, extolling Christ as the World’s Light. Furthermore, its use often extends beyond Lent with its universal theme of light.

Please see an excellent article on this ancient Compline Hymn written by Henri Adam de Villiers on the New Liturgical Movement site. The chant notation is also provided in this article. This choral setting utilizes two major themes: the opening choral statement and the ancient chant melody, both in naturally progressing keys. The opening theme provides an axis of symmetry, setting verses one, four, and seven, while the chant is the basis of verses two, three, five and six. The Amen recapitulates the chant theme inside a variation of the opening exposition. As such, the Light of Christ is proclaimed both deep within the soul and cried aloud for all.

Score available exclusively with Choralife Publishers.

HIS SETTING WAS COMMISSIONED and premiered by the The Seraphim Singers, Jennifer Lester, Director. The Seraphim Singers are enormous advocates of new music. Jennifer Lester’s programming is astonishingly vast, from Gregorian Chant and Renaissance Polyphony to Twenty-first Century works. Yet, her programming flows with astonishing unity and beauty. The Seraphim Singers present this eclectic repertoire with great artistry and ease.

Christ, who art the light and day,
You drive away the darkness of night,
You are called the light of light,
For you proclaim the blessed light.

We beseech you, Holy Lord,
Protect us this night.
Let us take our rest in you;
Grant us a tranquil night.

Let our sleep be free from care;
Let not the enemy snatch us away,
Nor flesh conspire within him,
And make us guilty in your sight.

Though our eyes be filled with sleep,
Keep our hearts forever awake to you.
May your right hand protect
Your willing servants.

You who are our shield, behold;
Restrain those that lie in wait.
And guide your servants whom
You have ransomed with your blood.

Remember us, O Lord,
Who bear the burden of this mortal form;
You who are the defender of the soul,
Be near us, O Lord.

Glory be to God the Father,
And to his only Son,
With the Spirit, Comforter,
Both now and evermore. Amen.

Free Communion Propers for Advent



NFUSE CHANT WITH SOME PASSION! Energico e con moto is occasionally a helpful marking for Gregorian Chant or chant-inspired liturgical works. Chant must not be lethargic, plodding and boring. It can be tranquil at times, but always with movement. The texts are transformative. They propel us forward in spiritual maturity and closer to God. Keep moving forward and keep growing!

Free Download:
PDF • “Advent Communion Propers”
(for Schola, Organ, SATB)

• All are chant based.

• Includes communion propers for the four Sundays of Advent.

• Includes a setting for the Immaculate Conception on page 9. This year it falls on the Second Sunday of Advent (December 8th). Therefore, the Immaculate Conception is shifted to Monday, December 9th. My fellow blogger, Andrew Motyka brilliantly explains some interesting quirks of the liturgical calendar including information that pertains to the Immaculate Conception in his post Juggling Holy Days of Obligation.

• Can be sung with cantor or schola with organ. There is opportunity for optional SATB singing, designed to offer contrast with unison singing.

• Congregation inserts for worship aids found after page 9

THESE SETTINGS, LIKE MANY of my liturgical works, at times “float” around traditional harmony, “bending” not so much with dissonance, but hopefully with carefully placed color. This at times is to convey an ethereal tone, yet hopefully without drawing too much attention to itself.

In the end, I hope these are useful, prayerful, reverent, and with a bit of passion!

Requiem pour une américaine à Paris



NE OF THE MOST powerful spiritual experiences I ever had was the Requiem Mass in the Extraordinary Form at the 2012 Sacred Music Colloquium in Salt Lake City, Utah. This is saying a lot, as many of the liturgies at the Colloquia, whether in the Ordinary or Extraordinary Form, have shaken me to the core; I have been overwhelmed with an unspeakable sense of awe, mystery, and joy. Even these words are inadequate.

Requiem pour une américaine à Paris is a direct outgrowth of this experience. It is based largely on the Gregorian Chant Propers of the Requiem Mass. It is dedicated to the memory of my beloved aunt and Godmother, Anita Cipriani, who passed on The Feast of the Sacred Heart, just prior to the 2012 Sacred Music Colloquium. It was premiered on All Souls Day in 2012.

A seven-movement work composed for trumpet and organ, it is reminiscent of an early Twentieth Century French Romantic style. Although quite faithful to many of the Gregorian Chants, this is not a liturgical work, but a concert work. It would be difficult to match the music to the liturgical action. However, I hope this may be a helpful and hopeful meditation on God’s merciful love, and our hopeful expectation of eternal life in the words of Credo quod Redemptor: “I believe that my Redeemer lives, and that on the last day, I shall rise from earth and in my flesh I shall behold God my Savior.”

