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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

John G. Dunn • 1943-2022 • Requiescat In Pace

Richard J. Clark · December 23, 2022

RJC Note: The following obituary is written by Brother Paul J. Murray, The Oratory York, England. He is a graduate of the Boston Archdiocesan Choir School, class of 1996 (currently known as Saint Paul’s Choir School in Harvard Square). He is the former Choirmaster and Organist at the Church of Our Saviour – New York, New York and The Church of the Holy Family “The United Nations Parish” – New York, New York. Murray served as Assistant Editor to John Dunn, Senior Editor of recent updates of the Theodore Marier Psalter first published in Hymns, Psalms, and Spiritual Canticles (1974, 1983) written about here in 2020. The work continues, and look here for updates. 
OHN G. DUNN died peacefully at his home in Watertown, Massachusetts on Saturday, December 17, at the age of 79. A graduate of Harvard College and Boston University, John Dunn studied organ with Theodore Marier, George Faxon, and Max Miller. For many, John’s name is synonymous with St. Paul’s Church, Cambridge, Massachusetts, where he worked in one capacity or another from 1960 until 2010. As a Harvard freshman, he persuaded Theodore Marier, St. Paul’s legendary organist and music director, to take him on as an organ student. John initially played the organ for the Sunday Student Mass at St. Paul’s.

IN 1963 UPON THE FOUNDING of Saint Paul’s Choir School in Cambridge, Massachusetts, John joined the faculty where he taught math, music theory, Ward Method, piano, recorder, and organ. He also served as Assistant Music Director and Organist under Marier. In 1974, as the Sisters of Saint Joseph of Boston began to withdraw from St. Paul’s, John became Principal of the Boston Archdiocesan Choir School and in 1986, upon the retirement of Dr. Marier, John became the Choir School’s second Music Director, a position he held concurrent with his duties as Principal. In 1998, he became Headmaster-Music Director. He retired from St. Paul’s after fifty years of dedicated service in 2010 and was named Headmaster-Music Director Emeritus.

An active member of the Boston American Guild of Organists (AGO) chapter for many years, John earned the Fellowship and Choir Master diplomas of the Guild and served the Boston Chapter in numerous capacities. He was an ardent supporter of the Boston AGO’s Young Organist Initiative and always encouraged his young organ students to apply for scholarships, attend Pipe Organ Encounters, and take AGO certification exams. In retirement, John served on the Executive Committee of the Boston AGO and substituted as organist in churches throughout the Boston area.

DUNN WAS A SKILLED HYMN WRITER. Most of his hymn texts were written specifically for Theodore Marier’s hymnal, Hymns, Psalms, and Spiritual Canticles (1974, 1983). Some of these hymns have found their way into various Christian hymnals throughout the English-speaking world. 

John was a gifted service player and accompanist. As assistant to Theodore Marier, he played for the funerals of John Cardinal Wright and Richard Cardinal Cushing, the visit of Pope Saint John Paul II to the Cathedral of the Holy Cross, and the Installations of Archbishop Humberto Medeiros and Archbishop Bernard Law. He was an active recitalist and performed throughout New England, including performances at the Methuen Memorial Music Hall, Trinity Church, Boston, Mechanics Hall, Harvard’s Memorial Church and the Busch-Reisinger Museum.

DURING JOHN’S YEARS AS MUSIC DIRECTOR, the Choir School under the title “Boston Boy Choir”, toured in Chicago, Montreal, Rome, and Washington, produced several recordings, collaborated with the Boston Symphony Orchestra at Tanglewood, the Boston Pops at Symphony Hall, and sang at countless concerts, weddings, and funerals throughout the Archdiocese of Boston, including the nationally televised funerals of the late Speaker of the House, Tip O’Neill and Rose Fitzgerald Kennedy, matriarch of the Kennedy Family.

Self-described as working “full-time, overtime, and all-the-time,” one wondered if John ever slept or if he lived out of his office at the Choir School. John enjoyed traveling, cooking, and swimming in his spare time.

John always said that he was very privileged to work closely with Theodore Marier and always spoke about Dr. Marier with great fondness. Immediately prior to his death, John, in collaboration with Choir School alumnus Paul Murray, completed a revision of Marier’s signature psalmody to conform to the new liturgical texts that have been implemented in the Catholic Church since the psalms were published in Dr. Marier’s hymnal. For many, John’s death marks the end of a direct link to Theodore Marier.

ALWAYS HAVING TREASURED HIS TIME spent with the boys, John Dunn was always eager to hear from alumni who had gone on to highly successful careers, musical and otherwise, and who pointed to their attending the Choir School as a defining moment in their lives. The Choir School would not exist today without John Dunn’s vision, dedication, and talent. He was a great mentor and friend to his colleagues and former students and he will be missed by his family, friends, and students.

May he rest in peace and may God console those who mourn.

Brother Paul Murray The Oratory York, England Boston Archdiocesan Choir School, Class of 1996

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

Filed Under: Articles Tagged With: Archdiocese of Boston, Boston Archdiocesan Choir School, John Dunn, Saint Pauls Choir School Harvard Square, Theodore Marier Last Updated: December 23, 2022

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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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

Why do we never sing “De Spiritu Sancto” (St. Athenogenes) in our churches? There are a dozen translations in English verse. Where could anyone find a better evening hymn than this, coming right down from the catacombs? Our hymnbooks know nothing of such a treasure as this, and give us pages of poor sentiment in doggerel lines by some tenth-rate modern versifier.

— Rev’d Adrian Fortescue (d. 1923)

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