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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

Mass in Honor of the Blessed Virgin Mary, Star of the Sea

Richard J. Clark · May 30, 2014

UITE SIMPLY PUT, to meet composer, conductor, and organist Michael Olbash is to encounter a gentleman at ease in the modern world, a man both unassuming and understated in gesture and words. Only in time does he reveal the depth and breadth of his talent, intellect, personality, and great humor. (His modest comportment requires this long and drawn out revelation; his actions speak with concise clarity.) One discovers he is a man of enormous personality, for Michael is extraordinarily passionate about God, his family, and the liturgy.

It is no wonder that from such a man comes a mass setting of both unassuming stature and simplicity, but yet carries the weight of the sacred mysteries in its powerful melodic gestures and harmonic foundations. Chant melody and harmony flow without the listener consciously recognizing their natural union; both uphold the sacred text in the natural order of prayer.

DOWNLOAD Complete Score:
PDF • Mass in Honor of the Blessed Virgin Mary, Star of the Sea (for Schola, Organ)
• For transpositions or congregation inserts Click here to contact Michael Olbash via Email.

Its origins are quite notable on three fronts: It was composed to be performed by the Blackstone Valley Catholic Youth Choir, a group Olbash founded dedicated to teaching children Gregorian Chant. Secondly, it was composed in 2010, dedicated to His Eminence Seán Cardinal O’Malley on the 40th anniversary of his ordination to the priesthood. Thirdly, it was premiered at the New Music session at the 2010 CMAA colloquium at Duquesne.

Very intentional with the structure of the melody and the work’s liturgical functionality, Olbash indicates the following:

• Each movement intentionally uses a “gathering tone” in the style of Dr. Theodore Marier.
• Each invocation of the Kyrie is progressively longer, in imitation of the Gregorian style.
• The Gloria, in addition to borrowing from “Ave Maris Stella,” has three similar “peaks” where short series (i.e. we praise you, we bless you, we adore you, we glorify you) sort of “ramp up” to a climax (“we give you thanks for your great glory”). The other peaks are “you are seated” and “you alone”. There is also a sneaky little use of the opening of the Ave Maria chant at the words “for you alone.” The two iterations of the Lord’s Name are also both designed to allow for a stretching of tempo for congregations who have a custom of bowing, cresc. (or dim.) on the Lord’s Name, etc.
• The score is published in a key friendly for most congregations; however, the sound clips are a step higher so that they would be most suitable for children’s voices.

Listen here to the Gloria recorded at St. Paul’s in Harvard Square with none other than John Robinson on organ.

Each movement is unique, based on different melodic elements; yet there is continuity and unity. Furthermore, each movement naturally fits within the proper shape of the liturgy, something Michael understands quite well. A wonderful example is the recording of the Preface and Sanctus. Of this Michael writes:

“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.”

Listen here to the Preface and Sanctus. The recording features the dialogue and preface for the Solemnity of the Immaculate Conception. Revel in the relationship between the two, flowing not simply as separate sections, but a natural progression revealing the organic unity of the liturgy:

ASS IN HONOR OF THE BLESSED VIRGIN MARY, STAR OF THE SEA is a true gem for any parish and schola. It possesses unity, continuity, and balance. There is enough simplicity to be accessible, yet filled with artistic depth and joyful surprises to maintain interest. This is a work that bears repetition. Like Mr. Olbash’s personality, this setting will reveal new elements of prayer with each use. It bears the mandate of Pope Saint Pius X that music for the liturgy be Sacred, Beautiful, and Universal.

The beautiful recordings above are featured on the Blackstone Valley Catholic Youth Choir recording Clothed with the Sun — Music for the Solemnities of the Immaculate Conception and the Assumption of Mary. To buy the CD click here.

Please pray for the good works of Michael and many like him who are dedicated to serving the Church. Such prayer and joy these children bring to the liturgy and to our lives!

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

Filed Under: Articles Tagged With: Catholic Youth Choirs, congregational singing, Gregorian Chant, Roman Missal Third Edition, 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

    New Bulletin Article • “21 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

Indeed I might add that although unfamiliar with it myself, the Extraordinary Form expressly reminds us that Mass in either form is not merely a communion meal but a ritual of love, a sacrifice at Calvary, by which, for you and for me, yes, here and now, Jesus Christ lays down his life.

— ‘Most Rev. Philip Egan, Bishop of Portsmouth’

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