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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 Madeleine Choir School

Dr. Lucas Tappan · April 13, 2015

LMT MCS ODAY I WOULD like to write about the Madeleine Choir School in Salt Lake City, Utah. I was privileged to spend 6 weeks there in the fall of 2012. Several events took place that I will never forget and I would like to share them with you. The first one happened on the Sunday after I arrived. I stood in the choir loft before Mass as the organist sounded a chord on the organ. The choir of 25 boys plus men, standing beneath the loft, intoned the introit, and the sound rang through the cathedral in a way I cannot describe. As the choir returned to the antiphon following the Gloria Patri, the boys and men processed up the aisle to the apse, from where they sing. Watching 25 boys singing the introit without a conductor while they walked in procession was more than I could comprehend. Even more important than that was the way in which the introit set the tone for the entire Mass.

The second event I remember was sitting in a rehearsal with the junior high girls. The cathedral’s organist at the time, Dr. Douglas O’Neil, passed out copies Palestrina’s 5 part Offertory motet, Superflumina Babylonis, which many of the girls (it was a young choir that year) had not sung before. O’Neil asked for a translation and for the most part the girls gave gave him one (all students at the school take Latin). Then he asked them for the historical background of the psalm, and without any prodding a couple of students explained how the Jews were sad because the Babylonians had carried them off into exile (they even gave dates!). Afterward, the students began to sing it fairly well at sight. As a music director, I was more than slightly jealous.

The third event I remember was a rehearsal before a daily Mass when the boys weren’t as focused as they should have been. Greg Glenn, the founder of the choir school, stopped and very seriously explained to the boys that most people in the world looked to politicians or political systems, money or power to save them. Instead, as Catholics, he told them, they knew that the most powerful thing in all of the world was the Holy Mass, and that was why they were there to sing. He told them to give it their absolute best. I sincerely wished every Catholic could have heard him.

I bring up these three stories because they pull together for me what a choir school is really about, the wedding together of love of God, worship of God and giving Him the absolute best we have to offer, and the Madeleine Choir School does that.

The Madeleine Choir School was founded as an official school in 1996 by Greg Glenn in cooperation with the Cathedral of the Madeleine and Msgr. Francis Mannion, then the cathedral’s rector. Glenn spent three months at Westminster Cathedral (London) immersing himself in that program, which served as a model for the Madeleine Choir School (the Madeleine, however, educates both boy and girl choristers). I will be forever grateful to Mr. Glen and Ms. Melanie Malinka, the school’s music teacher, for allowing me to visit the school, which became the model for my parish’s choir program. The Madeleine Choir School is one of the crown jewels of sacred music in the United States and I wish it were more widely imitated. This institution is truly forming Catholic musicians for the future.


Thumbnail image courtesy of Charles Cole.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 19th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 19th Sunday in Ordinary Time (10 August 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the feasts website.
    —Jeff Ostrowski
    This Sunday’s Communion Antiphon
    This coming Sunday—10 August 2025—is the 19th Sunday in Ordinary Time (Year C). The COMMUNION ANTIPHON is really gorgeous, and two of its features are worth mentioning. First of all, the Gospel reading assigned is from Saint Luke, whereas the the antiphon—although it matches the account—comes from Saint Matthew. (If anyone can point to a similar example, please notify me.) Furthermore, if you look at the authentic Gregorian Chant version posted on the feasts website, you’ll notice that it’s MODE III but ends on the ‘wrong’ note. A comparable instance of such a ‘transposed’ chant would be KYRIE IV.
    —Jeff Ostrowski
    Using “Ye” Vs. “You” Correctly
    Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

“In 1848, Franz Liszt attended a performance of Schumann’s 1st Piano Trio, held in his honor in the Schumanns’ home. Liszt arrived two hours late with Wagner (who hadn’t been invited), derided the piece, and spoke ill of the recently deceased Mendelssohn. This upset the Schumanns, and Robert physically assaulted Liszt.”

— Janita Hall-Swadley

Recent Posts

  • Is this what the new “Youth Mass” looks like?
  • “Music List” • 19th in Ordinary Time (Year C)
  • This Sunday’s Communion Antiphon
  • Using “Ye” Vs. “You” Correctly
  • Installment #3 • “Serious Problems with the Lectionary Translation”

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