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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

Fauré Requiem Mass • Saint Paul’s Choir School 

Richard J. Clark · November 30, 2021

USIC FROM the Catholic Church’s vast treasury has the power to strengthen, uplift, and inspire conversion. Many new Catholics cite the beauty and truth expressed by the Church’s sacred music as a catalyst for their conversion. For others, it fortifies a lifelong struggle in faith. For some, beautiful sacred music has inspired vocations. Fr. William Kelly, Pastor of Saint Paul’s Church in Harvard Square attributes his call to the priesthood to singing in the Saint Paul’s Choir School (known then as the Boston Archdiocesan Choir School) under the direction of the school’s founder Theodore Marier.

The famous Requiem by Gabriel Fauré, Opus 48, is one such piece that inspires faith and conversion of heart. Recently, the Saint Paul’s Choir of Men and Boys sang the Requiem during a Mass in the Ordinary Form (Novus Ordo Vatican II Mass). A popular work often performed in concert, when sung within Mass, it offers boundless transcendence.

The livestream of the Mass begins at 1:01:40. It follows a lecture from Thomas Forrest Kelly, Harvard University, and Music Director, James Kennerley. You can download the Order of Mass here.

WHILE SINGING THIS SETTING in the Ordinary Form has its complications, i.e, the combined Introit and Kyrie and the Agnus Dei joined with the communion antiphon Lux Aeterna, many have done so in creative fashion as is true in this case. Some choose to split movements where liturgically necessary. Maestro James Kennerley chose to keep them intact, e.g., singing the Agnus Dei XVIII and then the Fauré setting during Communion. Adding profound context and delight was the singing of the Sequence Dies Irae in the Ordinary Form. Many in the congregation gladly joined in. Furthermore, Fr. Kelly’s brief homily spoke about his experience of singing Fauré’s Pie Jesu as a chorister while coping with the death of family members. Undoubtedly, such music profoundly transforms the soul.

Soli Deo gloria

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

Filed Under: Articles Last Updated: December 1, 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 December (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
    Dr. Mahrt explains the ‘Spoken’ Propers
    In 1970, the Church promulgated a new version of the Roman Missal. It goes by various names: Ordinary Form, Novus Ordo, MISSALE RECENS, and so on. If you examine the very first page, you’ll notice that Pope Saint Paul VI explains the meaning of the ‘Spoken Propers’ (which are for Masses without singing). A quote by Dr. William P. Mahrt is also included in that file. The SPOKEN PROPERS—used at Masses without music—are sometimes called The Adalbert Propers, because they were created in 1969 by Father Adalbert Franquesa Garrós, one of Hannibal Bugnini’s closest friends (according to Yves Chiron).
    —Jeff Ostrowski
    PDF • “Music List” (1st Sunday of Advent)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 30 November 2025, which is the 1st Sunday of Advent (Year A). If such a thing interests you, feel free to download it as a PDF file. The ENTRANCE CHANT is quite memorable, and the fauxbourdon setting of the COMMUNION is exquisite. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “Translations Approved for Liturgical Use”
    According to the newsletter for USSCB’s Committee on Divine Worship dated September 1996, there are three (3) translations of the Bible which can be used in the sacred liturgy in the United States. You can read this information with your own eyes. It seems the USCCB and also Rome fully approved the so-called NRSV (“New Revised Standard Version”) on 13 November 1991 and 6 April 1992 but this permission was then withdrawn in 1994.
    —Corpus Christi Watershed
    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

“In the 17th century came the crushing blow which destroyed the beauty of all Breviary hymns. Pope Urban VIII (d. 1644) was a Humanist. In a fatal moment he saw that the hymns do not all conform to the rules of classical prosody.”

— Fr. Adrian Fortescue (d. 1923)

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