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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

An Overview of the Music Program at Our Lady of the Atonement Church & Academy (Part 2)

Guest Author · May 26, 2014

450 Atonement San Antonio HE NUMBER OF SCHOOL CHOIRS has expanded from one in 2004 (which at the time included the entire Middle School enrollment) to ten at present. These choirs sing in rotation for the daily Mass, with each choir singing approximately two times per month. The choirs also perform two concerts per year. Additionally, a different school choir provides the music at the 9:00 am Mass one Sunday each month. This offers an opportunity for those families who are not members of the parish to experience the unique and beautiful Anglican Use liturgy and witness the musical training of the students.

The school choirs include:

1) Third grade boys and girls
2) Fourth and Fifth grade girls
3) Fourth and Fifth grade boys
4) Middle School girls
5) Middle School treble boys

6) Middle School changed voice boys
7) Upper School women
8) Upper School men
9) Upper School chorale (SATB)
10) Upper School honor’s choir (SATB)


448 Atonement Outside opportunities

Additional opportunities are provided for students to expand their training and experience by participating in various regional and state competitions and festivals. While these events are of enormous value to the students, they also bring recognition to The Atonement Academy. Sponsoring organizations include the Texas Music Educators Association (TMEA), the Texas Private Music Educators Association (TPSMEA), the Texas Choral Directors Association (TCDA), National Association of Teachers of Singing (NATS), and American Federation Pueri Cantores (AFPC). The choirs have consistently earned “Sweepstakes” at annual state concert and sight-reading contests. Over the past three years, a total of six high school students have been accepted into the Texas All-State choir following a highly competitive audition process. With an upper school enrollment of approximately 120 students, this statistic is particularly impressive given that it is equal to the number of All- State placements from area public schools with enrollments of several thousand students.

449 Atonement San Antonio


Choirs at Our Lady of the Atonement Church

The church choir program has experienced tremendous growth over the past ten years in both quality and quantity. In 2004 there were two parish choirs – a children’s choir comprised of choristers in grades 2-9, and a volunteer adult choir of approximately 15-20 members. Over the years the original children’s choir has been expanded to form three choirs. Others have been added bringing the total number of choirs to seven. These encompass the following:

447 Atonement San Antonio (1) St. Nicholas Children’s Choir (50)
Grade 3-5 girls; sings for the 9:00 AM Mass approximately one Sunday per month, special liturgies throughout the year; rehearses weekly

(2) St. Augustine Boychoir
Choristers (25) – boys in grades 4-7 (by audition)
Probationers (12) – boys in grades 3, less experienced boys in grade 4
Tenor/Bass – boys in grades 7-12 (coming fall 2014)
Sings for the 9:00 AM Mass one Sunday per month as well as special liturgies throughout the year; performs concerts on their own and with other community ensembles; rehearses weekly

(3) St. Cecilia Youth Choir (20)
Grade 6-12 girls; sings for the 9:00 AM Mass approximately one Sunday per month; sings for weddings and other special events both within and outside the parish; rehearses weekly

(4) St. Gregory Schola Cantorum (12)
An auditioned group of high school and college age men who sing the Gregorian Propers for the 6:00 PM Latin Mass (OF) each Sunday; rehearses weekly

446 Atonement (5) Our Lady of the Atonement Adult Choir (27)
Sings for the 11:00 AM Mass each Sunday as well as special liturgies throughout the year; rehearses weekly;
Comprised of volunteers, professional section leaders and choral scholars; the choral scholar program was instituted in the fall of 2012 and provides four exceptionally talented high school students with a modest stipend. This helps to improve the quality of the choir and assists the scholars in developing their musical talent as well as valuable leadership skills
At present, over one-third of the choir is under age 30

(6) Parish Festival Choir (30-40)
With the members of the Adult Choir as its core, the parish Festival Choir provides an opportunity for those who have a desire to sing but cannot commit to weekly rehearsals; the Festival Choir sings for the annual All Souls Evensong, Festival of Nine Lessons and Carols, and the liturgies of Holy Week; rehearses seasonally

(7) Collegium Canticorum (20)
An auditioned ensemble of high school and college age students who specialize in Renaissance polyphony; sings for the Latin Mass (OF) one Sunday per month; rehearses as needed


451 Atonement Organs

When the Murrays arrived in San Antonio, the church housed a small but versatile pipe organ. The parish was about to embark on an expansion project, one which would double the size of the church and provide some much needed additional classroom space for the growing school enrollment.