The CD is available for purchase ($9.99) and for download ($6.93) (Amazon, CD Baby, iTunes, etc.). Or you may listen and follow the scores below on YouTube. (Score available at RJC Cecilia Music)

Free Sample from Score:   PDF • VI. Lux aeterna

YouTube:  I. Introit | Requiem aeternam”
YouTube:  II. Gradual | Requiem aeternam
YouTube:  III. Dies Irae
YouTube:  IV. Jubilis!
YouTube:  V. Offertory | Domine Jesu Christe”
YouTube:  VI. Communion | Lux aeterna
YouTube:  VII. Last Farewell

HIS WORK WAS COMPOSED for Richard Kelley, trumpet. (Additionally, BSO Organist, James David Christie has asked me to arrange a version for English Horn for him and Robert Sheena, Principal English horn player of the Boston Symphony Orchestra.) Certainly, the trumpet is rarely, if ever associated with Gregorian Chant. However, Mr. Kelley possesses unusually extraordinary grace, dignity, and humility, all which sing beautifully through his playing. (Listen especially to IV. Lux Aeterna and the quote of “In Paradisum” in the VII. Last Farewell.)

The one movement, which is a departure from the Requiem mass, is the “IV. Jubilis!” It briefly quotes the Tract (which of course comes before the Sequence in the mass–the order is reversed in this concert piece.) It is also loosely based on the Post-Vatican II addition of the “Alleluia” The “Jubilis!” theme returns at the end of the final movement, in hopeful expectation of eternal life in heaven.

ICHARD KELLEY, TRUMPET was a soloist with the Boston Symphony and Boston Pops 1984 and 1985 at the age of 16 and 17. He studied at the Juilliard School in NYC, he is a former member of Boston Brass Quintet and a current member of the Brass Band of Battle Creek. His credits include Broadway shows in NYC, TV ads, and film soundtracks. He has performed with artists such as Andrea Bocelli, Ray Charles, Steven Tyler, James Taylor, Glenn Close, Bernadette Peters, Jennifer Aniston, and Vanessa Williams. Conductor of the New England Swing in Nashua New Hampshire, he now plays frequently with the Boston Pops.

NITA CIPRIANI was a French teacher at Hunter College Elementary School and Convent of the Sacred Heart, both in Manhattan. A consummate educator, she studied in Paris and spent much of her life there. In 1992, she was honored by the French Government at the French Consulate in New York as a Chevalier dans l’Ordre des Palmes Académiques, a decoration founded by Emperor Napoleon I to honor outstanding academics. Her joy of life and her deep faith in God sing on.

• Pictured: Anita Cipriani and Richard,  New York City, 1996

• CD Cover Photography by Rev. James Martin, SJ | Window from St. Mary’s Chapel, Boston College
• Recording Engineer: Evan Landry
• Mastering: Paul Umbach
• Richard Clark played the 1999 Smith & Gilbert Organ Recorded at St. Cecilia Church, Boston

Two Lenten Meditations




The Ash Wednesday Collect from the Roman Missal refers to Lent as “this campaign of Christian service…” Through this campaign, Lent is marked by two themes: preparation for baptism and penance. But Lent is also a joyful season with its expectation of resurrection and as a time of healing. In the Introit for Ash Wednesday, Misereris Omnium, it is deeply significant that the very first prayer of Lent speaks of God’s infinite mercy: “Your mercy extends to all things, O Lord, and you despise none of the things you have made. You overlook our sins for the sake of repentance. You grant them your pardon, because you are the Lord our God.” –Wisdom 11:24-25, 27; Psalm 57 (56)

Two Lenten Mediations  was premièred a St. Cecilia Church in 2002 by Marco Facchin, organ, Michael Calmès, tenor, and the St. Cecilia Schola.

I. Misereris Omnium–Atonement, Transformation is based on the Introit for Ash Wednesday. Here the schola sings the Intoit, followed by organ variations. The transformation and variety of colors in the organ indicate that through the Lenten season, we do not end up in the same place that we started. Beginning with the thick and rich clarinet stop in the tenor, the piece explores many colors, ending with very light 4′ flutes, in anticipation of Christ’s resurrection.

II. Lover of Souls also takes its text from the Ash Wednesday Introit, with the added line from scripture Wisdom 11: 27: “But you spare all things, because they are yours, O Lord, Lover of Souls.” This work with contemporary classical harmonic language is beautifully sung by Michael Calmès, ternor.

Twelve Communion Propers for Lent

Free Download:
PDF • “Twelve Communion Propers for Lent” (for Schola, Organ, SATB)

• Includes settings from Ash Wednesday and each Sunday of Lent though Palm Sunday. Also included are the multiple settings for Sundays three, four, and five, appropriate for the various cycles of readings and scrutinies for RCIA.

• All are chant based/inspired.

• Can be sung with cantor or schola only; there is enormous opportunity for SATB singing, designed to offer contrast with unison singing.

• Congregation inserts for worship aids found after page 25

• Antiphon texts are English translations of those found in the Graduale Romanum. (You will find some variation with the Communion propers found in the Roman Missal. An extraordinary article regarding Antiphons in the Roman Missal vs. the Roman Gradual is written by Jeff Ostrowski.)

