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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

Michael Olbash on Sounds from the Spires

Richard J. Clark · August 2, 2021

ICHAEL OLBASH holds the rare distinction of being the Director of Music of two seminaries: Saint John’s Seminary, Boston, and Pope Saint John XXIII National Seminary in Weston, Massachusetts. He recently joined Dr. Jennifer Pascual, Director of Music for Saint Patrick’s Cathedral in New York City, on her program Sounds from the Spires.

Olbash discusses the seminary programs, his background in parishes, his work in the Extraordinary Form, and his love for cultivating children’s choirs. He also discusses the role music plays in the formation of priests while teaching them to sing the Mass.

As conductor, composer, singer, and organist, Olbash is exceedingly humble and self-effacing. As witness to his abilities in settings that involve adults or children, I attest his abilities are exceptional in each of these areas. (DOWNLOAD his Mass in Honor of the Blessed Virgin Mary, Star of the Sea here.) Most importantly, he integrates his varied skills to nurture, teach, and bring communities together in order to model the ideal of sacred music. He does so with love and joy.

You can listen to the entire program here including wonderful music from Maestro Olbash (See music list below):

 

Pascual’s weekly show can be heard on SIRIUSXM 129 Radio, The Catholic Channel, Saturday, 1:00am and 8:00am, Sunday, 12:00am 6:00am and 8:00pm, Thursday, 1:00pm (all Eastern/ New York times)

Music heard in this interview:

1. Hymn: “Come Down, O Love Divine”
Sung at Saint John’s Seminary, Boston
Michael Olbash, conductor
David Hughes, organ

2. Motet: “Ave Verum Corpus” by Mozart
Sung at Saint John’s Seminary, Boston
Immaculate Heart of Mary School Chorus, with string quartet
Michael Olbash, conductor

3.  Tract:  “Commovisti” Translated and arranged by Fr. Steven Lewis
Sung at Saint John’s Seminary, Boston
Michael Olbash, conductor

4.  Organ: Noel X by Daquin (excerpt)
Played at St. John Guardian of Our Lady Church, Clinton MA
Michael Olbash, organ

5.  Kyrie: “Mass of St. Philip Neri” by Paul Jernberg
Sung at Saint John’s Seminary, Boston
Saint John’s Seminary Schola
Michael Olbash, conductor

6.  Gloria:  “Mass in honor of BVM, Star of the Sea” by Michael Olbash
Sung at St. Paul’s, Harvard Sq., Cambridge MA
Blackstone Valley Catholic Youth Choir
Michael Olbash, conductor
John Robinson, organ

7.  Organist Eric Anderson demonstrates the Phelps/Casavant organ at Pope St. John XXIII National Seminary, Weston MA

8.  Kyrie:  “Messe basse” by Faure
Sung at St. Paul’s, Harvard Sq., Cambridge MA
Blackstone Valley Catholic Youth Choir
Michael Olbash, conductor
John Robinson, organ
Nicholas Olbash, treble solo

9.  Responsorial Psalm:  “Ps. 45 – The Queen Stands at Your Right Hand” by Michael Olbash (excerpt)
Sung at St. Joseph’s, Homewood IL
St. Joseph Choir & Orchestra
John Ligda, conductor
Carrie Marcotte, soprano

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

Filed Under: Articles Last Updated: August 2, 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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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

“I have devoted myself too much, I think, to Bach, to Mozart and to Liszt. I wish now that I could emancipate myself from them. Schumann is no use to me any more, Beethoven only with an effort and strict selection. Chopin has attracted and repelled me all my life; and I have heard his music too often—prostituted, profaned, vulgarized … I do not know what to choose for a new repertory!”

— Ferruccio Busoni (to a colleague in 1922, when he was 56 years old)

Recent Posts

  • Simplified Accompaniment (Easter Hymn)
  • PDF Download • “Quasi Modo Sunday”
  • ‘German’ Introductions for Hymns
  • Fascinating Interpretation of the “Regina Caeli” (Solemn Tone)
  • PDF Download • “Sprinkling Rite” + Psalm Verses

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