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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

James David Christie • International Performer of the Year

Richard J. Clark · June 15, 2018

NE OF THE HIGHEST honors awarded to an organist comes from the New York City Chapter of the American Guild of Organists. In the Fall of 2017, James David Christie was named “International Performer of the Year”. So distinguished is the honor, it has only been awarded eight times since 2000.

To celebrate this award, Christie will perform a concert on Monday, June 18th at 6pm at Saint Thomas Church Fifth Avenue, New York, New York on the Taylor and Boody Organ, Opus 27.

• Tickets for the concert only are FREE, but one must still reserve tickets! Concert plus reception/dinner are $75. Reserve tickets here.

HE NEW YORK CITY Chapter of the American Guild of Organists writes of Christie:

“The deeply admired and greatly lauded concert career of organist James David Christie has been marked by performances literally around the globe as a solo organ recitalist and as a performer and concerto soloist with the world’s greatest symphony orchestras and period instrument ensembles. Especially noted for his engaging solo performances of the works of Renaissance and Baroque composers, Dallas Morning News critic Scott Cantrell stated: ‘There’s a reason James David Christie keeps getting invited to play Baroque music on instruments like this. He does it with both intellectual understanding and visceral flair – and where appropriate, playfulness. He makes the music live and breathe and dance.’ ”

S AN EDUCATOR, James Christie has had a deeply profound impact on the lives of countless musicians. While his credits are notable—and far too numerous to list—(e.g., Organist of the Boston Symphony Orchestra, Chair and Professor of Organ at the Oberlin Conservatory of Music, Distinguished Artist in Residence at the College of the Holy Cross, etc.) his love of teaching and dedication to his students set Christie apart.

Having studied with Christie for nearly a decade, I enjoyed a front-row seat to one of the world’s great teachers and performers. While the list of his students who have been prizewinners in major international competitions is too numerous to list, he has nurtured and cultivated organists on a broad spectrum of abilities who were hard working and dedicated to the instrument.

He imparts to students many things, but among them is the joy of attending to detail and discovery in scholarship. (“A good organist must also be a good scholar,” he would emphasize). A teacher of music and not simply “his way” of playing, he expects one to apply in one area what one learns in another without prompting. As a result, he expects a high level of self-motivation.

He understands that a student’s emotional state is tied to their ability to work hard—and he worked us very hard. (E.g., He once had me pick him up at Logan Airport after a concert in Los Angeles. We drove directly to Mission Church in Roxbury where he proceeded to grill me for three hours on Franck’s Chorales. As was typical, he joyfully danced around the choir loft, upon occasion stomping to emphasize phrasing. At the end of the night he appeared energized. As a student in my twenties, I was exhausted.)

He teaches with constant encouragement, yet is very tough when warranted. (He called me out when I deserved it.) His expectation of excellence is exceedingly high, and he guides one though the process to achieve it.

Oh, and it is an understatement to say he is funny as heck.

NOTHER SIGN OF A GREAT great teacher is one who wishes to have their students exposed to other great teachers, performers, and experiences. He would have us play for some of the greatest in the world: Marie-Claire Alain, Marie-Louis Langlais, Jean-Pierre Leguay, Jean Boyer, and Harold Vogel to name a few.

Finally, an overriding impression of Christie is the deep joy and love that emanate from his music, and his subsequent desire to impart this love. As a result, many of us owe him our lives.

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

Filed Under: Articles Tagged With: Pipe Organ Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The replies to this committee (of which Mgr Bugnini was the secretary) reveal a desire to reform the liturgy. In what sense? Out of 2,109 responses from bishops, just three expressed the desire to restore Communion under both kinds. There was a sizable demand for limited use of the vernacular, but only one French bishop wanted the entire Mass in French.”

— Fr. Dominic Allain (2019)

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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