A Restrained Holy Week

by Gary D. Penkala

Hoping never to see the kind of Holy Week we experienced in 2020, we look forward to this sacred time in the year 2021. But state-wide regulations prompt a huge variety of diocesan and parish protocols for what's allowable and what's still forbidden. These run the gamut from a single vocalist with no congregational singing whatsoever to full congregational involvement in music. The same protocols we saw at Christmas may well extend through Holy Week 2021.

While choirs are almost universally discouraged, at least one singer is generally allowed; some places enjoy a quartet. What follows are a number of CNP pieces that can work during Holy Week with limited vocal resources.

See what's possible — even under these strange circumstances.

I. Palm Sunday

• Alternatim Kyrie (Couperin) — one singer
  The Kyrie from François Couperin's Mass for the Parishes, set for organ alternating with schola.
   
• Ave Regina cælorum (Shenk) — one singer
  This Marian solo/motet is written in Shenk's mildly chromatic style.
   
• Eight Liturgical Rounds (Morber) — two singers
  Eight rounds, on texts spanning the liturgical year. Each has a vocal descant, which can also be played on a C or B-flat instrument.
   
• Five Treble Motets (Kwasniewski ) — three singers or more
  Three are set for SSA choir, one for SAA, and one for SSAA. They are meant to be accessible to amateur choirs for use in parish or chapel settings, and the provision of multiple verses or psalm verses enables them to be longer or shorter depending on liturgical needs.
   
• Graduale Romanum (chant) — two singers or more
  The Graduale Romanum is the Church's official book for the choir. All its chant is in square-note notation and forms an inexhaustable source of appropriate liturgical music, suitable for any size group.
   
• Graduale Simplex (chant) — two singers or more
  This includes simplified versions of texts for most Sundays of the liturgical year, as well as for major solemnities and feasts. These are easier chant melodies, less melismatic, but nonetheless notated in square-note format.
   
• Gregorian Missal (chant) — two singers or more
  The Gregorian Missal is a stream-lined but comprehensive version of the Church's official liturgical music book, the Graduale Romanum. The Missal, with English titles and rubrics, also has translations of all the chants, not meant for singing but simply for comprehension
   
• Hymn Trilogy II (McMurray) — three singers
  Three simple motets for the Easter Cycle; two for SAB and organ.
   
• Mass Propers for the Liturgical Year (Penkala) — one singer
  These booklets offer an effective and utterly simple way for singers to actually chant the Propers of the Mass, with or without the congregation,
   
• O Crux ave (Fr. David Friel) — four singers
  Written for three-part choir, this a cappella motet can be sung by equal voices (women or men) or by a mixed group (SAB). Its 23 measures can make a brief antiphon for use at any point from the Fifth Sunday of Lent [formerly, Passion Sunday] through Good Friday.
   
• O Jesus, My Savior (Campra/Clark) — one singer
  A charming melody is the star of this arrangement, and could be sung medium-voice soloist or by a unison choir; optional flute may be added.
   
• Palm Sunday Processional (Johannes Somary) — one singer
  The congregation sings a refrain on a text they already know: Hosanna, hosanna, hosanna in the highest! The cantor and/or ensemble sing the verses that appear in the Roman Missal.
   
• Parish Book of Chant — Second Edition (chant) — two singers or more
  This second edition of The Parish Book of Chant, edited and typeset by Richard Rice. This book is a must for anyone who aspires to sing chant in the "average" Catholic parish. Very simple — that is, it's not intended for the Schola to sing the Propers
   
• Seven Processionals for the Roman Pilgrimage Basilicas (Penkala) — one singer
  This series of processionals is inspired by the Roman Pilgrimage Churches, each with appropriate texts in English, Italian and Latin.
   
• Soul of Christ, Sanctify Me (Smith) — four singers
  This beautiful 16th century Communion prayer is set for two voices and organ, sometimes singing homophonically, sometimes in relaxed polyphony.
   
• Two Three-Part Motets (Brumby) — three singers or more
  These motets may be performed a cappella, although an optional organ accompaniment [slightly different than the voice parts] is provided. The writing is wonderful — the voice parts almost sing themselves. It is also very practical, with the range of each voice approximately within an octave.
   
• Versets for Kyrie orbis factor (de la Tombelle/Penkala) — three singers or more
  The Versets are based on the Kyrie orbis factor from Missa XI for Sundays of the Year (Ordinary Time). There are four brief, contrapuntal versets, which alternate with the phrases of the chant, sung by a schola, accompanied or a cappella:
   

II. Holy Thursday

• Aquinas: Two Eucharistic Texts (Brumby) — one singer
  Unison versions of O salutaris Hostia and Tantum ergo Sacramentum.
   
