• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

“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)

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

The Institution as Formator (Part I)

Dr. Lucas Tappan · February 4, 2020

A number of years ago I found myself engaged in an interesting conversation about the formation of boy choristers with Mr. Gregory Glenn, founder and director of the Madeleine Choir School in Salt Lake City. He had spent three months at Westminster Cathedral Choir School in London in the early 90’s in an effort to understand the inner workings of the choir school and he continually asked those he encountered “How do you form the boys to be able to do what they do?” To his amazement, no one could really answer the question.

The Men and Boys of Westminster Cathedral could arguably tackle any literature in the repertoire on any day of the week and pull it off extremely well, but they couldn’t articulate how they did it.

Dr. George Guest, the legendary director of the Choir of St. John’s, Cambridge, once quipped that the choir had at any one time somewhere in the vicinity of 1300 choral works in its repertoire, a staggering number by any stretch of the imagination. How did he do it?

Review the Holy Week Music Lists of the Regensburger Domspatzen, St. Mary’s Cathedral Choir, Sydney, or St. Paul’s, Harvard Square, and ask yourself how such a feat is possible without knowing how it’s done.

As Mr. Glenn continued to ask his question he realized that the institution itself was the formator. Westminster’s choir master at the time, Mr. James O’Donnell, hadn’t been hired to figure out the educational methods necessary to teach 25 squirming boys how to sing Byrd’s Mass for 5 Voices. He had been hired to tell the boys “That’s the Kyrie–now sing it!”

In much the same way the military takes young men, even today’s millennials, and turns them into soldiers, ready to fight and die for their country. The army (at least traditionally) doesn’t put men through “manhood” classes. A sergeant simply slams a gun in the young man’s face and yells that failure is not an option. He either learns how to fight or he will die–and get a lot of other men killed in the process. Choir training can be similar.

I remember early in my career teaching our parish choir Faure’s Requiem Mass. We had worked tirelessly at it for 3 months but things weren’t coming together. I knew they could do it, but they didn’t know that, so I blasted them. With only one rehearsal left I half yelled that if they couldn’t pull things together, I was going to send them home and hire professionals to sing in their stead–I had had it. Lo and behold they arrived the following week as capable as any professional ensemble. We flew through the evening having more fun than anyone should be allowed to have singing a Requiem Mass. My choir members needed to know that we had a job to do and we were going to do it. Failure was not an option.

It’s no different in the great choral foundations and choir schools. The boys don’t know any differently. The music list states they have to sing Palestrina’s Missa Aeterna Christi munera that evening alongside motets by Victoria and MacMillan, plus the full list of propers. Failure is not an option. The routine becomes the norm and the norm becomes the routine.

While it’s true that great musicians are at the helm of these institutions and the choristers are in possession of incredible amounts of natural talent, we have to remember that when Sir Stephen Cleobury passed away last fall, the Choir of King’s College, Cambridge, didn’t cease to function. Daniel Hyde stepped into his place to continue a tradition stretching back more than five centuries. Each spring, as the 8th graders walk through the halls of the Madeleine Choir School for the last time, Mr. Glen doesn’t sit around wringing his hands wondering how the tradition will continue. Other children simply step into their places and the tradition continues.

Sometimes I think we overcomplicate the musical education of children (and adults, too, for that matter). Everyone is searching for a silver bullet. Perhaps it’s a certain education method, a special book or a technique. Standing somewhat in opposition to all of these various techniques and methods is the English choir school, where the director stands in front of the boys and says “that’s an A, now sing it!”

 

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

Follow the Discussion on Facebook

Filed Under: Articles Last Updated: February 4, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    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
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —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

In the United States, Archbishop Kenrick had said in his “Moral Theology” that it was acceptable to sing the “Véni Sáncte Spíritus” before the sermon.

— Monsignor Schmitt (1977)

Recent Posts

  • Pope Saint Paul VI to Consilium (14 October 1968)
  • August 2025 • “Colorado Sacred Music Conference”
  • New “Latin/English Missal” for the Novus Ordo
  • Simplest “Agnus Dei” Ever Published
  • Bishop François Charrière Vs. Hannibal Bugnini

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up