Views from the Choir Loft

The Seraphim Singers • World Première of work by Adam Wood and Richard J. Clark

Richard J. Clark · October 23, 2015

HAVE LONG ADMIRED the writing of poet Adam Wood (b. 1982); his poetry, prose, and commentary are distinct, stemming in part from eclectic passions which include liturgy, theology, technology, economics and the Open Source. The results of such combination of interests are fascinating.

When Jennifer Lester, Director of The Seraphim Singers, asked me to compose another work for them on sacred poetry, I eagerly dug into Adam Wood’s work. His dedication to the spirit, art, and intellect (often infused with sharp wit) constitute a distinctly unique body of work from which one will elicit much inspiration and insight.

The result of this collaboration is On Emptiness, Wisdom, and Fortune (2014) which combines two of Wood’s poems On Fortune and On Emptiness. You can read Adam Wood’s essays and poems here.

IF YOU ARE IN THE BOSTON AREA be sure not to miss this premiere as part the Seraphim Singer’s “For Heaven Is a Different Thing.” Choral Settings of Sacred Poetry. There will be two performances:

Sunday, October 25, 2015, 3:00pm
First Church (Congregational) 11 Garden St., Cambridge, MA

Friday, October 30, 2015, 8:00pm
St. Cecilia Parish, 18 Belvidere St., Boston, MA

$20 general admission and $15 senior/student.
• Tickets are available at the door or purchase online here
• Download the concert program here
• Download the concert poster here

HE SERAPHIM SINGERS ARE ENORMOUS ADVOCATES of new music with several new commissions each year. Jennifer Lester’s programming is astonishingly vast, from Gregorian Chant and Renaissance Polyphony to Twenty-first Century works. Yet, her programming flows with astounding unity and beauty. The Boston Music Intelligencer writes:

“Ingenious programming by Jennifer Lester…”

“Anyone who cares about these genres owes it to him/herself to hear this gifted ensemble whenever possible.”

“Technically, the ensemble was in fine form, performing incredibly challenging choral repertoire with a high degree of finesse.”

Hope to see you there!

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

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).

Simplest “Agnus Dei” Ever Published

Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.

—Jeff Ostrowski

14th Sunday in Ordinary Time (Year C)

Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.

—Jeff Ostrowski

Bugnini’s Statement (6 November 1966)

With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.

—Jeff Ostrowski

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