• Ave Regina cælorum (Shenk) — one singer
  This Marian solo/motet is written in Shenk's mildly chromatic style.
   
• Ave verum Corpus (Quick) — two singers
  Written for unison voices with a short middle section in two parts, the motet, in the Romantic style of Elgar and Fauré, could also be sung by a medium voice soloist or unison choir. There are ample dynamic indications that reinforce the Romantic nature of the music.
   
• Blessed Jesus, at Your Word (Lebedinsky) — two singers
  The text is a translation of a German chorale; the accompaniment is written specifically for organ with pedal, using consistent eighth note motion that keeps the Andante tempo moving pleasantly.
   
• Christ Is the Heavenly Food (Petrich) — two singers
  This useful, two-part anthem is a setting of a 20th century Communion text. Four stanzas of the hymn text are set, both canonically and as two-part homophony, using unison singing for emphasis. The music is melodic and the ranges for all singers are very manageable.
   
• Graduale Romanum (chant) — two singers or more
  The Graduale Romanum is the Church's official book for the choir. All its chant is in square-note notation and forms an inexhaustable source of appropriate liturgical music, suitable for any size group.
   
• Graduale Simplex (chant) — two singers or more
  This includes simplified versions of texts for most Sundays of the liturgical year, as well as for major solemnities and feasts. These are easier chant melodies, less melismatic, but nonetheless notated in square-note format.
   
• Gregorian Missal (chant) — two singers or more
  The Gregorian Missal is a stream-lined but comprehensive version of the Church's official liturgical music book, the Graduale Romanum. The Missal, with English titles and rubrics, also has translations of all the chants, not meant for singing but simply for comprehension
   
• I Give You A New Commandment (Owen) — four singers
  For Holy Thursday: the "Mandatum" text, a cappella SATB, lush harmonies; medium difficulty. This motet is useful for the Foot Washing or Offertory at the Mass of the Lord's Supper.
   
• Maneant in vobis (Rice) — fonr singers
  The sixth antiphon from the Graduale Romanum for the Washing of Feet on Holy Thursday is presented in both a Latin text and a singable English translation. The verses are in English.
   
• Mass Propers for the Liturgical Year (Penkala) — one singer
  These booklets offer an effective and utterly simple way for singers to actually chant the Propers of the Mass, with or without the congregation,
   
• O salutaris hostia (Franck/Naples) — two singers
  César Franck wrote a lovely 2-part setting of the Latin text, O salutaris hostia, which is a stanza from the hymn by Saint Thomas Aquinas, Verbum supernum prodiens. Jon Naples has edited and arranged it (e.g. lowering the pitch a step) to make the motet more useful for most 2-part voices.
   
• Parish Book of Chant — Second Edition (chant) — two singers or more
  This second edition of The Parish Book of Chant, edited and typeset by Richard Rice. This book is a must for anyone who aspires to sing chant in the "average" Catholic parish. Very simple — that is, it's not intended for the Schola to sing the Propers
   
• Therefore We, before Him Bending (Morrison) — two singers
  Saint Thomas Aquinas penned the magnificent Eucharistic hymn, Pange lingua gloriosi for the new feast of Corpus Christi created in 1264 by Pope Urban IV. James Morrison has used the last two verses of this hymn, set to a Spanish plainsong melody, for this two-part anthem with organ accompaniment.
   
• Two Settings of Tantum ergo (R. Vierne & W. Knauschner) — four singers
  Here are two easy SATB choral settings of the Aquinas text, Tantum ergo sacramentum. Both are products of early 20th century Europe
   
• Two Three-Part Motets (Brumby) — three singers or more
  These motets may be performed a cappella, although an optional organ accompaniment [slightly different than the voice parts] is provided. The writing is wonderful — the voice parts almost sing themselves. It is also very practical, with the range of each voice approximately within an octave.
   

III. Good Friday

• Booklets of Chant (chant) — three singers or more
  To facilitate the use of chant in modern liturgies, we publish a series of inexpensive booklets of chant. Each booklet contains six to ten chants for a specific season of the liturgical year. All the chant is set to modern music notation. The text provided with the music is the original Latin and an English translation appears at the beginning of each piece.
   