One of the first tasks was to identify a suitable instrument for the soon-to-be enlarged church. The Murrays were aware of a number of churches in Boston which were being suppressed due to archdiocesan-wide reconfiguration. A perfect match was found in the Casavant organ (Op. 2016) housed in Blessed Sacrament Church in the Jamaica Plain neighborhood of Boston. Comprised of three manuals and thirty-six ranks, the organ was purchased from the Archdiocese of Boston, moved to San Antonio and placed in storage. Upon completion of the church expansion in 2005, the organ was installed by the Ballard Organ Company of San Antonio, which made some minor tonal modifications and expanded the organ to fifty ranks across five divisions.

445 Atonement At the same time, Fr. Phillips learned of the availability of a one manual, seven rank Laukuff tracker organ in the Boston area that was being donated to a church with a vibrant music program. The Murrays inspected the organ and determined that it would make a suitable interim instrument to serve during the construction. Upon completion of the expanded church, the organ was moved to the Sacred Heart Chapel where it is used for special liturgies as well as a teaching instrument for aspiring young organists.


442 Atonement San Antonio Music Series

In anticipation of the twenty-fifth anniversary of the parish, a Music Series was founded in 2007. The series sponsors six musical events per year featuring artists of local, national and international acclaim. The Music Series is an important means of evangelization and outreach and assists the church in achieving one of its most ancient responsibilities of preserving and promoting the arts. The Music Series is largely self-sustaining and receives a minimal subsidy from the parish. Among those who have performed are world renowned organists Marie-Louise Langlais, James David Christie, Pierre Pincemaille, Clive Driskill- Smith, James O’Donnell, David Briggs, and Gerre and Judith Hancock.


Conclusion

444 Atonement San Antonio The sacred music program at Our Lady of the Atonement Church and The Atonement Academy serves as a model for other institutions seeking to train young people in singing the great music of the Church. It owes its success to a number of factors including the support of its pastor, Fr. Christopher Phillips, appropriation of financial resources, a dedicated music faculty and an unbreakable bond between church and school. Other elements include a dedicated rehearsal space, a fine pipe organ and a church with generous acoustics. What is not essential is a school filled with exceptionally talented students. Without question, there are many students who attend The Atonement Academy who possess considerable musical talent. However, most of the students are no different from children in any other school. With the right combination of elements in place, this amazing program can happen anywhere!


We hope you enjoyed this guest series by Mæstro Edmund Murray.


Atonement (Part 1)   •   Atonement (Part 2)

427 Atonement San Antonio 428 Atonement San Antonio 429 Atonement San Antonio 430 Atonement San Antonio 431 Atonement San Antonio 432 Atonement San Antonio 433 Atonement San Antonio 434 Atonement San Antonio 435 Atonement San Antonio

436 Atonement San Antonio 437 Atonement San Antonio 438 Atonement San Antonio 439 Atonement San Antonio 440 Atonement San Antonio 441 Atonement San Antonio
Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Our Lady Of The Atonement Academy Last Updated: January 1, 2020

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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —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

Goupil deserves the name of martyr not only because he has been murdered by the enemies of God and His Church while laboring in ardent charity for his neighbor, but most of all because he was killed for being at prayer and notably for making the Sign of the Cross.

— St. Isaac Jogues (after the martyrdom of Saint René Goupil)

Recent Posts

  • PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
  • “Music List” • 17th in Ordinary Time (Year C)
  • Flor Peeters In A Weird Mood?
  • Communion • “Ask & You Shall Receive”
  • Jeff’s Mother Joins Our Fundraiser

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