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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

From the Bell Tower – Boston Cathedral Singers Release First Album

Richard J. Clark · November 5, 2021

Available on Apple iTunes, Amazon Music, Spotify, and all digital formats

BOSTON – ALL SAINTS DAY, 2021 — A beacon of light during the height of the pandemic, four singers at the Cathedral of the Holy Cross sought artistic refuge in the Cathedral bell tower where its bells toll each day.

The tower’s most unusual acoustic properties were miraculously friendly to singers forced to wear masks and stand far away from each other. Each week immediately after Mass at the Cathedral, they made a new recording.

Several months later, the album From the Bell Tower is the result.

Led by Richard J. Clark, composer and Director of Music of the Cathedral of the Holy Cross, the Boston Cathedral Singers are:

GRAMMY-wining soprano Barbara Hill, International Performing Artist Jaime Korkos, mezzo-soprano, acclaimed Cuban-American tenor Michael González, and baritone Taras Leschishin, a soloist with the Boston Pops and international guest conductor.

The recordings were digitally mastered by Double-platinum-winning producer Paul Umbach.

This recording includes Clark’s Four Eucharist Motets for the Year of the Eucharist in the Archdiocese of Boston and Kevin Allen’s Ave Maria premiered in Los Angeles in 2019 under Clark’s direction.

The two-ton bells have their own story — confiscated during the Civil War from a church in New Orleans, they were sold and installed in 1863 in Holy Trinity German Catholic Church, Boston. Closed in 2008, the bells were relocated to the Cathedral where they ring out to this day.

Cardinal Sean O’Malley stated, “These bells have a missionary fire, inviting people to the banquet.” (Boston Globe: “Historic Bells Will Ring out from Boston Cathedral” – Jack Newsham, Oct. 18, 2015)

For the Boston Cathedral Singers, the bells have been a guiding light and a beacon of hope for us all.

Press Contact: Timothy McGuirk
Phone: 857-225-1537
Email: click here

PDF of this Press Release click here. 

About the Boston Cathedral Singers:

Barbara Hill, soprano is a GRAMMY-winning ensemble member and soloist specializing in early and contemporary music. As a soloist, she has appeared with Musica Sacra, Masterworks Chorale, Seven Times Salt, the Old North Festival Chorus, and is the soprano cantor at the Cathedral of the Holy Cross, Boston. As an ensemble member, she performs with the GRAMMY-winning ensemble The Crossing, Emmanuel Music, Ensemble Altera, and Cappella Clausura. An enthusiastic supporter of new music, she especially enjoys the opportunity to premiere and record new works. Recent highlights were premiering Julia Wolfe’s “Fire in my mouth” with the NY Philharmonic and The Crossing in January 2019, and recording Heidi Breyer’s ‘Requiem for the Common Man’ due out in late 2021.

Jaime Korkos, mezzo-soprano is a San Francisco native mezzo-soprano who has sung with opera companies and symphonies around the U. S. and Europe. Ms. Korkos sang on a seven-city tour across Ireland, performing in such venues as Dublin’s famous Abbey Theatre, Cork’s The Everyman, and the Wexford National Opera House. Ms. Korkos has been singing regularly with Boston Lyric Opera since their 2016 production of Carmen, including in The Rake’s Progress, Tosca, and The Threepenny Opera and will join them for The Handmaid’s Tale in 2019. Ms. Korkos sang with Boston’s Odyssey Opera as Lady Angela in their 2017 production of Patience, or Bunthorne’s Bride and sang Orestes in their 2019 production of Offenbach’s La belle Hélène. 2018 brought her debut with Boston Opera Collaborative as Hannah After in Kaminsky’s critically acclaimed As One. In 2019 she debuted with San Francisco’s Pocket Opera.

Other highlights include a four-city U.S. tour with the late Phillip Gossett and the Italian chamber orchestra Ensemble Nuove Musiche, performance as soloist in Mahler’s Symphony No. 3 in Jordan Hall under the baton of Hugh Wolff, and soloist for Handel’s Messiah, with the La Jolla Symphony, and the Atlantic Symphony Orchestra.

Cuban-American tenor Michael Gonzalez is a graduate from the New England Conservatory of Music,  having received his Masters Degree in Music with a focus on Opera, under the tutelage of Michael Meraw. Michael now has his sights set on performing Opera, Art Song, and Operetta. Being from Miami, and the first generation born in the United States, Michael has always been proud of his cultural heritage and relishes in sharing it with those he can.

