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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

Album: Sacred Treasures of England

Fr. David Friel · September 24, 2017

ECORDINGS are churned out ever more furiously, it seems, and they are widely accessible in ever more varied formats. In a sweeping sea of music, streaming and otherwise, it has become increasingly difficult for an album to stand out.

One recent album that definitely stands out is Sacred Treasures of England, released in February 2017 by the London Oratory Schola Cantorum Boys Choir.

This prestigious choir sings Mass weekly at Brompton Oratory, offers frequent concerts, and tours regularly. Beyond their normal regimen of liturgies, concerts, and travels, the choir also recorded the soundtracks for the Lord of the Rings films.

HIS ALBUM boasts fourteen tracks from the English Tudor era, including motets by William Byrd, Thomas Tallis, John Sheppard, and Peter Philips and the Missa Euge bone of Christopher Tye. There are many glorious moments among these fourteen tracks. For the sake of concision, I will mention only three.

1. First is the intonation of the Agnus Dei in Tye’s Mass. The entrance of each voice in each of the three strophes is uncommonly pure and richly prayerful.

2. A second memorable moment is the conclusion of Robert Parsons’ Ave Maria. The closing notes of this piece are utterly luminous.

3. Finally, two settings of the Easter text Haec dies are offered—one by Sheppard and the other by Byrd. The Byrd track, in particular, makes for fun listening and has elicited a smile from me on multiple listenings.

What makes this album stand out, for me, is not only the quality of the pieces featured. To be sure, the selection of the Mass and motets is superb, gathering together some of the finest of the English choral patrimony. More than this, however, it is the truly masterful execution of this beautiful music that so distinguishes the recording.

HARLES COLE has directed the Schola since 2012. A frequent faculty member at the annual CMAA Sacred Music Colloquia, Cole was, himself, a chorister at Westminster before winning scholarships at Ampleforth College, Exeter College, Oxford, and Westminster Cathedral.

In the introductory notes accompanying the CD, Cole writes:

The boys you hear in this recording rehearse every day before school and at various points throughout the school day. As choristers, they show an extraordinary dedication to the Church’s liturgy which they serve, immersing themselves in the challenge of music of such extraordinary quality and purity, for the greater glory of God. It is a pleasure to take this wonderful opportunity to thank them for their efforts, the fruits of which we hope that you will enjoy in this recording.

The experience of a chorister at the London Oratory School is, I suspect, exceptional.

TTENDEES of Sacra Liturgia UK in 2016 were treated to a live performance of the London Oratory Boys Choir. That concert featured a number of the pieces, including the Missa Euge bone, now available on this recording.

Our readers in the United States will have the opportunity to hear the choristers in person when they go on tour next month. As reported on these pages last week, the Schola Cantorum will be visiting Boston, New York, and Washington, DC in late October.

The tour consists of three Masses and two concerts:

Cambridge, MA • October 22, 2017 • St. Paul’s, Harvard Square • 11 AM Sung Mass

Cambridge, MA • October 22, 2017 • St. Paul’s, Harvard Square • 3 PM Concert

New York City • October 26, 2017 • Church of St. Vincent Ferrer • 7:30 PM Concert

Washington, DC • October 28, 2017 • St. Thomas Apostle Church • 7 PM Concert

Washington, DC • October 29, 2017 • Basilica of the National Shrine of the Immaculate Conception • 4:30 PM Sung Mass

These live performances are to be as highly recommended as their album, Sacred Treasures of England.

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

Filed Under: Articles Tagged With: Catholic Youth Choirs, Charles Cole, Children at Mass, Recording Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

“All those who take part in sacred music, as composers, organists, choir directors, singers, or musicians should above all give good example of Christian life to the rest of the faithful because they directly or indirectly participate in the sacred liturgy.”

— Directive issued under Pope Pius XII on 3 Sept. 1958

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