Sacred Treasures of Rome - New Album from London Oratory Schola

Sacred Treasures of Rome is a new recording from the boys of the London Oratory Schola directed by Charles Cole, and focuses on Palestrina in this, his quincentennial year, as well as other composers working in his orbit in Rome.

The London Oratory Schola is an all-boys choir with an average age of fourteen across the four voice parts. The album includes some of the great iconic motets by Palestrina such as Tu es Petrus, Sicut cervus, and Dum complerentur.

One thing which many of the composers on the disc share was a connection with St Philip Neri. In particular a motet is included by Giovanni Animuccia, who was one of St Philip’s brother priests during the early beginnings of the Oratory at San Girolamo della Carità. Much of Animuccia’s music has been lost, aside from some beautiful editions of his three masses and some motets in the Vatican Libraries. The fate of the rest is a mystery, though an ignominious legend exists that the scores were sold to a Roman cheesemonger to wrap his wares, such was the value of parchment paper at the time. Fortunately, a few motets can be found scattered across part-books, one of which, O crux ave spes unica, has been reconstructed for this recording.

The album also includes works by other composers who had connections to the Rome Oratory including Allegri, the Anerio brothers, and Giovannelli, who succeeded Palestrina.

The London Oratory Schola will be touring the USA in July and singing much of this music both in liturgical and concert contexts, including an appearance at the Palestrina500 Festival.

Sacred Treasures of Rome is released worldwide on all major platforms on July 4, 2025.

Pre-order via Amazon in the U.S. here, and in the U.K. here.

London Oratory Schola Sings Gems from Venice: The Latest Fantastic Album by Charles Cole

It is a splendid thing to compile and record an album of late Renaissance Venetian choral music, especially since the ordinary forces of parish choirs (and even cathedral choirs) can only occasionally muster enough musical forces to mount this mostly polychoral repertoire. There is certainly much to choose from in the programming, for the end of the 16th century and beginning of the 17th witnessed a prodigious production of masterpieces emanating from the lofts of St Mark’s Basilica, many of which had a profound effect on the course of Western music history as it evolved into the various Baroque styles.

Even more splendid, however, is to produce an album with such an interesting and varied program, sung magnificently entirely by choristers brought up from within the ranks of just one school in London. 

We find such an album in the recent Sacred Treasures of Venice, released on the Hyperion label, with NLM’s own Charles Cole directing the boys of the London Oratory Schola Cantorum - no hired ringers here! Featuring the music of three Giovannis (Bassano, Croce, and Gabrieli), alongside the older Gabrieli (Andrea), Claudio Merulo, and Giacomo Finetti, this album draws together compositions which run the gamut of affective expressivity, and compass conventional harmonies as well as daring experiments in late Renaissance voice leading. The honesty of the sound accompanies the wonder of what the boys can produce under so able a tutor and conductor as they have in Mr. Cole. 

Some of my favorites on the album are Croce’s In spiritu humilitatis, a setting of the prayer from the Offertory of the Mass, with its earnestly homophonic setting of the text, a fitting musical offering to accompany the sacrifice offered at the altar by its priest composer. 

In spiritu humilitatis et in animo contrito suscipiamur a te, Domine: et sic fiat sacrificium nostrum in conspectu tuo hodie, ut placeat tibi, Domine Deus.

In the spirit of humility and with contrite heart, may we be accepted by Thee, o Lord, and grant that the sacrifice which we offer this day in Thy sight may be pleasing to Thee, o Lord God.

And, of course, there is the masterpiece O quam suavis Giovanni Gabrieli, which paints the text in a harmonically sophisticated manner.

O quam suavis est, Domine, spiritus tuus,

qui ut dulcedinem tuam in filios demonstrares

pane suavissimo de caelo præstito,

esurientes reples bonis,

fastidiosos divites dimittens inanes. 

O how sweet, O Lord, is thy spirit,

who, to show thy tenderness to thy children,

feedest them with thy sweetest bread from heaven,

feeding the hungry with good things,

and sending the disdainful rich away empty.

I had the opportunity to chat with Charles about the album’s music, composers, and singers on a recent episode of Square Notes: The Sacred Music Podcast, which includes some clips from the album. Do give this latest album in the Sacred Treasures series produced by the schola a listen—it is inspiring in every aspect. 

