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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

The Pipe Organ and Propers Flourish with Vexo and Weismann

Richard J. Clark · May 9, 2014

AST WEEK I DISCUSSED how the pipe organ often languishes in survival mode. Today, I would like to shine the light on the organ as it thrives.

Keeping the pipe organ alive takes creativity and thinking outside of the box. Furthermore, a mutually trusting relationship between pastor and musician allows sacred music to be nurtured, to grow and eventually flourish.

One such case is Russell Weismann who in recent years has had an interesting career path. He was Director of Music and Liturgy at Georgetown University. He then moved on to be the Associate Director of Music at the Basilica of the National Shrine of the Immaculate Conception. Recently, he was appointed Director of Music and Liturgy at Saint Jane Frances de Chantal Parish in Bethesda, Maryland. Interestingly, it is at the parish level where some truly creative partnerships are happening under Mr. Weismann’s leadership.

Recently, St. Jane de Chantel installed a new Lively Fulcher Organ of three-manuals and forty ranks which is beautifully voiced for a somewhat modest, yet bright worship space. The Lively Fulcher replaced an old Rogers electronic organ.

Mr. Weismann also appears to be an educator at heart, intent on catechizing the faithful on sacred music whether it be through inserting various articles on sacred music or a creative venture such as a recent mass for the Third Sunday of Easter in which the parish invited Johann Vexo, Choir Organist, Notre Dame Cathedral in Paris to play at mass as well as in concert.

But much more than a showcase of the organ, this liturgy had the full intention of implementing the ideals of Vatican II. In the program, Russell Weismann writes:

The music of today’s liturgy is inspired by the tradition of liturgical music at La Cathédrale Notre Dame de Paris. In keeping with the General Instruction of the Roman Missal, the prescribed sung antiphons (propers) for the day replace generic hymns (GIRM ii; 48). The congregation is asked to fully participate in the singing of the sung responses. Organ improvisation is interspersed throughout the liturgy, evoking a sense of “Vox Dei”, the Voice of God.

The organ, ‘transcending the merely human sphere, as all music of quality does, evokes the divine. … It is capable of echoing and expressing all the experiences of human life. The manifold possibilities of the organ in some way remind us of the immensity and the magnificence of God.” – Benedict XVI

DOWNLOAD the program: :
PDF • Third Sunday of Easter, St. Jane de Chantel Parish, Bethesda, Maryland

LISTEN to the Prelude improvisation (Johann Vexo) and Introit (6:00 into the MP3):
MP3 • Prelude – Introit

You will also see simple and singable settings of the Entrance, Offertory, and Communion antiphons. In addition, there is Weismann’s Mass in Honor of St. Ignatius, a beautifully crafted chant-based mass setting in English which is also very singable for any congregation. Then as a bonus, there is a May crowning and procession!

So, how was this mass received by the parishioners? There was standing room only at mass.

In this case, the propers and the organ thrive because of at least three elements:
• There is a mutually supportive partnership between pastor and musician.
• There is ongoing catechesis for the faithful to better understand the liturgy.
• Wonderful resources are fully taken advantage of and utilized.

F YOU ARE IN THE D.C. AREA, please attend mass at St. Jane de Chantel. You will experience a reverent and beautiful liturgy. Having had the privilege of hearing Russell Weismann play, his hymns alone are something of a seminar in organ accompaniment, varying each verse with color, harmonization and texture yet without drawing attention to itself. Seamless and fluid, the hymns are kept interesting, piquing the interest of the congregation with each verse. I suspect this is why the congregation there loves to sing so much.

For your enjoyment, here is a prelude improvisation by Organist Johann Vexo, on Les Grandes Orgues Notre-Dame-de-Paris. The great tradition of improvisation, especially in France is certainly quite adventuresome, fully embracing the awesome mystery and presence of God:

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

Filed Under: Articles Tagged With: Improvisation, Pipe Organ, Propers 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

“Of course, the Latin language presents some difficulties, and perhaps not inconsiderable ones, for the new recruits to your holy ranks. But such difficulties, as you know, should not be reckoned insuperable. This is especially true for you, who can more easily give yourselves to study, being more set apart from the business and bother of the world.”

— Pope Saint Paul VI (15 August 1966)

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