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Corpus Christi Watershed

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

    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st 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 spectacular feasts website. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski

Quick Thoughts

    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
    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

Random Quote

“There are some so restless that when they are free from labour they labour all the more, because the more leisure they have for thought, the worse interior turmoil they have to bear.”

— Pope Gregory the Great

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