Singing for Pope Benedict XVI

In 2019 the London Oratory Schola — which sings the 6pm Mass at the Oratory Church on Saturday evenings — was invited to Rome to sing at the canonisation of John Henry Newman. During the days we spent in Rome, we sang on a number of occasions, including the canonisation itself. However, the most memorable highlight was a private recital for the Pope Emeritus, Benedict XVI.

The London Oratory Schola, Fr George Bowen, Charles Cole, Daniel Wright (headmaster) and Dominic Lynch with Pope Emeritus Benedict XVI

The night before the recital, the Schola gave a concert at the Collegio Urbano, where Newman himself studied. This seminary sends missionary priests into some of the most challenging and even dangerous parts of the world. Its students are a thriving group of young men who are incredibly committed to their faith. After the concert in the college chapel, the forty boys of the Schola were ushered into the large refectory for dinner with over a hundred seminarians. The boys sat amongst the seminarians and some of the stories they learned during the course of the meal were very striking indeed.

I particularly remember two boys telling me later that they had been speaking to a young seminarian whose uncle, a priest, had been sent to Pakistan where he was executed for baptising a Muslim. His nephew was absolutely frank about the fact that it was very likely the same could happen to him when he, too, returned to Pakistan, yet he was absolutely at peace with the path he had chosen. It brought to mind the words of Saint Philip Neri to the newly ordained priests of the English College in Rome as they were sent back to an almost certain death in Tudor England: ‘Salvete Flores Martyrum’ (Hail, flowers of the martyrs).

At the end of dinner, the Rector of the Seminary gave a wonderful speech and invited the Schola Prefect and the Student Prefect of the Seminary to come forward and shake hands together as a sign of friendship between us. He went on to tell the boys that as they had some spare rooms, any of them who wished to remain and begin life as seminarians immediately were most welcome to do so — to much laughter. Finally, he announced to his students that the following day, the boys were going to be singing for Pope Benedict. The words were barely out of his mouth before the seminarians erupted with huge applause and cheering. As we all walked back down the Janiculum to our hotel, I remember one of the Oratory school staff remarking to me “It’s going to be hard to top that experience.”

Walking from the Sistine Courtyard to the Vatican Garden

The following day we arrived at the Porta Sant’Anna, the entrance to the Vatican, and we were led through a courtyard and up a staircase into the imposing San Damaso courtyard, right at the heart of the papal palace. We were asked to wait there for a moment, during which a Swiss guard, in full regalia, came over to the boys and started asking them which football teams they supported. The boys were of course delighted, oblivious to the surreal nature of the scene, as they discussed the merits of Chelsea, Fulham et al with a Swiss Guard in bright blue, yellow and red plumage, complete with halberd in hand. We were then led up to the Sistine courtyard, where the director of the Sistine Choir had very kindly given us permission to use the Sistine vestry to robe in readiness for our recital. Anita Morrison, our vocal trainer, gave the boys a warm-up in the vestry after which we lined up in single file to be led up into the Vatican Gardens. Walking in silence, we climbed the path which wound its way upwards behind St. Peter’s, the sound of Roman traffic and bustling life melting away to be replaced by a beautiful stillness and birds singing in the trees. As we reached the upper part of the garden, I heard excited whispers from the boys behind me as one exclaimed “there he is!“ Looking to my left, at the far end of an avenue, two figures were seated on a bench, one wearing white, unmistakably papal, and the other in black.

The Schola warming up in the Sistine Vestry

As we were a few minutes early, our guide led us past the avenue to the Vatican’s replica of the Lourdes Grotto where we waited for the Pope Emeritus to finish his daily rosary. Moments later we were asked to walk down towards the bench. As we did so, the figure in black, Benedict’s personal secretary, Archbishop Georg Gänswein, walked towards me, holding out his hand to greet me with a warm smile, “I am Father George, thank you for coming!” He asked us to line up in front of the bench where Benedict sat looking up with great wide eyes of wonderment. We sang Victoria’s Ave Maria, then Salvator mundi (I) by Tallis.

