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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

Singing with John Rutter

Andrew Leung · July 13, 2017

CTL John Rutter 1 AST WEEK, I shared a video of Arvo Pärt’s reflection on choral music. This past weekend, I had the privilege to sing under the direction of another great contemporary composer, Sir John Rutter. I was blessed to be invited to serve as a guest singer of the Choir of St. John’s Cathedral, the Anglican cathedral of Hong Kong. We sang Rutter’s colorful settings of Te Deum and Jubilate (O Be Joyful in the Lord) at a Choral Mattins under the direction of the composer himself. It was truly an amazing and unique experience!

I have sung his most well-known pieces, For the Beauty of the Earth and The Lord Bless You and Keep You, many times when I was a young boy in school choirs. Rutter’s pieces are so popular because of their beautiful and simple melodies, and the very straightforward harmonies. However, these two pieces we sang on Sunday are more complex and are full of colors. It was wonderful to see how Mr. Rutter interpret the texts and his own music. He was a very nice and cheerful conductor, and he was constantly sharing stories and telling jokes.

During rehearsal, Mr. Rutter actually asked us to sing our choral anthem, Like As The Hart, for him. He actually knew Howells personally and he spoke very highly of his works. And John sang along with the basses while we go through the piece. To have one of the world’s most famous contemporary composer singing next to me was an unforgettable moment and an extraordinary experience!

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Photo Credit: St. John’s Cathedral, Hong Kong

N 2015, John Rutter did an video interview with JW Pepper where he talked about “The Importance of Choir“. He made some very good points about choral singing in the video and he did another similar interview in the beginning of this year with Oxford University Press on “The Power of Choral Singing”:


I thought he made a very good point about “the unity among the choir members”. Choral music can only be sung when singers come together as a choir, as one body. This is very similar to the image of the Church. By contributing our own gifts and talents, we produce beautiful harmonies and give glory to God. As Christ said:

“For where two or three are gathered together in my name, there am I in the midst of them.” (Mt 18:20)

Whenever we gathered together to sing our prayers, He will be among us.

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 Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

But the revisers did not leave them altogether untouched. Saint Ambrose had to be “corrected.” The ‘Iste Confessor’ was greatly altered and the hymn for the Dedication of a Church (which no one ought to have touched) was completely recast in a new meter.

— Father Joseph Connelly

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  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir
  • Latin Liturgy Association
  • Important Quote by a Church Musician

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