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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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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

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    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

Quick Thoughts

    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

Random Quote

“Abbat Pothier’s great accomplishment is having returned to the Catholic world—along with the traditional melody—the traditional way of performing it. The foundations laid by this providential man have been accepted by all those who practice Gregorian chant.”

— Dr. Peter Wagner (Commissionis Pontificiæ Gregorianæ Membrum)

Recent Posts

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  • 15th Sunday in Ordinary Time (Year C)
  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

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