It is never easy to sing outdoors as there is usually a lack of acoustic or resonance. However, we could feel the sound lifting upwards and carrying far across the garden. I wondered what the tourists high up on the dome of St Peter’s would make of it, as we were out of sight underneath the trees. Benedict turned to Father George Bowen, our school chaplain who was seated beside him, and repeated in wonder “Tutti ragazzi!“, they are all boys, amazed that even the Tenors and Basses were schoolboys, with no professional men. After these two pieces and wary of tiring the Pope Emeritus, I turned to Archbishop Gänswein and asked if we should sing more or draw to a close. Turning to Benedict he said “Holy Father, would you like to give the boys your blessing now?” “No!” came the surprising response, “I want to hear more singing!“ So we sang Byrd’s Haec dies.

The Schola singing for Pope Emeritus Benedict XVI

Afterwards, Pope Benedict blessed us and presented us with medals with his image upon them. Some of us spoke to him, and I took the opportunity to thank him for everything he has done for the liturgy. I was quite taken aback by how tightly he held my hand and the intensity of his gaze. I told him that I had been conductor of the brass for MacMillan’s Tu es Petrus as he entered Westminster Cathedral during his Papal visit in 2010. “Oh yes!” His eyes lit up even more as he recalled the moment, and Archbishop Gänswein leant in, saying, “Of course, we remember that don’t we! What an amazing occasion!”

We bade him farewell and Archbishop Gänswein thanked me once again for bringing the choir. We walked back down the hill, elated, yet with a sense of sublime calm, leaving the small man in white sitting on the bench, gazing out serenely over the garden.

Charles Cole is Director of the London Oratory Schola (www.londonoratoryschola.com) This article was originally published in the February 2023 edition of the London Oratory Parish Magazine.

The Debut Recording of Frank La Rocca’s Mass of the Americas

The début recording of Frank La Rocca’s Mass of the Americas (Misa de las Américas) will be released shortly and can be preordered here. It is performed by the Benedict XVI Institute’s Choir and Orchestra and directed by renowned international conductor Richard Sparks. William P. Mahrt wrote about the Mass here following its liturgical performance at a Pontifical Mass in Washington DC:

“This stunning composition set the tone for the whole liturgy, where music ranged from traditional Gregorian chants sung by a schola of either men or women, to elaboration upon the chants, to settings incorporating the traditional Mexican melodies in music of transcendent liturgical expression. La Rocca uses his skill as a composer to create music that is harmonic but innovative. This music is modern but comprehensible, classical but not archaic.”

The work extends the genre of the Missa solemnis: a sublime setting of a Traditional Latin Mass for choir and orchestra, weaving together a rich modern tapestry with serene Gregorian chants, folk melodies from 18th-century regions of México, and florid praises in Nahuatl, the language spoken by Our Lady of Guadalupe to San Juan Diego in 1531. Benedict XVI Choir’s début recording sung in Latin, Spanish, and Nahuatl, will be released on Capella Records on September 23, 2022.

(The Mass of the Americas was sung as part of this Mass celebrated by Abp Cordileone at the National Shrine of the Immaculate Conception on Nov. 16, 2019.)

Restore Our Choirs for Easter and Save Our Choral Tradition

Last June I wrote a post advocating for common sense in our approach to choirs during the pandemic. Nine months later, choirs in the United Kingdom are still not able to sing in churches, and in fact since January, have been subject to the most restrictive measures under which they have been placed at any time throughout the pandemic. These measures, allowing a maximum of three singers, appear to be completely at odds both with the receding medical situation and the scientific evidence concerning choirs. No account is taken of the proven mitigations we previously had in place, in particular ventilation, on which the UK Government has placed increasing emphasis.

Following the return of our schools, choir directors who train collegiate or cathedral-type choirs, including boys or girls, now find ourselves in an extraordinary situation: we are able to sing and rehearse in school, but not allowed to sing in church. To keep the repertory alive, many of us are maintaining the seasonal rehearsal schedule despite not being able to sing in the liturgical context. For younger singers, rehearsing without a liturgical performance to aim for is dispiriting, to say nothing of the detrimental effect on the Liturgy itself. It is therefore a somewhat equivocal joy to be rehearsing the Introit for Laetare Sunday in such circumstances, and indeed the Tract which contains a wonderful aural depiction of mountains (montes), one of the best examples of word-painting in the entire Gregorian repertory.

