Mass in Honor of Pope Saint John Paul II on “Sounds from the Spires” and the Youth-Based Chant Movement


ASS IN HONOR of Pope Saint John Paul II” was recently featured on “Sounds from the Spires” on SIRIUS XM 129 Radio, The Catholic Channel.

I had the opportunity to speak with the program’s host, Dr. Jennifer Pascual, Director of Music for Saint Patrick’s Cathedral in New York City. In addition, special guest, Ryan Lynch, Director of Music and Organist at St. Raphael’s Parish in Medford, MA joined the program to discuss the youth-propelled chant movement, the new economic model of publishing, and how it is reshaping the liturgical landscape.

• PODCAST • You can listen here to the program broadcast on 5.18.2014:

DOWNLOAD Complete Score (2.3 MG):
PDF • Mass in Honor of Pope Saint John Paul II (for Schola, Organ, SATB)
Published with the approval for liturgical use by the Committee on Divine Worship, United States Conference of Catholic Bishops.

• Music from this broadcast:
“Mass in Honor of Pope St. John Paul II” | St. Cecilia Choir, Boston, MA

YouTube:  Penitential Act C | Kyrie
YouTube:  Gloria
YouTube:  Sanctus
YouTube:  Memorial Acclamation A
YouTube:  Memorial Acclamation B
YouTube:  Memorial Acclamation C
YouTube:  Doxology, Amen
YouTube:  Agnus Dei

YouTube:  Christe qui lux es et dies | The Seraphim Singers, Jennifer Lester, Director
YouTube:  St. Cecilia Day Variations | St. Cecilia Schola, Richard J. Clark, organ

• TWO BONUS PODCASTS! Here is my 2012 interview on “Sounds from the Spires.”

From 2013 Richard Kelley, trumpet, and Richard J. Clark discuss their CD, “Requiem pour une américaine à Paris”

Mass in Honor of Pope Saint John Paul II


VER SINCE MY WIFE was expecting our third child, I began composing this mass setting in thanksgiving to God for my son, Sean Paul to whom it is dedicated. While composed in a chant style, each melody is reminiscent of a simple lullaby. (The Sanctus is perhaps the best example.) Like chant, when one sings a lullaby, one often doesn’t focus on meter and timing. The words and melody flow naturally and are fully devoted to the child. Likewise, chant is fully devoted to God flowing in much the same way. As such, this mass can even be sung effectively in three ways:

1 • Unison without accompaniment

2 • Cantor/Unison Schola and Organ

3 • SATB and Organ

The voice-leading is designed to be simple; the accompaniment is well-suited for an organ of humble means.

Using the 2010 English translation of The Roman Missal, Third Edition, it is published with the approval for liturgical use by the Committee on Divine Worship, United States Conference of Catholic Bishops.

DOWNLOAD Complete Score (2.3 MG):
PDF • Mass in Honor of Pope Saint John Paul II (for SATB, Schola, Organ)

DOWNLOAD Unison/Organist Edition:
PDF • Mass in Honor of Pope Saint John Paul II (for Schola, Organ)
Recordings by the St. Cecilia Choir, Boston, MA, with the 1999 Smith & Gilbert Organ:

YouTube:  Penitential Act C | Kyrie
YouTube:  Gloria
YouTube:  Sanctus
YouTube:  Memorial Acclamation A
YouTube:  Memorial Acclamation B
YouTube:  Memorial Acclamation C
YouTube:  Doxology, Amen
YouTube:  Agnus Dei

LISTEN and FREE DOWNLOADS of 24 bit audio here

AM ABSOLUTELY NOTHING without my wonderful volunteers and colleagues who are generous, talented, and devoted to prayer. Many thanks to Mark Donohoe, Allesandra Cionco, Jaime Korkos, Emily Lau, Michael Olbash, Peter Tetrault, Ryan Lynch, Doug McNicol, Benjamin Mead, Robert Gregory, Gillian Lynn Cotter, Ghinwa Choueiter, Heather Young, Joseph Houley, Mark Brown, Rachel Edelman, Robert Boland, Kathleen Boland, Libby Boland, Wanner, Cynthia, William Brown, Chuck Ovivieri, Matthew Gallup, Anna Maria Licameli, Rose Sun, Michelle Ong, Patricia Almond, Rebecca Wettemann, Patricia Driscoll, Perpetua Charles, and Timothy Edward Smith

“Requiem pour une américaine à Paris” on “Sounds from the Spires”



NSPIRED BY THE GREGORIAN CHANT propers of the Requiem Mass, the CD Requiem pour une américaine à Paris was recently featured on “Sounds from the Spires” on SIRIUS XM 129 Radio, The Catholic Channel.

Trumpet player, Richard Kelley and I had the opportunity to speak with the program’s host, Dr. Jennifer Pascual, Director of Music for Saint Patrick’s Cathedral in New York City. Dr. Pascual is an incredibly down to earth and welcoming host!

• PODCAST • Listen here to the program broadcast on 10.6.2013:

The CD is available for purchase ($9.99) and for download ($6.93) (Also available on iTunes)

You may listen and follow the scores below on YouTube. (Score available at RJC Cecilia Music)

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

• BONUS PODCAST! Here is my 2012 interview on “Sounds from the Spires.”

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.

“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.