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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Podcast: James Kennerley: Sacred Music in Education, the Church and the World

Richard J. Clark · May 14, 2021

 

R. PATRICK Fiorillo, Parochial Vicar and Undergraduate Chaplain at Saint Paul’s Parish in Harvard Square interviews Maestro James Kennerley, Director of Music of the Saint Paul’s Choir School in Cambridge, Massachusetts. Kennerley is an internationally acclaimed conductor, organist, and composer.

Listen here:

* * PODCAST • The Harvard Catholic • James Kennerley: Sacred Music in Education, the Church and the World

IKE MANY CATHOLIC Schools in the Archdiocese of Boston, Saint Paul’s Choir School has offered in-person instruction five days a week since September of 2020. But exceedingly rare: St. Paul’s has been one of the few choirs in the world singing during the pandemic. They have done so safely with countless precautions while maintaining the highest standards in sacred music.

Fr. Fiorillo and Maestro Kennerley cover a breathtaking range of enlightened topics. These include the role of beauty and goodness in expressing truth, the influence of the Church in art and music, and the Church’s treasury of sacred music. Kennerley underscores the myriad salutary benefits of music education for children and that of a community that sings together. 

Fr. Fiorillo’s knowledge and appreciation for sacred music in the liturgy shines in his questions. (He also holds the rare distinction of having a hymn tune named in his honor in The Saint Jean de Brébeuf Hymnal!)

This interview begs for follow-up conversations! To follow Fr. Fiorillo’s podcast “The Harvard Catholic” click here.

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

Filed Under: Articles Last Updated: May 15, 2021

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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” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“No official approbation is required for hymns, songs, and acclamations written for the assembly.”

— Statement by the “Bishops’ Committee on the Liturgy” (10-NOV-1996)

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  • “Music List” • 5th Sunday of Easter (Year C)
  • Communion Chant (5th Sunday of Easter)

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