The UK Government's ‘road-map’ sets out dates on which lockdown measures will be lifted over the next three months, however there has been no provision made at all for our liturgical choirs, which remain effectively banned, only allowed to sing in numbers greater than three inside a locked church, with no congregation present. Despite attempts by professional bodies to raise the issue, there seems to be a lack of concern for the British choral tradition. Professional singers have already suffered immensely, while pleas for consideration of the particular issues surrounding children's choirs have not been addressed.

The damage being done to the choral tradition is significant and is becoming more difficult to counter. Choir directors are constantly being asked by their choristers “when can we sing in church again?” The feeling of loss and anxiety will be particularly acute amongst those up and down the country who are set to miss their final Passiontide and Easter and maybe even their final term as choristers or choral scholars. It would be a terrible injustice for the culmination of their time to be blighted by such apparently indifferent intransigence. A reversal is needed now to right the damage already done to the young who have shown such extraordinary patience. And who could deny such a wonderful opportunity to breathe new life into our churches again in time for Easter?

Sacred Treasures of Christmas

SACRED TREASURES OF CHRISTMAS is a new recording from the boys of the London Oratory Schola, directed by Charles Cole.

The Schola is one of the top boys’ choirs in the world and sings at the London Oratory. The boys, aged 8-18, are all pupils at The London Oratory School. 

The choir’s director, Charles Cole, said: “We are delighted to present our newest album which we recorded earlier this year. ‘Sacred Treasures of Christmas’ focuses on some of the most iconic polyphonic works written for the Christmas liturgy. These motets, rendered so beautifully by the greatest masters of the Renaissance, capture the awe, mystery and effusive joy of the Nativity.”

Sacred Treasures of Christmas, a sequence of music for Christmas, Epiphany and Candlemas, continues the ‘Sacred Treasures’ series, an anthology of sacred repertoire drawn from the liturgical motets which the boys sing at the London Oratory. 

Mr Cole continued: “Through these recordings, the Schola seeks to bring to a wider audience the music which adorns the liturgies at the London Oratory. These motets have an important function within the liturgy and are not solely beautiful works of art to be appreciated in a removed context such as a museum or art gallery. Their sacred purpose, the way they are experienced by the boys who sing them, and the manner in which they are heard at the Oratory, are before all else within the liturgical context.” The motets on the new album celebrate the Nativity itself, before moving on to the Feast of the Epiphany and the Adoration of the Magi, and concluding with the Purification of the Virgin.

Amongst the composers represented are Victoria, Guerrero, Palestrina, Lassus, Clemens, Sheppard and Tallis. 

Simon Perry, Director of Hyperion Records said: “We are absolutely thrilled to welcome the internationally renowned London Oratory Schola to Hyperion. ‘Sacred Treasures of Christmas’ is an outstandingly beautiful album which we are delighted to release alongside ‘Sacred Treasures of Spain’.” Sacred Treasures of Christmas, on the Hyperion label, is available from:

Preorder from the CMAA Online Shop here: PREORDER NOW

iTunes

Amazon 

Further information is available from: 

Hyperion

The London Oratory Schola 

Sacred Treasures of Christmas from London Oratory Schola on Vimeo.

Choirs: An Appeal for Common Sense

Choirs throughout the world face extraordinary challenges at present. Effectively silenced for several months, they have been unable to sing together in rehearsal or in the context of liturgical or concert performance. Even as countries begin, ever so cautiously, to emerge from lockdown, a considerable amount of debate has arisen surrounding the circumstances of viral transmission through singing. This panic was initially precipitated by the spread of the virus in a choir in the USA, pre-lockdown, with the assumption that it was the singing, rather than the lack of social-distancing, which caused this. A number of preliminary studies, including two carried out in Freiburg and Munich, demonstrate that singing is perfectly safe as long as sensible precautions are put in place.

However, Britain’s choral tradition is now under major threat due to the UK government’s proposed guidance which will make it difficult or impossible for choirs to meaningfully rehearse or perform. Even though there is no scientific evidence to prove the dangers of singing, the negative narrative means that the onus is now on us to prove that singing is safe: so much for ‘innocent until proven guilty’. However in a world which seems unable to accept any risk at all, the UK government’s response is ultimately driven by concerns about liability.

Aside from the obvious impoverishment of the Liturgy and the wider cultural heritage, many professional musicians now face very bleak times. Amateur musicians will suffer too. However in the case of children’s choirs, and those which include children such as cathedral choirs, this situation is nothing short of catastrophic.

