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Free Communion Propers for the Easter Season, Year C

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COMPOSING THESE SETTINGS has been a great blessing, helping me enter into prayer. I hope it will be of some help for you too.

To sing these texts is to journey from Christ’s Resurrection to the decent of the Holy Spirit. Although intellectually understood, it is still an emotional experience to realize 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, Year C”
(for Schola, Organ, SATB)
To purchase hard copies: ($3.25 each)
• Includes ten settings from the Easter Vigil though Pentecost Sunday. Also included is a setting for the Seventh Sunday of Easter in those dioceses in which The Ascension of Our Lord is not transferred to Sunday.

• All are chant based.

• 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 21

• 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.)

These ten antiphons were composed within a twenty-four hour period, so hopefully there is some continuity among them. The 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”!).

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 chord in both the antiphon and verses are unsupported by the root, but instead by the third providing a sense of elevated motion.

Finally, for future reference, or a last minute opportunity for Palm Sunday:
Free Download:
PDF • “Twelve Communion Propers for Lent” (for Schola, Organ, SATB)

Have a blessed Holy Week!

 

Two Lenten Meditations

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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

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

To purchase hard copies: ($3.25 each)

• 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.

Richard J. Clark on “Sounds from the Spires” with Dr. Jennifer Pascual – Podcast

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I recently had the opportunity to speak with Dr. Jennifer Pascual, Director of Music for Saint Patrick’s Cathedral in New York City on SIRIUS XM 129 Radio, The Catholic Channel. Dr. Pascual is an incredibly down to earth and welcoming host!

Listen here to the interview on 9.24.2012:
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Or click here to Listen to this episode

The following pieces are featured on the program:

I am deeply grateful to my amazing volunteers and supportive colleagues without whom I am nothing!
Special Thanks to recording engineer Evan Landry

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

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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

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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.