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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

The Pipe Organ and Propers Flourish with Vexo and Weismann

Richard J. Clark · May 9, 2014

AST WEEK I DISCUSSED how the pipe organ often languishes in survival mode. Today, I would like to shine the light on the organ as it thrives.

Keeping the pipe organ alive takes creativity and thinking outside of the box. Furthermore, a mutually trusting relationship between pastor and musician allows sacred music to be nurtured, to grow and eventually flourish.

One such case is Russell Weismann who in recent years has had an interesting career path. He was Director of Music and Liturgy at Georgetown University. He then moved on to be the Associate Director of Music at the Basilica of the National Shrine of the Immaculate Conception. Recently, he was appointed Director of Music and Liturgy at Saint Jane Frances de Chantal Parish in Bethesda, Maryland. Interestingly, it is at the parish level where some truly creative partnerships are happening under Mr. Weismann’s leadership.

Recently, St. Jane de Chantel installed a new Lively Fulcher Organ of three-manuals and forty ranks which is beautifully voiced for a somewhat modest, yet bright worship space. The Lively Fulcher replaced an old Rogers electronic organ.

Mr. Weismann also appears to be an educator at heart, intent on catechizing the faithful on sacred music whether it be through inserting various articles on sacred music or a creative venture such as a recent mass for the Third Sunday of Easter in which the parish invited Johann Vexo, Choir Organist, Notre Dame Cathedral in Paris to play at mass as well as in concert.

But much more than a showcase of the organ, this liturgy had the full intention of implementing the ideals of Vatican II. In the program, Russell Weismann writes:

The music of today’s liturgy is inspired by the tradition of liturgical music at La Cathédrale Notre Dame de Paris. In keeping with the General Instruction of the Roman Missal, the prescribed sung antiphons (propers) for the day replace generic hymns (GIRM ii; 48). The congregation is asked to fully participate in the singing of the sung responses. Organ improvisation is interspersed throughout the liturgy, evoking a sense of “Vox Dei”, the Voice of God.

The organ, ‘transcending the merely human sphere, as all music of quality does, evokes the divine. … It is capable of echoing and expressing all the experiences of human life. The manifold possibilities of the organ in some way remind us of the immensity and the magnificence of God.” – Benedict XVI

DOWNLOAD the program: :
PDF • Third Sunday of Easter, St. Jane de Chantel Parish, Bethesda, Maryland

LISTEN to the Prelude improvisation (Johann Vexo) and Introit (6:00 into the MP3):
MP3 • Prelude – Introit

You will also see simple and singable settings of the Entrance, Offertory, and Communion antiphons. In addition, there is Weismann’s Mass in Honor of St. Ignatius, a beautifully crafted chant-based mass setting in English which is also very singable for any congregation. Then as a bonus, there is a May crowning and procession!

So, how was this mass received by the parishioners? There was standing room only at mass.

In this case, the propers and the organ thrive because of at least three elements:
• There is a mutually supportive partnership between pastor and musician.
• There is ongoing catechesis for the faithful to better understand the liturgy.
• Wonderful resources are fully taken advantage of and utilized.

F YOU ARE IN THE D.C. AREA, please attend mass at St. Jane de Chantel. You will experience a reverent and beautiful liturgy. Having had the privilege of hearing Russell Weismann play, his hymns alone are something of a seminar in organ accompaniment, varying each verse with color, harmonization and texture yet without drawing attention to itself. Seamless and fluid, the hymns are kept interesting, piquing the interest of the congregation with each verse. I suspect this is why the congregation there loves to sing so much.

For your enjoyment, here is a prelude improvisation by Organist Johann Vexo, on Les Grandes Orgues Notre-Dame-de-Paris. The great tradition of improvisation, especially in France is certainly quite adventuresome, fully embracing the awesome mystery and presence of God:

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

Filed Under: Articles Tagged With: Improvisation, Pipe Organ, Propers 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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Corpus Christi Watershed

President’s Corner

    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Indeed, we may not hope for real Latin poetry any more, because Latin is now a dead language to all of us. However well a man may read, write, or even speak Latin now, it is always a foreign language to him, acquired artificially. It is no one’s mother tongue. Does a man ever write real poetry in an acquired language?”

— Rev’d Adrian Fortescue (d. 1923)

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