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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Gregorian Propers at a Nuptial Mass in “Southie”?

Richard J. Clark · January 17, 2014

OUTH BOSTON, KNOWN around here as “Southie” is a section of Boston most familiar to many around the country from the films “Good Will Hunting” and “The Departed.” It is also infamous for the convicted murderer and gangster, James “Whitey” Bulger, who inspired the latter of the two films. Yes. Glorious Gregorian Propers, polyphony, and hymnody at a Nuptial Mass in “Southie.”

South Boston (nowhere near the “South End” where the Cathedral of the Holy Cross is located…Boston geography is complicated…) is a colorful neighborhood, but forget what you know from TV and film. Historically a neighborhood of Irish immigrants, it is a deeply proud and Catholic neighborhood and a world unto itself. Once you go over the bridge into “Southie,” be certain you have entered a different realm.

This unique realm is where the wedding of Nori Elisabeth Pifer and Stephen David Fahrig enters, celebrated at the beautiful and historic Gate of Heaven Church, established in 1863. (Church musicians’ weddings are often extraordinary and unusual. We all might have our own wonderful stories. Please share them in the combox!)

O WHEN A GREAT PROPONENT OF GREGORIAN CHANT marries a Professor of Sacred Scripture at both St. John Seminary and Blessed John XXIII National Seminary, one is treated to a liturgical delight of joy, reverence, and catechesis. Not only was the Word of God sung in the propers, but the level of congregational singing was astounding, evident in the singing of the dialogues, the responsorial psalm and the glorious hymns.

Perhaps a model wedding in the Ordinary Form, it was also a model of catechesis. In the beginning of the wedding program, the couple offered no less than four pages of beautiful and fully accessible commentary on the Nuptial Mass. You can download the entire program (sans copyrighted material) here. Some excerpts:

“As our wedding ceremony begins, some of you might be asking yourselves, “Where are the bridesmaids? Where are the groomsmen? Why are the bride and groom walking down the aisle together instead of meeting at the altar?” Others might be wondering, “What’s with all the rituals? Incense, candles, Latin chant—I’ve never seen any of this at a wedding, and I’ve been to plenty of weddings!

“These are all excellent questions. While it is entirely permissible for Catholic couples to incorporate such traditions as bridesmaids and flower girls into their ceremony, these customs are actually rooted in royal and secular traditions that have little to do with the Catholic nuptial Mass. In fact, the rubrics (ritual instructions) of the present-day Catholic Rite of Marriage call for the nuptial Mass to begin with a procession of altar servers and clergy followed by the bride and groom, who walk down the aisle together…”

Take note that the procession included the hymn “Alleluia! Sing to Jesus!” followed by the Introit, Deus Israel during the incensing of the altar. Listen to the recording and you can almost smell the incense!

The couple writes further:

“Because we believe that Jesus is truly present in the Holy Eucharist, it is deeply fitting that our wedding vows should be celebrated within the context of the Mass…How appropriate it is then, that we begin our married life together by being united with one another and with our Lord in the sacrament of the Eucharist.”

Notable too was the large number of clergy and seminarians present:

”The elaborate ritual gestures – precessions, incense, involvement of many deacons and priests – is not for the sake of pomp or show, but to give glory to God. In a particular way, we hope to glorify God through the beauty of the sacred music that we have selected for our nuptial Mass….”

HE CHANT AND HYMNS were exquisitely directed by composer, tenor, and founder of the Blackstone Valley Catholic Youth Choir, Michael Olbash. The greatly acclaimed virtuoso organist Mark Husey and rising star Ryan Lynch played the hymns with soaring dignity and transcendence. A beautiful Responsorial Psalm by Brian Michael Page was cantored by Sarah Rogevich. The incomparable Emily Lau cantored the the Gregorian Alleluia. Such remarkable voices graced the choir: Amanda White, Camilia Paris, Clare MacNamara, Erin Seaver Blazek, Patricia Almond, Sarah Mitchell, Matthew Stansfield, and longtime CMAA friend, Richard Chonak.

While I had the privilege of conducting two works by Victoria, these singers were so wonderful, I could have waved my arms like a chicken (I most assuredly did at times) and they still would have sounded beautiful.

UESTS AT A WEDDING USUALLY bring gifts for the bride and groom. But I felt as though the couple had given us a gift with such a profoundly prayerful experience. This experience uplifts and fortifies the soul, strength that we can take with us for a long time to come. Mark Husey put it best when he said of his experience, “I was so blessed to be a part of this. Such a rich harvest of grace was gleaned from this extraordinarily spirited celebration…we couldn’t help but be moved to greater love and joy.”

Congratulations, Nori and Stephen! Thank you for the gift!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: congregational singing, Nuptial Mass, Propers, Singing the Mass Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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President’s Corner

    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski
    “To Cover Sin With Smooth Names”
    Monsignor Ronald Knox created several English translations of the PSALTER at the request of the Cardinal Archbishop of Westminster. Readers know that the third edition of the Saint Edmund Campion Missal uses a magnificent translation of the ROMAN CANON (and complete Ordo Missae) created in 1950 by Monsignor Knox. What’s interesting is that, when psalms are used as part of the Ordo Missae, he doesn’t simply copy and paste from his other translations. Consider the beautiful turn of phrase he adds to Psalm 140 (which the celebrant prays as he incenses crucifix, relics, and altar): “Lord, set a guard on my mouth, a barrier to fence in my lips, lest my heart turn to thoughts of evil, to cover sin with smooth names.” The 3rd edition of the CAMPION MISSAL is sleek; it fits easily in one’s hand. The print quality is beyond gorgeous. One must see it to believe it! You owe it to yourself—at a minimum—to examine these sample pages from the full-color section.
    —Jeff Ostrowski
    Heretical Hymns
    As a public service, perhaps a theologian ought to begin assembling a heretical hymns collection. A liturgical book—for funerals!—published by the Collegeville Press contains this monstrosity by someone named “Delores Dufner.” I can’t tell what the lyrics are trying to convey—can you? I detest ‘hymns’ with lines such the one she came up with: “Let the thirsty come and drink, Share My wine and bread.” Somehow, the publication was granted an IMPRIMATUR by Most Rev’d Jerome Hanus (bishop of Saint Cloud) on 16 August 1989. It’s a nice tune, but paired with a nasty text!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“This chapter hereby extends the prohibition of 13 June 1561 against loaning singers or instrumentalists on any account whatsoever to include even the humblest choirboy.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (10 June 1562)

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  • Heretical Hymns
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