Singing the propers during mass is not only the first option indicated by the General Instruction of the Roman Missal, but a true gift and blessing irregardless. It is fitting that the first communion antiphon on Ash Wednesday is, “He who meditates day and night on the law of the Lord, shall bear fruit in due season.” (Ps. 1: 2b, 3b) This is our hope: that our meditation and prayer, put into action will bear great fruit that will last.

The texts of the mass propers are a treasure. They are a gift being rediscovered by our generation, right now. While it may take another generation for singing them to become common practice at the parish level, the mustard seed has been planted with strong roots taking hold. So many extraordinary composers are taking on the challenge of bringing the mass propers into common practice: Kevin Allen, Adam Bartlett, Heinrich Isaac, Fr. Columba Kelley, Chris Meuller, Jeff Ostrowski, Gary Penkala, Kathleen Pluth, Richard Rice, Christoph Tietze, Fr. Samuel Weber, Russell Weissmann, and many more. This list is only the beginning.

Furthermore, singing the psalm verses in between antiphons opens our hearts to live our lives within the liturgy. Undiscovered by many, psalmody fills the mass and therefore fills our daily lives, addressing our most human wants, needs, and desires, only as imperfect humanity can express. Yet we offer our imperfection to God and ask God to take on our sorrows, our suffering, our joys and our praise, just as the psalmists did. In this way, we can live the liturgy.

“Gaudens Gaudebo” at Methuen and Basilica of the National Shine | Rosalind Mohnsen, organ

Friday, September 21, 2012 @8PM organist Rosalind Mohnsen performs at the Methuen Memorial Music Hall for the Fall Scholarship Fund Organ Recital. On the program will be my “Gaudens Gaudebo — I Will Greatly Rejoice!”
Rosalind’s Performance of Gaudens Gaudebo at the Basilica of the National Shine of the Immaculate Conception, Washington, D. C., July 28th, 2012:

Gaudens Gaudebo—I Will Greatly Rejoice relies on three themes, two Georgian chants, played off of a third theme. All three are introduced within the first 4 measures. With rising and rhythmic improvisational manner, the Gregorian Chant, Gaudens Gaudebo is most prominent from the very beginning.

 Then, suggested in places is the familiar Mode I, Plainchant, Ave Maria.

Most conceptual of all, and often the accompaniment for the first two themes, is a third theme—the “Yes!” theme of Mary’s joy in doing God’s will. Merely hinted at in measures 3-4, it first appears in its fullness at measure 18:

Mary’s reply to God in the “Yes!” theme, a period of struggle and doubt arrives, followed by prayer.  In any life-altering decision, one may be plagued with questions, fear of the unknown, and doubt. No matter how certain, one must confront these emotions, followed by prayer: Measures 43-53 enter into an improvisational variation upon Gaudens gaudebo. It is mixed with great uncertainty, a nervous playfulness of youth, doubt, but still struggling forward. This section is immediately followed by an en prière variation of Gaudens gaudebo (m. 54-65). It is a time of deep meditation, a prayer to find clarity, certainty, and the strength to carry out God’s will.

From this point forward, the Gaudens gaudebo theme is presented with great rhythmic energy, as Mary carries out what she consented to do.  (m. 66-94)

At measure 97, an arpeggiated “Yes!” theme returns in the manuals, with variations of Gaudens gaudebo in the pedal. This chorale section travels through various keys, finally giving way to the toccata (m. 132).  This toccata, with a rhythmic “Yes!” drives the Ave Maria plainchant in the pedal.

Working towards culmination, the manuals slowly rise and fall in chromatic harmonies. It is at this time a fourth theme appears only once (m. 144-156): the Easter Compline hymn Regina Caeli is quoted in its entirety summarizing Mary’s necessary role in salvation history: “For He whom you have humbly borne for us, Alleluia! Has arisen as He promised! Alleluia!” One sings of motherhood and resurrection in the same verse.

Finally, all three major themes are declared with great youthful exuberance, and joy!

“Without God’s Son, nothing could exist; without Mary’s Son, nothing could be redeemed.” –St. Anselm

“Ascent to Freedom” in Russia Mark Husey, organ

My solo organ work of five movements “Ascent to Freedom” recently received its Russian Federation première this past week in the cities of Kislovodsk (Кислово́дск) and Yessentuki (Ессентуки́). These cities are in Southwest Russia in between the Black and Caspian Seas. Performed by virtuoso organist Mark Husey, Director of Music and Liturgy at St. Peter’s Church in Columbia, South Carolina, his concerts in Russia also included American composers Samuel Barber, Daniel Pinkham and Whitney Eugene Thayer, three of four who are New Englanders!

Regarding the billboard, Jason Villarreal Frias writes: “Восхождение к свободе=Ascent to Freedom is the big headline at the top above the Statue of Liberty and your name is in there Р. Кларк! (R. Clark) … the Russian pronunciation sounds like this: ‘Voskhozhdyeniye k svobodye.’

Click here to listen to Richard J. Clark’s live performance of “Ascent to Freedom” on the 1875 E. & G. G. Hook & Hastings, Opus 801, Cathedral of the Holy Cross, Boston, MA.