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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

Dedication of the Cathedral Basilica of Mary, Queen of the World

Fr. David Friel · January 21, 2018

AST October 13th, the centenary of the Miracle of the Sun at Fatima was commemorated with numerous events, both at the apparition site and in communities around the globe. One of the more unique celebrations held on that day was the dedication of the cathedral church of Montréal, the Basilica of Mary, Queen of the World.

Construction began on the cathedral in 1870, and it was inaugurated in 1894, but it had never been formally consecrated.

Montréal is a lovely city filled with many beautiful churches. After the Oratory of St. Joseph on Mount Royal, Mary, Queen of the World is the second largest church in Québec. It is formally known, in French, as the Basilique Cathédrale Marie-Reine-du-Monde et Saint-Jacques-le-Majeur (its original patron had been Saint James). The architecture of Mary, Queen of the World is especially memorable, as it is a ¼-size replica of Saint Peter’s Basilica in Vatican City.

Dedications of churches, of course, are not everyday occasions. (Richard Clark wrote here about his experience last spring at the dedication of a church in Boston’s Seaport District.) Still less common, though, is the dedication of a cathedral basilica.

The joyful occasion of dedicating Mary, Queen of the World Cathedral was enhanced by three new major musical works by composer Henrique Coe. The pieces are:

Sub Altare Dei Sedes — Sung during the deposition of relics in the altar

Stetit Angelus — Sung during the incensation of the altar

Locus Iste — Sung as an offertory motet (alternatively, as the gradual)

IVE recordings (edited) of these pieces being sung at the dedication are available, courtesy of Salt and Light Television. Sub Altare Dei Sedes lasts until the 8:02 mark; Stetit Angelus runs from 8:03 to 16:21; and Locus Iste spans 16:22 to 19:34.

The music is sung by the Chœur Polyphonique de Montréal, together with a vocal quartet (Marie Magistry, soprano; Josée Lalonde, alto; Andrew Gray, tenor; Martin Auclair, bass).

Other musicians involved were:

Conductor: Louis Lavigueur

Organ: Hélène Dugal

Trumpet: Victor Wong Seen-Bage and Nicholas Gagnon

Music Coordinator: Alain Duguay

Another beautiful composition by Mr. Coe is entitled “The Triumph of the Immaculate Heart of Mary.” Scored for brass quintet, the piece premiered in Lisbon, Portugal late in 2017. Here is a recording of this instrumental piece:

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

Filed Under: Articles Tagged With: 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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President’s Corner

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th 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 sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    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

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

“In everything of any importance at all, Sarum (and all other mediæval rites) was simply Roman, the rite which we still use.”

— Fr. Adrian Fortescue (1912)

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