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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

    “What Martin Luther Said…”
    My pastor asked me to write little columns for the bulletin each week. The article for 20 July 2025 has been posted, and it’s called: “What Luther Said…” Martin Luther (an ex-priest and apostate) was an infamous heretic whose ignorance of JESUS CHRIST was only exceeded by his filthy and disgusting vulgarity.
    —Jeff Ostrowski
    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    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

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

Dom Vitry never claimed chant could not be used successfully with English words. No one need take my word for it. He was a pioneer on the matter of vernacular adaptation, and I need only refer you to the many publications of his own “Fides Jubilans” press. What he said was that adaptation involved some mutilation, and that we were faced with one or the other.

— Monsignor Francis P. Schmitt (1963)

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