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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

    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
    “Music List” • Christ the King Sunday
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 23 November 2025, which is the 34th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. In the 1970 Missal, this Sunday is known as: Domini Nostri Jesu Christi Universorum Regis (“Solemnity of Our Lord Jesus Christ, King of the Universe”). As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the magnificent 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

“The chapter decides that henceforth neither singers nor instrumentalists may be loaned to any outside individual or organization, any more than can the chalices or copes owned by the cathedral. This prohibition applies to all those days of the church calendar for which polyphony is designated.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (13 June 1561)

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