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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

Blue Heron shines the light on Ockeghem—“The best composer you’ve never heard”

Richard J. Clark · March 2, 2018

ELEBRATING someone’s 600th birthday is a rare event. To do so over the course of five or six years is an historical rarity. This is what the Blue Heron ensemble and Music Director, Scott Metcalfe have set out to do, performing the complete works of Johannes Ockeghem (c.1420-1497) over the course of thirteen or fourteen concerts that also includes many other composers

Refreshing is Metcalfe’s attitude (and public assertion), that he and the ensemble are growing with new insights through this project. Performing concerts that feature many composers in addition to Ockeghem, he states that once the cycle is complete, they might just start all over again “because we are learning so much.”

• Boston Globe review from St. Cecilia Parish, Boston, Thursday, March 1, 2018: Blue Heron continues remarkable journey through Ockeghem.

Widely acclaimed by the New York Times, The New Yorker, The Boston Globe, and others, Blue Heron is shining the light on music that is rarely performed despite being on par with the greatest of all time. Metcalfe asserts, “He is in every way a composer of Bach’s stature and accomplishment both technically and expressively, someone whose music is rich at every level.” Called “the Bach of the 15th Century” Metcalfe also reminds us that Bach is truly “the Ockeghem of the 18th Century.”

The rich inventiveness of Ockeghem’s counterpoint is certainly a high point of all of Western Music. Blue Heron animates these heights with pristine clarity and passion.

      * *   Listen to a recent broadcast on WCRB FM of a live performance at First Church in Cambridge, Massachusetts here.

      * *  Listen to Blue Heron and Scott Metcalfe compare Ockeghem to Bach:

      * *  Listen to here to the Credo from Missa Ecce ancilla domini by Ockeghem:

With a recent performance at St. Cecilia Church in Boston and a performance tonight at St. Andrew’s Episcopal Church in Wellesley, Massachusetts (7:30pm), do not miss their upcoming performance at First Church in Cambridge on Saturday, March 3, 2018 • 8 PM. See info here.

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 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

    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski
    PDF Download • “Hymn for 2 Voices”
    Readers who click on this video will see that it starts with verses of the “Pange Lingua” hymn by Saint Thomas Aquinas (d. 1274) arranged for two voices. However, there’s a polyphonic refrain (“Tantum Ergo”) for three voices, taken from Kevin Allen’s Motecta Trium Vocum. If your choir is very small, this piece is for you! You can download the PDF score free of charge—and you can also utilize the rehearsal videos for each individual voice—by navigating yourself to #20323.
    —Jeff Ostrowski
    “Holy Name Hymn” (2-Voice Arrangement)
    When we post a direct URL link, we frequently get thousands of downloads. But when scrolling is required, very few take the time. I mention this because those who click on this URL link and scroll to the bottom can download—completely free of charge—a clever 2-voice arrangement for a famous hymn to the Most Holy Name of Jesus. In a pinch, it can be nicely sung by one male and one female! It will be of interest to those who seek arrangements for two voices.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of January (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. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —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
    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski

Random Quote

“Latin has been the language of the Latin liturgy for 1,600 years. It is a sign and source of unity as well as a defense of doctrine, not because of the language so much, but because it is a language no longer subject to changes. There are so many beautiful texts which can never have the same effectiveness in translation. Lastly, Latin is bound to an extremely precious heritage of melody, Gregorian chant and polyphony.”

— Cardinal Antonelli (Secretary of the Conciliar Commission on the Liturgy)

Recent Posts

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  • “Inquiry” • For Music Directors of Cathedrals and Larger Parish Churches
  • PDF Download • “Pange Lingua” for Three Voices (Father Edgard De Laet)

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