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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

Youth Choristers: Get Them While They’re Young

Patrick Torsell · January 14, 2020

T is an oft-repeated truism that the future is in the hands of the youth. To a group of young people St. John Paul II once said: “The future is in your hearts and in your hands.” And yet the future that the youth will usher in depends in large part upon what we instill in their hearts and place in their hands. Applying this notion to sacred music, it is clear that we should do all that we can to form young people to understand the mens ecclesiae regarding liturgical music, and to fill their ears, hearts, and minds with truly sacred music from a young age. And not just the children with natural musical aptitude!

I’m very blessed to work in a parish where we have made this a priority, and so I shall endeavor to share some of our efforts, successes, and challenges in several blog posts over the coming months. For this post, I’ll just share an overview of our program in its current form, and we can dive into some more details in the future.

In our small Latin Mass community–with an average Sunday Mass attendance of about 475–we have more than 80 students ages 7-18 in our Chorister program. Choristers meet once a week as an extension of our religious education program. Split into five separate classes (more on how we separate them in a future post), Choristers is a combined lecture/practicum program to introduce students to the history, philosophy, theory, and application of sacred music.

Our Choristers are not auditioned, and all students participating in the weekly religious education program also participate in Choristers. Along with their classwork, the Choristers prepare chant, hymns, and simple polyphony to sing for two High Masses per semester. The program has grown tremendously in the past three years (there were about 35 students in 2017/18), and the students genuinely enjoy learning about sacred music. One of the most rewarding things for me as their teacher and director is when, as just recently happened, a parent remarks: “My boy has always been an athlete, a football player. Now I hear him wandering around the house humming Gregorian chants!” Deo gratias! (N.B. I have no bias against athletes; I’ve been a competitive skier in the past. I just love it when others make the epiphanic realization that athleticism and musicianship are not mutually exclusive!)

In future posts about engaging young people in sacred music, I’ll address a few important topics:

  • What sort of curriculum is effective?
  • Why allow non-musically oriented students in the program?
  • What techniques are useful to keep students engaged in lectures and rehearsal?
  • What’s the difference between this sort of Chorister program and a typical youth choir?
  • What kind of external support is required to make a Chorister program successful?

I’m sure other ideas will come to mind. If you have any specific questions you’d like me to address, please feel free to email me.

Stay tuned for more, and may God reward you for your dedication to sacred music!

+JMJ+

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

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Filed Under: Articles Last Updated: January 15, 2020

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About Patrick Torsell

Patrick Torsell is a staff substitute organist at the Cathedral Basilica of the Immaculate Conception in Denver, CO, and associate organist at Our Lady of Mt. Carmel (FSSP), Littleton, CO—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 22nd in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 31 August 2025, which is the 22nd 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 alongside the official texts in Latin.
    —Jeff Ostrowski
    “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

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

From 1827 until the last month of his life, Liszt gave lessons in composition and piano playing. He wrote in 1829 that his schedule was “so full of lessons that each day, from half-past eight in the morning till 10 at night, I have scarcely breathing time”

— Re: Abbé Franz Liszt

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