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Views from the Choir Loft

Reviving a Music Program & Ryan Lynch on “Sounds from the Spires”

Richard J. Clark · January 16, 2015

UMPSTARTING A NEW CHOIR is always a challenge. Very often, a new director walks into a situation where there is a small program in need of bolstering. This may also involve igniting new programs. Doing so in a parish setting – “in the trenches” – is also very challenging. But it’s a challenge everywhere!

A glimpse into such a parish is St. Raphael’s Parish in Medford, Massachusetts where Ryan Lynch took over as Director of Music and Organist a little more than a year ago. Having no adult choir whatsoever, he also revitalized a small youth choir which now includes thirty-five children. Like many music directors, he is now teaching in the parish school, working with children from kindergarten through fifth grade. (Ryan Lynch is also very frequently heard for the Archdiocese of Boston’s televised masses on Boston Channel 7, WHDH.)

T TWENTY-EIGHT YEARS OLD, Mr. Lynch is certainly part of a new generation of musicians advocating for chant and traditional music of the Church. In doing so, the choirs at St. Raphael’s Parish have grown solidly with very capable and young volunteers.

When starting a new choir from scratch, Mr. Lynch has been wise in selecting repertoire that is simple, but substantial. He has relied a great deal on Richard Rice’s Simple Choral Gradual, the Chabanel Psalms, and Andrew Motyka’s Laudate Dominum Communion Antiphons. He is also slowly introducing the simple, yet essential Gregorian Chants of the Church. An indispensable resource for this is Richard Rice’s Parish Book of Chant.

Conventional wisdom assumes that popular styles of music will attract larger congregations and choirs. However, one cannot argue with the results at St. Raphael’s Parish, especially given greatly improved congregational singing, a revived adult choir, and the large numbers in his youth choir. While exceedingly versatile in handling different musical styles, his approach in laying a foundation of traditional sacred music of the Church has yielded much fruit in a short time. (Interestingly, this is often achieved with contemporary chant and choral based compositions.) This path takes courage and support from the pastor. Fr. Kevin Toomey, clearly has his trust in Ryan’s approach.

One final ingredient to infusing life into new programs one that Ryan has in abundance: interpersonal skills. Despite his youth, he demands respect by giving it. His singers of all ages love singing with him. In short, he is another parish musician who views his life’s work as service to the Church. Good-hearted and talented people respond quite positively to this philosophy. They want to take part in this service to God and others.

ECENTLY, RYAN LYNCH had a guest appearance on “Sounds from the Spires” on on SIRIUS XM 129 Radio, The Catholic Channel. The show is hosted by Dr. Jennifer Pascual, Director of Music at Saint Patrick’s Cathedral in New York City. This interview gives a bit of a glimpse for non-musicians of the daily life and challenges of a parish church musician. This was especially fitting after a busy Christmas Season!

• PODCAST • Here are some excerpts from “Sounds form the Spires” broadcast on 1.10.2015:

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

Filed Under: Articles Tagged With: Catholic Youth Choirs Last Updated: January 1, 2020

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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

    Proof Which All Can Immediately See!
    “A little knowledge is a dangerous thing,” as the famous maxim goes. Over the years, I’ve observed malicious attacks on the Brébeuf Catholic Hymnal. Rather than scoring a ‘hit’ on the Brébeuf Hymnal, its attackers often reveal profound ignorance. I’ve been advised never to reply … but I break that rule today. Certain voices online assert that the Brébeuf Hymnal is “untraditional” because it includes both the Urbanite and pre-Urbanite versions of the hymns. But if only they would glance at a copy of the 1913 VESPERALE (printed by order of Pope Saint Pius X) they would see how mistaken such statements are.
    —Jeff Ostrowski
    New Bulletin Article • “8 June 2025”
    My pastor requested that I write short articles each week for the parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article includes a few anecdotes about Archbishop Fulton J. Sheen and Abraham Lincoln.
    —Jeff Ostrowski
    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

There is a lack of that kind of organization which favors mature judgment. Move on, move on, get it out. Schemata are multiplied without ever arriving at a considered form. The system of discussion is bad … Often the schemata arrive just before the discussions. Sometimes, and in important matters, such as the new anaphoras, the schema was distributed the evening before the discussion was to take place … Father Bugnini has only one interest: press ahead and finish.

— Cardinal Antonelli (Peritus during the Second Vatican Council)

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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.