As a vocalist Michael has performed in various locations across the U.S., and also in several international programs – including, most recently, the American Institute of Musicals Studies in Graz, Austria. Previously, Michael has been featured as Colonel Fairfax – Yeomen of the Guard, Frederic – Pirates of Penzance Satyavān – Savitri, ‘Barigoule’ – Cendrillon, Aeneas – Dido and Aeneas, Albert – Albert Herring and Don Ottavio – Don Giovanni. Michael maintains an active partnership in performing with the Parlor Opera Players, Seraphim singers and the Boston Cathedral Choir.

Taras Leschishin, baritone, is a well known singer in the Boston area having sung as a soloist with the Boston Pops, and many choral groups in New England.  Taras has been a member of Handel Haydn Society, Seraphim Singers, King’s Chapel, and Church of the Advent.  He was guest conductor and soloist for the Hong Kong Philharmonic performing the Bali, Indonesia.  He has worked as director of music for 40 years in numerous parishes around Boston.  Taras recently retired after 30 years teaching music at Bridgewater State University.  Having been a cantor at the Cathedral of the Holy Cross early in his career, Taras is so pleased return to sing in this beautiful Church.

Richard J. Clark was appointed Archdiocesan and Cathedral Director of Music & Organist in 2018 after serving St. Cecilia Parish in Boston for nearly twenty-nine years. His compositions have been performed worldwide and are published with Lorenz/The Sacred Music Press, World Library Publications, GIA Publications, Saint Michael Hymnal (Fifth Edition – 2021), Saint Jean de Brébeuf Hymnal (Sophia Institute Press – 2019), CanticaNOVA Publications, and others. As performer and composer his appearances include St. Patrick’s Cathedral (NY), Saint-Eustache (Paris), the Basilica of the National Shrine of the Immaculate Conception (D.C.), and the Celebrity Series of Boston. His Te Deum for soloists, chorus and orchestra will be debut in Paris in 2022.

Produced by Richard J. Clark and the Boston Cathedral Singers
Recorded in the Bell Tower of the Cathedral of the Holy Cross, Boston, MA
Mastered by Paul Umbach @The Snug Studio, Las Vegas, NV
Cover photography: Evan Landry

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

Filed Under: Articles Last Updated: November 5, 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

    ‘Bogey’ of the Half-Educated: Paraphrase
    Father Adrian Porter, using the cracher dans la soupe example, did a praiseworthy job explaining the difference between ‘dynamic’ and ‘formal’ translation. This is something Monsignor Ronald Knox explained time and again—yet even now certain parties feign ignorance. I suppose there will always be people who pretend the only ‘valid’ translation of Mitigásti omnem iram tuam; avertísti ab ira indignatiónis tuæ… would be “You mitigated all ire of you; you have averted from your indignation’s ire.” Those who would defend such a translation suffer from an unfortunate malady. One of my professors called it “cognate on the brain.”
    —Jeff Ostrowski
    Father Cuthbert Lattey • “The Hebrew MSS”
    Father Cuthbert Lattey (d. 1954) wrote: “In a large number of cases the ancient Christian versions and some other ancient sources seem to have been based upon a better Hebrew text than that adopted by the rabbis for official use and alone suffered to survive. Sometimes, too, the cognate languages suggest a suitable meaning for which there is little or no support in the comparatively small amount of ancient Hebrew that has survived. The evidence of the metre is also at times so clear as of itself to furnish a strong argument; often it is confirmed by some other considerations. […] The Jewish copyists and their directors, however, seem to have lost the tradition of the metre at an early date, and the meticulous care of the rabbis in preserving their own official and traditional text (the ‘massoretic’ text) came too late, when the mischief had already been done.” • Msgr. Knox adds: “It seems the safest principle to follow the Latin—after all, St. Jerome will sometimes have had a better text than the Massoretes—except on the rare occasions when there is no sense to be extracted from the Vulgate at all.”
    —Jeff Ostrowski
    “Music List” • 9 Nov. (Dedic. Lateran)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 9 November 2025, which is the Dedication of the Lateran Basilica. 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 sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “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
    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

Random Quote

“A father cannot introduce mistrust and division among his faithful children. He cannot humiliate some by setting them against others. He cannot ostracize some of his priests. The peace and unity that the Church claims to offer to the world must first be lived within the Church. ”

— Cardinal Sarah (14 August 2021)

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