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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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Corpus Christi Watershed

President’s Corner

    “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
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.
    —Jeff Ostrowski

Quick Thoughts

    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

Random Quote

“The Night Office—Nocturns or Matins—except for Holy Week, Easter Octave, and Christmas, has never appeared in the Vatican edition. The larger part of the mediaeval repertory for the Office thus remains still unpublished in the Vatican edition, and is likely to remain so, for the obvious reason that almost no cathedral chapters or monastic choirs sing the Night Office regularly today.”

— John Merle Boe (1968)

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