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Corpus Christi Watershed

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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

“Iconographic tradition has theologically interpreted the manger and the swaddling cloths in terms of the theology of the Fathers. The child stiffly wrapped in bandages is seen as prefiguring the hour of his death: from the outset, he is the sacrificial victim, as we shall see more closely when we examine the reference to the first-born. The manger, then, was seen as a kind of altar.”

— Pope Benedict XVI (2012)

Recent Posts

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  • PDF Download • Dom Murray Harmonies

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