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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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President’s Corner

    PDF Download • “Eb Organ Postlude”
    Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?
    —Jeff Ostrowski
    Music List • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski

Quick Thoughts

    “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

Random Quote

“The sun, at one moment surrounded with scarlet flame, at another aureoled in yellow and deep purple, seemed to be in an exceedingly swift and whirling movement, at times appearing to be loosened from the sky and to be approaching the earth, strongly radiating heat.”

— ‘Dr. Domingos Pinto Coelho, noted lawyer from Lisbon and chairman of the Bar Association (1917)’

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