• Caligaverunt oculi mei (Victoria) — four singers
  The Graduale Romanum is the Church's official book for the choir. Caligaverunt oculi mei is the text for the Responsory after the last Lesson of Good Friday Matins. It was part of the traditional Tenebræ service sung on the evening before Good Friday, and expresses profound tenderness of emotion at the words of the innocent Lamb: "Behold, see if there be any sorrow like unto my sorrow."
   
• Ecce lignum Crucis (Sittard) — four singers
  The Graduale Romanum is the Church's official book for the choir. Music for the Showing of the Holy Cross on Good Friday.
   
• Graduale Romanum (chant) — two singers or more
  The Graduale Romanum is the Church's official book for the choir. All its chant is in square-note notation and forms an inexhaustable source of appropriate liturgical music, suitable for any size group.
   
• Graduale Simplex (chant) — two singers or more
  This includes simplified versions of texts for most Sundays of the liturgical year, as well as for major solemnities and feasts. These are easier chant melodies, less melismatic, but nonetheless notated in square-note format.
   
• Gregorian Missal (chant) — two singers or more
  The Gregorian Missal is a stream-lined but comprehensive version of the Church's official liturgical music book, the Graduale Romanum. The Missal, with English titles and rubrics, also has translations of all the chants, not meant for singing but simply for comprehension.
   
• O Come and Mourn (N. Montani, arr. C.Traupman-Carr) — four singers
  The vocal part writing is efficient and beautiful. Harmonies, centered on e minor, are refined and interesting.
   
• O Crux ave (Fr. David Friel) — four singers
  Written for three-part choir, this a cappella motet can be sung by equal voices (women or men) or by a mixed group (SAB). Its 23 measures can make a brief antiphon for use at any point from the Fifth Sunday of Lent [formerly, Passion Sunday] through Good Friday.
   
• Parish Book of Chant — Second Edition (chant) — two singers or more
  This second edition of The Parish Book of Chant, edited and typeset by Richard Rice. This book is a must for anyone who aspires to sing chant in the "average" Catholic parish. Very simple — that is, it's not intended for the Schola to sing the Propers
   
• Reproaches (Morrison) — one to four singers
  The Reproaches can be sung during the Veneration of the Cross in the liturgy for Good Friday. The musical tone for the verses is simple and effective. The harmonic writing for choir is beautiful, noble and decidely "proper."
   
• Reproaches (Penkala) — one to four singers
  The Reproaches can be sung during the Veneration of the Cross in the liturgy for Good Friday. The piece is unison, except for a refrain which is set in simple SATB harmony.
   
• Seven Last Words of Christ (Penkala) — three singers
  These Scriptural quotes of Christ on the cross are here set in the rich and pure tones of the Latin language. Scored for a cappella SAB choir, these seven phrases are given concise and effective treatment, each being about one page long.
   
• Sixteen Bicinios, Volume 2 (Bertalotti/Iróffy) — two singers
  Angelo Bertalotti (1666-1747), a musician of sound contrapuntal training, was responsible for the children's choir, and following a centuries-old tradition, wrote solfeggio exercises for his pupils. Liturgical texts in Latin are applied to the exercises, according to the characteristics of the respective melodies.
   
• Soul of Christ, Sanctify Me (Smith) — four singers
  This beautiful 16th century Communion prayer is set for two voices and organ, sometimes singing homophonically, sometimes in relaxed polyphony.
   
• Tristis est anima mea (Martini/Angelini) — three singers or more
  This motet is part of our Treasury of Sacred Music Series, a collection of choral gems about which Vatican Council II was speaking in Sacrosanctam concilium: "The treasury of sacred music is to be preserved and cultivated with great care."
   

IV. Easter Vigil

• Booklets of Chant (chant)
  To facilitate the use of chant in modern liturgies, we publish a series of inexpensive booklets of chant. Each booklet contains six to ten chants for a specific season of the liturgical year. All the chant is set to modern music notation. The text provided with the music is the original Latin and an English translation appears at the beginning of each piece.
   
• Come Down, O Love Divine (Knight) — one or two singers
  A simplified version of an English cathedral-style anthem; optional descant.
   
• Easter Psalm (Ledoux/Penkala) — two singers
  A perfect piece for a group of any size and any age. With text based on Psalm 118, it is joyful and energetic, simple yet powerful, with a refrain that is clearly inspired by the chant version of the Easter Sequence Victimae paschali laudes.
   
• Ego sum vitis vera (Corvaia) — three singers or more
  The motet is written for SAB voices and is mostly homophonic, with greater use of polyphony in the Alleluia section which ends the work
   
• Eight Liturgical Rounds (Morber) — two singers
  Eight rounds, on texts spanning the liturgical year. Each has a vocal descant, which can also be played on a C or B-flat instrument.
   
