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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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

“I am of the opinion, to be sure, that the old rite should be granted much more generously to all those who desire it. It’s impossible to see what could be dangerous or unacceptable about that. A community is calling its very being into question when it suddenly declares that what until now was its holiest and highest possession is strictly forbidden and when it makes the longing for it seem downright indecent.”

— Cardinal Ratzinger, 1997

Recent Posts

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  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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