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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

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

In the ’60s, I thought this emphasis on congregational singing was to encourage good Catholic hymns like “Immaculate Mary” and so forth … but after the Council, they threw them out, too!

— ‘Fr. Valentine Young, OFM (2007)’

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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