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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

Huge Announcement • The Brébeuf Virtual Choir!

Andrea Leal · May 22, 2020

HEN the organizers of the Sacred Music Symposium started the conference five years ago, no one could have imagined how consequential it would become, or how far-reaching its influence would be. We have witnessed a ripple effect work its way outward from every single Symposium thus far—even the one that, this year, never took place due to Covid-19.

The Symposium committee had no idea this lovely surprise (see below) was in the works, but I think I can speak for us all when I say: this group has done amazing work. In a particular way, I was thrilled to notice several of the singers whom I had the honor to train (for our Schola Cantorum in Las Vegas). Our conference is all about teaching and inspiring people to spread the use of sacred music in their own circles, especially in service to the sacred liturgy. The people you will see in this video come from very diverse backgrounds. But thanks to the FSSP Sacred Music Symposium, they have formed bonds of friendship that span time and distance. Bravo!

Their first video received more than 1,200 views on YouTube in a single day:

I suppose somebody could xerox copy the score from the Symposium booklet, but we hope you won’t do that. Instead, please support this wonderful composer by purchasing his musical scores:

*  Purchase Score • Three Motets (Kevin Allen)
—“Ave Maria” (SATB); “Prayer to St. Michael” (SATB); “Salve Mater” (SATB).

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The Story of the Brébeuf Virtual Choir

By Miss Sarah Halas


ORPUS Christi Watershed’s annual Sacred Music Symposium in Los Angeles, California, is an event many Catholic choristers and music directors have looked forward to each year for the last 4 years. It has been a place for them to meet and form lasting friendships with fellow like-minded Catholic musicians of all ages from around the world. Many of the participants from the last 4 years have kept in touch over an instant messaging chat. Most unfortunately, this year’s Symposium was canceled due to restrictions resulting from the Covid-19 pandemic. When this announcement was made, the whole chat group was saddened but not discouraged in their music-making. These same musicians are all stuck at home away from their choirs and parish families so they have a lot of free time on their hands. So one day, one of the chat members, Miss Sarah Decker, suggested putting together a virtual choir recording. Almost all of the members delightedly jumped on the idea and in just over a week, put together an inspiring polyphonic motet video.

They chose Kevin Allen’s Ave Maria, which was composed for and debuted at Fr. Luc Poirier’s First Mass during the Sacred Music Symposium 2019. The members of the virtual choir thought it very fitting to honor our blessed mother Mary in the month of May. They hope that this piece will lift souls towards Heaven and aid in Marian devotion. Most of the project participants had learned and performed Allen’s Ave Maria under the direction of Mæstro Richard J. Clark at last year’s Symposium. Some, however, did not attend last year, but in years prior. Consequently, they didn’t know the piece. Nevertheless, these talented singers arose to the occasion, learning and recording their parts in a matter of days. Miss Phoebe Wing graciously created MIDI files for the singers so they could all keep together. Dr. Henrique Coe, assisted by Mr. John Rigney, edited and compiled the audio and video. All of the members worked wonderfully together to make this project a success.

During the process, Mr. Christian Ryan decided the virtual choir group needed a name. Ideas were thrown around, but the members did not take long in deciding on the name “Brébeuf Virtual Choir” under the patronage of St. John de Brébeuf. A logo was zealously drafted by Mr. Francisco Elias Duran and Miss Bernadette Rigney. The Latin quote on their logo comes from the first line of the Introit for the feast of St. Isaac Jogues, John de Brébeuf and Companions; “These are they who are come out of great tribulation…” This line also seems fitting since this music has come out of great tribulation amid the current pandemic. The mission of the Brébeuf Virtual Choir is to promote Sacred Music especially during this time when many are deprived of it. All the members have been blessed to work together and record this beautiful piece of sacred music. They hope it blesses those who hear it just as much! The Brébeuf Virtual Choir plans on recording and releasing more videos so please stay tuned!

The members of the Brébeuf Virtual Choir would like to thank all the faculty and staff of the annual Sacred Music Symposium for their hard work, dedication, and inspiration. Without this event, the members of the virtual choir may never have met! Even though the event had to be canceled this year, they look forward to next year’s Symposium!

You can follow the BVC on YouTube and Facebook.

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

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Filed Under: Articles Tagged With: Brébeuf Virtual Choir Last Updated: May 22, 2020

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About Andrea Leal

Andrea Leal is a wife and homeschooling mother of 6 children. She serves as choir director for the Traditional Latin Mass in Las Vegas.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

We cannot exaggerate our indebtedness to Dr. Julian’s “Dictionary of Hymnology,” a monumental work, without which we could not have reached the high standard of accuracy, as to both texts and authorship, which we set before us when entering upon our labours.

— Committee for “New English Hymnal” (1906)

Recent Posts

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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)

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