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.

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).

Job Opening • $65,000 per year +

A parish 15 minutes away from me is looking for a choir director and organist. The parish is filled with young families. When I began my career, I would have jumped at such an opportunity! Saint Patrick’s in Grand Haven has a job opening for a music director paying $65,000 per year including 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.” I lived in Kansas for 15 years, Texas for 10 years, and Los Angeles for 10 years. Michigan is the closest place I know to heaven!

—Jeff Ostrowski

“Reminder” — Month of November (2025)

On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.

—Jeff Ostrowski

“Offertory” at Catholic Funerals

I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!

—Jeff Ostrowski

Gospel Options for 2 November (“All Souls”)

We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”

—Corpus Christi Watershed

“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

If it is the explicit will of the Council that the faithful are to be able to sing the “Gloria” or the “Credo” together in Latin [which it is] then indirectly there is being expressed here the obligation of regularly celebrating Mass with Latin Gregorian chant. And not merely occasionally, but with such frequency and constancy as to make the singing of these Latin texts a genuine possession of the faithful.

— Heinrich Flatten, Apostolic Protonotary & Canon Law Professor (Bonn)