Views from the Choir Loft

Collaboration Between Artists

Andrew Leung · May 28, 2015

HIS PAST WEEKEND was a busy and musical one for me. I performed at two concerts, one with my choirs at my parish and the second one at St. John the Baptist Cathedral in Charleston, SC, with the Atlanta Schola Cantorum. On the way back from Charleston, I had a chance to stop by the newly-dedicated St. Mary Help of Christians Catholic Church in Aiken, South Carolina. Here is a thought from my trip: Catholic artists (musicians, architects, visual artists, acoustic engineers etc.) need to work together more often.

I really like the new St. Mary Help of Christians Church. The exterior of the church is in the Spanish style and the interior looks like a Roman basilica. The project is not completed yet, they are waiting to put in the stain glass windows and more statues, but the church is definitely functional. It can hold up to one thousand people and the acoustic of the church is great! There was a graduation rehearsal going on during my visit and a teacher was giving some instructions to her students. I was able to hear her instructions from the back of this huge church and she didn’t use a microphone. I also realize there was some empty space in the choir loft and my guess is that they are leaving some room for a pipe organ in the future.

Another wonderful experience I had during the trip was the concert at St. John the Baptist Cathedral. I joint the Atlanta Schola Cantorum recently and we were invited to perform at the Piccolo Spoleto Festival. I really enjoyed singing in the big gothic cathedral! As a musician, I am always “trapped” in the crowed choir loft and I never get to listen to myself or my choir from the pews or the sanctuary. This time, we performed in the sanctuary and I got to hear myself! The sound is totally different from what I used to hear and I felt like I was in heaven!

In order for all these good things to happen, artists must collaborate with each other. Musicians should plan with church architects on things like the acoustic, choir loft and space for the instruments. Other than the architectural area, it’s also important that musicians get involved in the additional sound system and the exterior design of an pipe organ. Through collaborations, we can all live out our vocation in service of beauty.

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

About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

Pipe Organ “Answers” in Plainsong?

In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.

—Jeff Ostrowski

Music List • (5th Sunday of Lent)

Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 5th Sunday of Lent (22 March 2026). If such a thing interests you, feel free to download it as a PDF file. Traditionally, this Sunday was called ‘Passion’ Sunday. Starting in 1956, certain church leaders attempted rename both ‘Passion’ Sunday and ‘Palm’ Sunday—but it didn’t work. For example, Monsignor Frederick McManus tried to get people to call PALM SUNDAY “Second Passion Sunday”—but the faithful rejected that. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.

—Jeff Ostrowski

Music List • (Holy Thursday, 2026)

Readers have expressed interest in seeing the ORDER OF MUSIC I created for Holy Thursday, which is 2 April 2026. If such a thing interests you, feel free to download it as a PDF file. I’m not sure I’ve ever heard a more piercingly beautiful INTROIT, and I have come to absolutely love the SATB version of ‘Ubi cáritas’ we are singing (joined by our burgeoning children’s choir). I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.

—Jeff Ostrowski

“Gregorian Chant Quiz” • 24 March 2026

How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!

—Jeff Ostrowski

PDF Download • “Ubi Caritas” (SATB)

I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.

—Jeff Ostrowski

PDF Download • “Holy, Holy, Holy”

For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.

—Jeff Ostrowski