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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

Catholic Youth Choir Releases CD, Prepares For Tour

Guest Author · January 15, 2014

865 Cardinal HEN MY OLDEST SON was nearing his eighth birthday back in 2011, I felt that it was important for him to start learning Gregorian Chant as part of a good Catholic children’s choir. Searching all of the parishes surrounding my home in the western suburbs of Boston, I could not find a single chant-centered program for children, except for the magnificent Choir of Men and Boys at St. Paul’s in Harvard Square, Cambridge, well over an hour away on a typical weekday morning.

So I asked the pastor of my local church, St. Brendan’s Parish in Bellingham, MA, if I could form a youth choir dedicated to the study of Gregorian chant, traditional hymnody, and sacred choral music. He agreed, encouraged me to creatively package the group in a manner that would not seem to be in competition with the parish children’s choir, and invited me to prepare music for the Traditional Latin Mass offered every second Sunday of the month at 12:30 p.m. I expected three or four kids to show up.

To my amazement, a number of Catholic families from a dozen surrounding communities expressed interest in the group, and today there are well over thirty young people enrolled in the Blackstone Valley Catholic Youth Choir. The children have performed at concerts, liturgies, and choir festivals, at several area churches and cathedrals, as well as Boston-area venues such as Fanueil Hall and the Hynes Convention Center. In March 2014, the choir plans to visit several churches in Connecticut and New York during a cultural tour/pilgrimage culminating with the Pueri Cantores Festival Mass to be held at St. Ignatius, New York City, with Cardinal Dolan presiding.

As a fundraiser for the tour/pilgrimage, the children have released a CD recording entitled, “Clothed With the Sun: Music for the Solemnities of the Immaculate Conception and Assumption.” The recording features Gregorian Chant, Marian motets, and relevant passages from the Simple English Propers and the Parish Book of Psalms. To learn more about the choir, order a copy of the CD, or to make a donation of any amount to help the children raise the $15,000 needed for the tour/pilgrimage, please visit the choir website:

      * *  Blackstone Valley Catholic Youth Choir

The CD also features recordings of two of the movements of the “Mass in Honor of the Blessed Virgin Mary, Star of the Sea,” a Mass setting which I composed in 2010, dedicated to Cardinal Sean O’Malley on the 40th anniversary of his ordination to the priesthood. The Kyrie is designed to follow the recitation of the Confiteor and flow effortlessly into the Gloria, which borrows melodic material from the Gregorian “Ave Maris Stella” chant. The Sanctus, based on the preface tone, is an hommage to the simple English chant settings of the Sanctus by Theodore Marier found in his landmark hymnal, “Hymns, Psalms, and Spiritual Songs.” The simple Agnus Dei hearkens back to the melodic material for “you take away the sins of the world,” found in the Gloria. To download free copies of the score, simply click on the “Vatican II Hymnal” tab above, and find the link for downloading free Mass settings.


We hope you enjoyed this guest article by Michael Olbash.


864 Mich MICHAEL OLBASH, founder and director of the Blackstone Valley Catholic Youth Choir, is a homeschooling father of four residing in Bellingham, Massachusetts. He holds degrees in sacred music from Harvard University and St. Joseph’s College, as well as the Colleague (CAGO) and Choirmaster (ChM) certificates from the American Guild of Organists (AGO). In 2012, he was the recipient of the S. Lewis Elmer Award, a prize given to the person achieving the highest score in the nation on any of the upper-level examinations administered by the AGO.

Active in the American Federation Pueri Cantores, Michael currently serves as the Minister of Music at the United Church of Christ in Medfield, MA, chapel organist at the Carmelite Chapel in Peabody, MA, and staff organist at St. John the Evangelist Parish in Hopkinton, MA, as well as president of the Southeastern New England Chapter of Choristers Guild.

Contact by e-mail at:

olbash@post.harvard.edu

Contact by U.S. Mail at:

Michael Olbash, director
Blackstone Valley Catholic Youth Choir
P.O. Box 275
Millis, MA 02054

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

Filed Under: Articles Tagged With: Catholic Youth Choirs Last Updated: January 1, 2020

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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 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 Mass Propers for this Sunday are conveniently stored at the the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —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

They were not ashamed to lay their hands on Sedulius, on Prudentius, on St. Ambrose himself. Only in one or two cases does some sense of shame seem to have stopped their nefarious work. They left “Ave maris stella,” “Jam lucis orto sidere,” and St. Thomas Aquinas’s hymns alone (they would have made pretty work of “Sacris solemniis”). In 1629 their mangled remnants were published.

— Rev’d Adrian Knottesford Fortescue (25 March 1916)

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  • Communion • “Ask & You Shall Receive”
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