• Five Treble Motets (Kwasniewski ) — three singers or more
  Three are set for SSA choir, one for SAA, and one for SSAA. They are meant to be accessible to amateur choirs for use in parish or chapel settings, and the provision of multiple verses or psalm verses enables them to be longer or shorter depending on liturgical needs.
   
• Good Christian Men, Rejoice and Sing (Robertson) — four singers
  The tune, from an early 17th century German songbook edited by Melchior Vulpius, is here set for a cappella SATB choir. Not a typical sequential stanza setting, this creative arrangement weaves the melody (or fragments) in various voices, with contrapuntal "accompaniment" voices and effective meter changes
   
• Graduale Romanum (chant) — two singers or more
  The Graduale Romanum is the Church's official book for the choir. All its chant is in square-note notation and forms an inexhaustable source of appropriate liturgical music, suitable for any size group.
   
• Graduale Simplex (chant) — two singers or more
  This includes simplified versions of texts for most Sundays of the liturgical year, as well as for major solemnities and feasts. These are easier chant melodies, less melismatic, but nonetheless notated in square-note format.
   
• Gregorian Missal (chant) — two singers or more
  The Gregorian Missal is a stream-lined but comprehensive version of the Church's official liturgical music book, the Graduale Romanum. The Missal, with English titles and rubrics, also has translations of all the chants, not meant for singing but simply for comprehension
   
• Hymn Trilogy II (McMurray) — three singers or more
  Three simple motets for the Easter Cycle; two for SAB and organ.
   
• I Know That My Redeemer Lives (Penkala) — one singer
  The refrain is based on the chant In paradisum from the end of the Funeral Mass; verses from Psalm 116.
   
• Lumen Christi (Richard Clark) — four singers
  This setting facilitates all the traditional elements of this procession: singing the response thrice, each time on successively higher pitches and accompanying the procession with choral embellishment, all a cappella (as the organ is still silent). Expertly arranged and beautifully written, Lumen Christi will enhance the grandeur of this special processional.
   
• Parish Book of Chant — Second Edition (chant) — two singers or more
  This second edition of The Parish Book of Chant, edited and typeset by Richard Rice. This book is a must for anyone who aspires to sing chant in the "average" Catholic parish. Very simple — that is, it's not intended for the Schola to sing the Propers
   
• Paschal Gloria (Greene) — two singers
  Based on the hymn tune Lyra Davidica (Jesus Christ Is Ris'n Today), Paschal Gloria is a crisp and immediately-engaging setting. A congregational refrain based on the first four measures of the hymn tune is supported with choral harmonies for SB (or optional SATB) voices The verses, also loosely quoting other parts of the familiar melody, are set for two-part mixed choir.
   
• Praise Ye the Lord: Psalm 150 (Nixon) — three singers or more
  This setting is for three-part voices. The a cappella texture allows for agile singing of the various phrases, whose short, recurring structure sounds rather like a litany.
   
• Sicut cervus (Palestrina) — four singers
  This motet is by many accounts the most outstanding example of religious choral art from the Renaissance The Latin text is taken from Psalm 42: "As the deer longs for flowing waters, so longs my soul for you, O God." The allusion to baptism makes this motet ideal for the Easter Vigil (Psalm 42 occurs as one of the Responsorial Psalms that night) and indeed for all of Eastertide..
   
• Sixteen Bicinios, Volume 2 (Bertalotti/Iróffy) — two singers
  Angelo Bertalotti (1666-1747), a musician of sound contrapuntal training, was responsible for the children's choir, and following a centuries-old tradition, wrote solfeggio exercises for his pupils. Liturgical texts in Latin are applied to the exercises, according to the characteristics of the respective melodies.
   
• This Joyful Eastretide (arr. Alan Smith) — one singer
  This setting is for three-part voices. This setting can be sung by one or more voicest. The accompaniment is ideal on organ manual(s), but can be played equally well on harpsichord or piano.
   
• Veni Creator Spiritus (Fry) — two singers
  In this setting of Veni Creator Spiritus we have a skillful two-part mixed arrangement of one of the most popular chants. Certainly appropriate for Pentecost Sunday and its vigil, this piece can also be used for Confirmation and Ordination liturgies, and any time as an invocation of the Spirit's aid.
   

The pieces above may be ordered on each product page or on this Order Form.

Article written 19 January 2021