Children’s choirs are in a constant state of flux and development and boys’ voices undergo pronounced change which requires particular management. Throughout a choir, individuals are at different stages of sight-reading proficiency, pitching ability and general musical awareness. The younger ones apprentice from the older ones, with every child at a different stage on the journey. Through this process the transmission of the choral tradition itself takes place, encompassing the shared musical experiences, the collegiate knowledge of specific repertoire, and the choir’s unique sound itself, melded by the building in which it sings.

None of this can be simply put on hold; it has to be active in order to exist. This is certainly the case for the two choirs which I direct, the London Oratory Junior Choir and the London Oratory Schola, on whose behalf I wrote to Oliver Dowden MP, the Secretary of State for Digital, Culture, Media and Sport to express these concerns. Over a week later his department has yet to respond; however, a number of other Members of Parliament including Sir Edward Leigh have contacted me to assure me of their support.

In my letter I wrote that, unlike adult choirs, a boys’ or children’s choir cannot simply pick up where it left off. The process of nurturing and developing cannot be put on ice and then resumed at a later date without significant consequences. It could take three to five years to recover the damage and rebuild, and a generation of singers could easily be lost. Time is of the essence, and the clock is always ticking for a boy treble.

Science is not absolute, even when preceded by the definite article. The risks to the young are absolutely minute. Will institutions such as Nine Lessons and Carols from King’s College disappear from the landscape? Will there be no choir at the next coronation in Westminster Abbey? Of course not – common sense will prevail in the end, but the sooner the better.

UPDATE: Today (Fri 3 July 2020) I received a response to my letter to Oliver Dowden MP. The response came from Caroline Dinenage MP, Minister of State, DCMS. The letter does not address any of my concerns nor does it make any mention, specific or otherwise, of Children's Choirs.

Catholic Children’s Choirs 2019

Each year since 2013, NLM has published a list of Catholic Liturgical Children’s Choirs. Over time the list has expanded, and we are delighted that there are a number of new additions this year. The start of the academic year is an ideal time to be thinking about enrolling your child in a choir; in so doing, you are helping to beautify the Liturgy, and your child will gain the immeasurable benefits of an immersion in the musical treasures of the Catholic Church.

If any information is out of date, or if you are the Director of a Catholic children’s choir which is not listed, please email the details in the format shown below to ccole@newliturgicalmovement.org and the post will be updated.

UNITED STATES (Alphabetically by state)

BIRMINGHAM, AL
Cathedral of St Paul: a Schola for boys and girls learning Chant and other Sacred Music. Director of Music, Mr. Bruce Ludwick, Jr.: Ludwick@stpaulsbhm.org Website

PHOENIX, AZ
A chorister programme “in formation” is beginning this month at St Joan of Arc, Phoenix, AZ. The first year will focus on musical education and sight-singing,  learning both modern notation as well as Gregorian. For more information please contact Jeffrey Morse, jmorse@stjoanofarc.com

COLORADO SPRINGS, CO
Corpus Christi: The St. Cecilia Schola Cantorum offers a music education and choral experience which includes instruction in sight singing, theory, Catholic catechesis and Gregorian chant. The St. Cecilia Choir (7+ years) and the Mary’s Angels Choir (under age 7) rehearse on Friday afternoons. Open to non-parish members. Contact the director, Valerie Nicolosi, at valnic33@sbcglobal.net Website

HIGHLANDS RANCH, CO
Pax Christi Church: Chorister program in European Cathedral tradition. Director Raymond Ortiz: rfortiz@paxchristi.org Website

BRIDGEPORT, CT
The Cathedral Parish: The Cathedral Children's Schola sings chanted ordinaries of the mass and other chants, hymns, and some anthems with organ for one Sunday mass a month. Rehearses Wednesday evenings; boys and girls grades 1-8. Contact Director of Sacred Music Dr. Samuel Schmitt: music@thecathedralparish.org

NAPLES, FL
Corpus Christi Chapel, a mission of Christ the King Church, Sarasota (FSSP): Saint Michael the Archangel Boys’ Schola, for boys 8-13 with unchanged voices, and Saint Cecilia Girls’ Schola, for girls 8-13. The children sing Gregorian Ordinary chants, hymns, and other liturgical chants. They also sing the treble part in polyphonic motets with Capella Corpus Christi, the parish’s adult choir. Rehearsals are on Saturday mornings; for further information, please contact the Director, Dr. Susan Treacy, at choir@corpuschristifssp.com

