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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

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

What earlier generations held as sacred, remains sacred and great for us too, and it cannot be all of a sudden entirely forbidden or even considered harmful.

— ‘His Holiness, Pope Benedict XVI (7 July 2007)’

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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