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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Saint Paul’s Choir School • New CD with AimHigher Recordings/Sony Classical

Richard J. Clark · September 8, 2017

N THE FEAST of the Nativity of the Blessed Virgin Mary, the St. Paul’s Choir School, Harvard Square, announces the release of its second international recording, Ave Maria. This follows the 2014 CD Christmas in Harvard Square which reached #1 on Billboard Magazine’s Classical Traditional Charts.

Led by a superlative music staff at St. Paul’s, the CD was directed by Choirmaster, John Robinson and accompanied by organist, Jeremy Bruns. Furthermore, the CD was produced by eleven-time Grammy Award-winner Christopher Alder, and Grammy Award-winner, Brad Michel. The CD is released by De Montfort Music/Sony Classical and its sister label AimHigher Recordings. They are responsible for several #1 Classical CDs including BENEDICTA: Marian Chant from Norcia.

      * *  Order the CD: Ave Maria • Saint Paul’s Choir School • Harvard Square

      * *  Order from iTunes: Ave Maria • Saint Paul’s Choir School • Harvard Square

N ADDITION to singing daily Mass, the St. Paul’s Choir School has sung in venues from Carnegie Hall, Boston Symphony Hall, to Fenway Park. They have enjoyed enormous national publicity having been featured on CBS This Morning, NPR, Good Morning America, Fox & Friends, WGBH, Boston Globe and on their own PBS Special.

IN THIS TRAILER FOR Ave Maria, you can find out what are each of the boys’ favorite pieces!

TTRACTING STUDENTS FROM all over America and the world, the St. Paul’s Choir School has transformed countless lives. One need look no further than St. Paul’s current pastor, Fr. William T. Kelly, a graduate of St. Paul’s (formerly known as the Boston Archdiocesan Choir School). In a conversation while he was Pastor of St. Mary’s of the Assumption in Dedham, Massachusetts, he said his calling to the priesthood grew directly out of his life as a student at St. Paul’s. Singing the Mass as a child was an enormous part of his spiritual education and formation—not only musical.

Furthermore, Choirmaster John Robinson speaks quite passionately regarding the impact such music has on the spirit, intellect, and character of young hearts and minds. In doing so, he even evokes the Communion of the Saints:

“When I introduce young minds to the beautiful heritage of Church music, it’s always amazing to see just how much they love the great music we have been given. Music is such a powerful tool for forming young minds, and of course it goes so far emotionally in uniting us with each other, but also with our families on earth and in heaven.

It’s amazing to think that if, say, Palestrina walked into Church during our 11.00 Mass, he would hear his music, and there would be a sense in which we are all joined together by this shared experience, which we’ve been given. You can see the boys growing in maturity and responsibility as the power and clarity of the musical thoughts help shape their minds in love of God and neighbor.

There’s a clear link with their academic development as well, since the concentration required to learn to sing this great music transfers perfectly to study.”

— John Robinson

Regardless of what one eventually does in life, music education is an invaluable discipline that leads to developing many valuable life skills, intellectual, emotional, spiritual, interpersonal, etc. Such education immersed in faith will lead to transformation.

This is true of the boys who enter the St. Paul Choir School. It has been true of generations past under its legendary founder, Theoodore Marier and under former Headmaster, Principal, Organist, and Choirmaster, John Dunn. Now, under John Robinson, the St. Paul Choir School continues on the international stage. But praising God with music is above all. These new recordings afford new opportunities for evangelization, and as such, a new responsibility for the school.

Finally, if you know a talented third or fourth grade boy, you can learn more about Applying to Become a Choirboy where you can see information about admissions, tuition, and opportunities at the Saint Paul’s Choir School.

Soli Deo gloria

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 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

    “Common” Responsorial Psalm?
    I try to avoid arguing about liturgical legislation (even with Catholic priests) because it seems like many folks hold certain views—and nothing will persuade them to believe differently. You can show them 100 church documents, but it matters not. They won’t budge. Sometimes I’m confronted by people who insist that “there’s no such thing” as a COMMON RESPONSORIAL PSALM. When that happens, I show them a copy of the official legislation in Latin. I have occasionally prevailed by means of this method.
    —Jeff Ostrowski
    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —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

“Franz Liszt was an eminent keyboard virtuoso but a dangerous example for the young. … As a composer he was terrible.”

— Clara Schumann

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