CHICAGO, IL
St John Cantius: multiple choirs. Contact Director of Music Kevin Allen kallen@cantius.org Website

TOPEKA, KS
Most Pure Heart of Mary Schola Cantorum, Topeka, KS. Founded in 2011 as an “after school choir school,” there are currently more than 50 students involved as Probationers (new singers), Junior Choristers (training choir) and Senior Choristers. The Senior Choristers, along with the Men of the Choir, sing every Sunday from September through Corpus Christi, as well as for concerts and civic events. Contact Dr. Lucas Tappan: ltappan@mphm.com Website

LOUISVILLE, KY
Saint Martin of Tours Catholic Church: The Student Schola of Ss. Magnus & Bonosa is an ensemble for boys and girls Grades 1-12 dedicated to formation in the Catholic faith and instruction in Gregorian Chant as well as other forms of Sacred Music. Director of Music, Dr. Emily Meixner. Website

ELLICOTT CITY, MD
Regina Caeli Schola Cantorum: a Gregorian Chant class for children grade 3-8. Rehearsals on Mondays. Contact the Director Mia Coyne: miacoyne@gmail.com Website

PASADENA, MD
St Jane Frances de Chantal: Parish Children’s Choir for children grade 3-8, rehearses on Wednesday evenings and sings for Sunday 10am Mass. Gregorian Chant and Hymns. Director Mia Coyne: miacoyne@gmail.com Website

CAMBRIDGE, MA
St Paul’s, Harvard Square: home to the renowned St Paul’s Choir School, one of two Catholic Choir Schools in the USA. Musical boys in 3rd grade should apply for entry at 4th grade. Contact James Kennerley, Director of Music: 617-868-8658, admin@saintpaulschoirschool.us Website

KALAMAZOO, MI
St. Mary’s, Kalamazoo, Michigan has a children’s choir which sings principally at the EF Mass. Propers, Ordinary, and hymns and motets. Chant and some polyphony. Website

Continue Reading this Article. . .

Final Mass of the CMAA Colloquium

The final Mass of the CMAA Colloquium took place yesterday at the Cathedral Basilica of Ss Peter and Paul in Philadelphia, a votive Mass of church’s patron Saints celebrated in the Extraordinary Form by the CMAA’s chaplain, Fr Robert Pasley. The Mass Ordinary was the six-part Missa Tu es Petrus by Palestrina, and motets included Tu es Petrus by Fauré, Ave verum corpus by Philip Stopford, Cantate Domino by Pitoni and Ave Maria by Bruckner. The Conductors pictured are Dr Timothy McDonnell and Charles Cole; the organist was Peter Carter. The final photograph shows the Colloquium participants gathered after the Mass.

Continue Reading this Article. . .

Requiem Mass in the Extraordinary Form at the CMAA Colloquium

On Friday at the CMAA Colloquium, a solemn Requiem Mass was celebrated by Fr Michael DeSaye at the Cathedral Basilica of St Peter and Paul in Philadelphia. The Mass Ordinary was the Missa pro defuncto Archiepiscopo Sigismondo by Michael Haydn with orchestra; the conductors pictured are David Hughes and Dr Timothy McDonnell. The soloists were Mary Ann Carr-Wilson, Charlene Angelini (the director of music at the cathedral), Nicholas Lemme and Michael Garrepy. A Requiem Mass is offered each year at the Colloquium for deceased members of the CMAA.

Continue Reading this Article. . .

Votive Mass of Our Lady of Guadalupe at the CMAA Colloquium

Yesterday at the Colloquium, a Votive Mass of Our Lady of Guadalupe was celebrated in Spanish by Fr Michael Connolly. The Propers were chanted in Spanish and the Mass setting was La Misa Caça by Cristobal de Morales. Among the motets sung were Ave gratia plena by Cornelius Verdonck, O celestial medicina by Francisco Guerrero and Adoramoste, Señor by Francisco de la Torre. The conductors pictured are Jeffrey Morse and David Hughes; the organist was Nathan Knutson.

Continue Reading this Article. . .

