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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

“O Sacrum Convivium” • Recorded by one person

Jeff Ostrowski · October 5, 2020

OU PROBABLY noticed we avoid posting “articles” which consist of nothing but a YouTube embed. In our view, that’s an abuse of the readership because: (1) everyone already knows how to search YouTube; (2) when readers come here, they are not expecting a YouTube embed—they expect a thoughtful article they can enjoy. So I hope our readers will excuse today’s exception to this rule. The following video was sent to me, and it features a single cantor singing O Sacrum Convivium from Kevin Allen’s Motecta Trium Vocum. By the way, if you have not visited the Kevin Allen Emporium, please do so!

The video currently has 35 views. Let’s all pitch in and help her get some more views!

You can purchase “Motecta Trium Vocum” directly from Amazon.

“Motecta Trium Vocum” is a collection of twelve (12) Eucharistic Motets for equal voices. Matthew J. Curtis has provided free rehearsal videos for each individual voice which your choir will definitely want to take advantage of.

About the Singer

Visit her website: viditakanniks.com

IDITA KANNIKS is a multi-faceted vocalist specializing in ensemble music, historical performance and cross-cultural work. Equally at home with her background in Indian Classical music and her Western classical training she strives to represent both sides authentically in her unique artistic identity. ​Most recently, she was a winner of the 2020 International Young Soloist’s Award through the Kennedy Center, DC. Vidita spent the 2019-20 season in residence with the UK-based ensemble VOCES8 as a member of their US Scholars Program. During the Summer of 2019 she was a recipient of the Project Inclusion Vocal Fellowship through the Grant Park Music Festival where she was seen several times in recital, most notably as part of the Dame Myra Hess Memorial Concert Series at the Chicago Cultural Center. She also appeared in concert with the Grant Park Chorus and Orchestra. Vidita later joined Seraphic Fire and fellow young artists at the Aspen Music Festival’s Professional Choral Institute in Colorado. In previous years Vidita has been a Young Artist at Songfest, Los Angeles (2017) and the Académie Internationale d’Été de Nice (2016). While pursuing her graduate education in Montreal (2018-19), Vidita sang professionally with the Choir of St. Andrew and St. Paul and the Serenata à St. Jean Music Series. She interpreted the role of Nunzia in Opera McGill’s 2019 production of La Liberazione di Ruggiero by Francesca Caccini. A native of Cincinnati, Vidita is a recurring soloist with the Cincinnati Bach Ensemble. Other ensemble affiliations include the choir of St. Peter in Chains Cathedral, Collegium Cincinnati and Coro Volante, an ensemble dedicated to recording and publishing discography of living composers.

Vidita has been recognized by audiences around the globe for her collaborative work with her father, Dr. Kanniks Kannikeswaran. She has studied both within the Hindustani and Carnatic musical traditions, particularly in the Dhrupad style of vocal technique and interpretation. Her unprecedented interdisciplinary work in this area paired with her sensitive musicianship and affinity for language has led her to gain attention through social media content and live performances across the United States and internationally. Some notable appearances include her feature at the India Dans Festival in the Hague, Netherlands (2013), her solo performance at Madison Square Garden, NYC for Indian Prime Minister Modi’s inaugural ceremony (2014), her workshop/recital for the DesiYup house-concert series in Rotterdam, Netherlands and her interview with Ashanti Omkar of BBC Asia in the UK (2016). Her voice was commissioned for a solo album of Indian classical repertoire in collaboration with Dr. Kanniks by the SVBF Foundation and Sarada Hindu Temple of Stroudsberg, PA (2015). The album, titled ‘Sarada’, was officially released on digital platforms in 2020. Her voice is also featured exclusively on the two-part album, Vismaya – an Indo-Celtic musical journey (2008), a first-ever archival of the 39 colonial tunes of 19th century Carnatic composer Mutthusvami Dikshitar. Vidita has been invited as a guest artist/speaker on the web podcasts ‘Are We All Met?’ and ‘Redefining ABCD’ on the topics of multi-disciplinary music, art in the digital age and the Indian-American identity. Vidita holds Bachelor’s degrees in Vocal Performance and Music History from the University of Cincinnati (CCM) with a minor in French, and a Master’s degree in Early Music Performance from McGill University in Montreal, Québec. She is a member of Early Music America’s Emerging Professional Leadership Council and is also a contributing author for online journal ‘American Kahani’. She currently resides in Cincinnati where she is active as a teaching artist and vocal instructor in both Western and Indian classical disciplines.

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

Filed Under: Articles Last Updated: October 8, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    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
    “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

Random Quote

“Many of those who have influenced the reform […] have no love, and no veneration of that which has been handed down to us. They begin by despising everything that is actually there.”

— Cardinal Antonelli (Peritus during the Second Vatican Council)

Recent Posts

  • Children’s Repertoire • Three More Recommendations by Keven Smith
  • Liturgical Round (“Canon”) in C-Major
  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir
  • Latin Liturgy Association
  • Important Quote by a Church Musician

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