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Views from the Choir Loft

St. Paul’s Choir School, Harvard Square, Boston

Dr. Lucas Tappan · March 30, 2015

LMT Christmas Harvard Square II ODAY I WOULD like to turn away from European choir schools and move closer to home, focusing on several in the United States, the first of which is St. Paul’s Choir School, Harvard Square, in Boston.

Dr. Theodore Marier, the well known chant scholar, founded St. Paul’s Choir School in the autumn of 1963, creating the first and only Catholic choir school for boys in the United States.  Today the school educates boys in grades 4 through 8.  In 2010, the choir school hired Mr. John Robinson, formerly Assistant Organist at Canterbury Cathedral, to lead the choir.  From various articles I have read, he is doing great work, such as implementing the ABRSM music theory curriculum in the school, hiring professional male singers for the choir and increasing the number of liturgies for which the choir sings on a weekly basis. Last fall, the choir released its first international CD entitled “Christmas in Harvard Square.”  The parish’s pastor sums up the music at the choir school as (quoting Pope Emeritus Benedict XVI) “Music capable of opening minds and hearts to the dimension of the spirit and of leading persons to raise their gaze on High, to open to absolute Goodness and Beauty, which have their ultimate source in God.”  Would that all parish music programs could say the same.

One “take away” item I would like to share is that (if Wikipedia can be trusted!) Dr. Marier and the then pastor of St. Paul’s began the choir school in response to De music sacra, the 1958 document from the Sacred Congregation of Rites, which encouraged boys choirs and special schools for the teaching of sacred music.  All it took was the vision of one parish priest (St. Paul’s is not a cathedral) and one music director to create such an incredible institution.  Are you a priest, are you a music director?  Perhaps God is calling YOU!

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

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Proof Which All Can Immediately See!
    “A little knowledge is a dangerous thing,” as the famous maxim goes. Over the years, I’ve observed malicious attacks on the Brébeuf Catholic Hymnal. Rather than scoring a ‘hit’ on the Brébeuf Hymnal, its attackers often reveal profound ignorance. I’ve been advised never to reply … but I break that rule today. Certain voices online assert that the Brébeuf Hymnal is “untraditional” because it includes both the Urbanite and pre-Urbanite versions of the hymns. But if only they would glance at a copy of the 1913 VESPERALE (printed by order of Pope Saint Pius X) they would see how mistaken such statements are.
    —Jeff Ostrowski
    New Bulletin Article • “8 June 2025”
    My pastor requested that I write short articles each week for the parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article includes a few anecdotes about Archbishop Fulton J. Sheen and Abraham Lincoln.
    —Jeff Ostrowski
    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“The pope regrets that this trade in African slaves, that he believed having ceased, is still exercised in some regions and even more cruel way. He begs and begs the King of Portugal that it implement all its authority and wisdom to extirpate this unholy and abominable shame.”

— ‘Pope Pius VII, writing to the King of Portugal’

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