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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

Saint Paul’s Choir School Presents “Starry Night: Christmas in Harvard Square”

Richard J. Clark · December 15, 2020

HE SAINT PAUL’S Choir School in Cambridge, Massachusetts has been a beacon of light during a dark time for both education and music. One of the very few schools that has offered in-person instruction five days a week, they are also one of the few choirs operating at a high level, maintaining the highest standard of sacred music for the Sacred Liturgy.

This has come about though great investment, adaptation of space, and preparation to implement ongoing above-and-beyond safety precautions. This includes singing with masks, installation of aggressive filtration and ventilation systems, and testing of all personnel—including for this filming.

Under the direction of Internationally acclaimed conductor, organist, and composer, James Kennerley, the Saint Paul’s Choir of Men and Boys presents Starry Night: Christmas in Harvard Square

* * Click here to watch the entire concert and for information to register.

* * The full concert will be available to all donors ($20) beginning on Friday, December 19 at 7pm (Eastern Time GMT-5) Links to the concert will be provided in the donation confirmation email and will activate on Friday, December 19 at 7pm (Eastern Time GMT-5). 

Watch a preview with Theodore Marier’s arrangement of Silent Night:

 

Program: 

Bring a Torch, by Jeanette Isabella, arr. by Keith Chapman

Once in royal David’s City, by H.J. Gauntlett and A.H. Mann, arr. by David Willcocks

In the Bleak Midwinter, by Harold Drake Adam Lay Ybounden, by James Kennerley

Shepherd’s Pipe Carol, by John Rutter

It Came Upon a Midnight Clear, by Richard Willis, arr. by James Kennerley

Silent Night; by Franz Gruber, arr. by Theodore Marier

Nativity Carol, by John Rutter Ave Maria, by Franz Biebl

Lux Aurumque, by Eric Whitacre

I Wonder as I Wander, by Carl Rütti Sir Christèmas, by William Mathias

Hark! The herald angels sing, by Felix Mendelssohn, arr. by David Willcocks

Personent Hodie, arr. by James Kennerley

The performance is conducted by SPCS Director of Music and Choirmaster James Kennerley, with accompaniment by Assistant Director of Music Maks Adach, as well as Kennerley.

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

Filed Under: Articles Last Updated: December 15, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —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

“Ordained a diocesan priest on 7 October 1827, Guéranger was quickly named a canon (a member of the cathedral chapter of Tours). Around 1830, he demonstrated his interest in the liturgy when he began to use the Roman Missal and texts for the Divine Office, unlike many of his colleagues, who still made use of the diocesan editions commonly in use in pre-Revolutionary France.”

— Source unknown

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