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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

Gregorian Propers at a Nuptial Mass in “Southie”?

Richard J. Clark · January 17, 2014

OUTH BOSTON, KNOWN around here as “Southie” is a section of Boston most familiar to many around the country from the films “Good Will Hunting” and “The Departed.” It is also infamous for the convicted murderer and gangster, James “Whitey” Bulger, who inspired the latter of the two films. Yes. Glorious Gregorian Propers, polyphony, and hymnody at a Nuptial Mass in “Southie.”

South Boston (nowhere near the “South End” where the Cathedral of the Holy Cross is located…Boston geography is complicated…) is a colorful neighborhood, but forget what you know from TV and film. Historically a neighborhood of Irish immigrants, it is a deeply proud and Catholic neighborhood and a world unto itself. Once you go over the bridge into “Southie,” be certain you have entered a different realm.

This unique realm is where the wedding of Nori Elisabeth Pifer and Stephen David Fahrig enters, celebrated at the beautiful and historic Gate of Heaven Church, established in 1863. (Church musicians’ weddings are often extraordinary and unusual. We all might have our own wonderful stories. Please share them in the combox!)

O WHEN A GREAT PROPONENT OF GREGORIAN CHANT marries a Professor of Sacred Scripture at both St. John Seminary and Blessed John XXIII National Seminary, one is treated to a liturgical delight of joy, reverence, and catechesis. Not only was the Word of God sung in the propers, but the level of congregational singing was astounding, evident in the singing of the dialogues, the responsorial psalm and the glorious hymns.

Perhaps a model wedding in the Ordinary Form, it was also a model of catechesis. In the beginning of the wedding program, the couple offered no less than four pages of beautiful and fully accessible commentary on the Nuptial Mass. You can download the entire program (sans copyrighted material) here. Some excerpts:

“As our wedding ceremony begins, some of you might be asking yourselves, “Where are the bridesmaids? Where are the groomsmen? Why are the bride and groom walking down the aisle together instead of meeting at the altar?” Others might be wondering, “What’s with all the rituals? Incense, candles, Latin chant—I’ve never seen any of this at a wedding, and I’ve been to plenty of weddings!

“These are all excellent questions. While it is entirely permissible for Catholic couples to incorporate such traditions as bridesmaids and flower girls into their ceremony, these customs are actually rooted in royal and secular traditions that have little to do with the Catholic nuptial Mass. In fact, the rubrics (ritual instructions) of the present-day Catholic Rite of Marriage call for the nuptial Mass to begin with a procession of altar servers and clergy followed by the bride and groom, who walk down the aisle together…”

Take note that the procession included the hymn “Alleluia! Sing to Jesus!” followed by the Introit, Deus Israel during the incensing of the altar. Listen to the recording and you can almost smell the incense!

The couple writes further:

“Because we believe that Jesus is truly present in the Holy Eucharist, it is deeply fitting that our wedding vows should be celebrated within the context of the Mass…How appropriate it is then, that we begin our married life together by being united with one another and with our Lord in the sacrament of the Eucharist.”

Notable too was the large number of clergy and seminarians present:

”The elaborate ritual gestures – precessions, incense, involvement of many deacons and priests – is not for the sake of pomp or show, but to give glory to God. In a particular way, we hope to glorify God through the beauty of the sacred music that we have selected for our nuptial Mass….”

HE CHANT AND HYMNS were exquisitely directed by composer, tenor, and founder of the Blackstone Valley Catholic Youth Choir, Michael Olbash. The greatly acclaimed virtuoso organist Mark Husey and rising star Ryan Lynch played the hymns with soaring dignity and transcendence. A beautiful Responsorial Psalm by Brian Michael Page was cantored by Sarah Rogevich. The incomparable Emily Lau cantored the the Gregorian Alleluia. Such remarkable voices graced the choir: Amanda White, Camilia Paris, Clare MacNamara, Erin Seaver Blazek, Patricia Almond, Sarah Mitchell, Matthew Stansfield, and longtime CMAA friend, Richard Chonak.

While I had the privilege of conducting two works by Victoria, these singers were so wonderful, I could have waved my arms like a chicken (I most assuredly did at times) and they still would have sounded beautiful.

UESTS AT A WEDDING USUALLY bring gifts for the bride and groom. But I felt as though the couple had given us a gift with such a profoundly prayerful experience. This experience uplifts and fortifies the soul, strength that we can take with us for a long time to come. Mark Husey put it best when he said of his experience, “I was so blessed to be a part of this. Such a rich harvest of grace was gleaned from this extraordinarily spirited celebration…we couldn’t help but be moved to greater love and joy.”

Congratulations, Nori and Stephen! Thank you for the gift!

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

Filed Under: Articles Tagged With: congregational singing, Nuptial Mass, Propers, Singing the Mass 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 Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (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. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“It is the same Church which has introduced the vernacular into the sacred liturgy for pastoral reasons, that is, for the sake of people who do not know Latin, which gives you the mandate of preserving the age-old solemnity, beauty and dignity of the choral office, in regard both to language, and to the chant.”

— Pope Saint Paul VI (15 August 1966)

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