Mass for the Feast of St Thomas, Apostle at the CMAA Colloquium

Yesterday at the CMAA Colloquium, Fr James Richardson offered Mass in the Ordinary Form on the feast of St Thomas the Apostle at the Cathedral Basilica of Ss Peter and Paul in Philadelphia. The Latin propers were sung with Chant Mass IV; among the the motets sung were Quia vidisti me, Thoma by Hassler, Mitte manum by Isaac and O salutaris hostia by Anerio. The choir directors pictured are Nathan Knutson, Dr. Timothy McDonnell and David Hughes; the organist was Michael Garrepy.

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Opening Mass of the CMAA Colloquium in Philadelphia

The opening Mass of the CMAA Colloquium in Philadelphia took place yesterday at the Cathedral Basilica of Saints Peter and Paul, a votive Mass of the Holy Angels, celebrated by Fr David Friel. The first Mass of the Colloquium is always sung in English, with English music settings; the Propers were by Fr Samuel Weber OSB, and the Mass Ordinary was the Mass in Honor of the Blessed Virgin Mary, Star of the Sea by Michael Olbash, who was also organist. The choirs also sang two motets, Call to Remembrance by Richard Farrant and Richard de Castre’s Prayer to Jesus by R.R. Terry. The choir directors pictured are Jeffrey Morse and Mary Ann Carr-Wilson.

Continue Reading this Article. . .

Catholic Children’s Choirs 2018

Once again, we publish our annual list of Catholic Liturgical Children’s Choirs. First published in 2013, the list has grown substantially, so we are delighted to share it again. The start of the academic year is an ideal time to be thinking about enrolling your child in a choir. In so doing, you are helping to beautify the Liturgy, and your child will gain the immeasurable benefits of an immersion in the musical treasures of the Catholic Church.

It is quite possible that some of the information below is out of date: if so, please help by making amendments in the comments. Likewise, if you are the Director of a Catholic children’s choir which is not listed, please email the details in the format shown below to ccole@newliturgicalmovement.org and we will update the post.

UNITED STATES (State alphabetical)

BIRMINGHAM, AL
Cathedral of St Paul: a Schola for boys and girls learning Chant and other Sacred Music. Director of Music, Mr. Bruce Ludwick, Jr.: Ludwick@stpaulsbhm.org Website

SURPRISE, AZ
St. Clare of Assisi: a children’s choir for students in grades 3-8, forming on the west side of the Diocese of Phoenix Arizona. The choir will specialize in Gregorian chant and sacred music. Contact is Director of Music Matthew J. Meloche: mmeloche@diocesephoenix.org

COLORADO SPRINGS, CO
Corpus Christi: The St. Cecilia Schola Cantorum offers a music education and choral experience which includes instruction in sight singing, theory, Catholic catechesis and Gregorian chant. The St. Cecilia Choir (7+ years) and the Mary’s Angels Choir (under age 7) rehearse on Friday afternoons. Open to non-parish members. Contact the director, Valerie Nicolosi, at valnic33@sbcglobal.net Website

HIGHLANDS RANCH, CO
Pax Christi Church: Chorister program in European Cathedral tradition. Director Raymond Ortiz: rfortiz@paxchristi.org Website

NORWALK, CT
St Mary’s: Director of Music David Hughes, a key CMAA figure and leading Catholic musician, has a huge music programme involving a number of choirs with excellent opportunities for children. Contact David Hughes: music@stmarynorwalk.net Website

NAPLES, FL
Corpus Christi Chapel, a mission of Christ the King Church, Sarasota (FSSP): Saint Michael the Archangel Boys’ Schola, for boys 8-13 with unchanged voices, and Saint Cecilia Girls’ Schola, for girls 8-13. The children sing Gregorian Ordinary chants, hymns, and other liturgical chants. They also sing the treble part in polyphonic motets with Capella Corpus Christi, the parish’s adult choir. Rehearsals are on Saturday mornings; for further information, please contact the Director, Dr. Susan Treacy, at choir@corpuschristifssp.com

CHICAGO, IL
St John Cantius: multiple choirs. Contact Director of Music Fr Scott Haynes: music@cantius.org Website

TOPEKA, KS
Most Pure Heart of Mary Schola Cantorum, Topeka, KS. Founded in 2011 as an “after school choir school,” there are currently more than 50 students involved as Probationers (new singers), Junior Choristers (training choir) and Senior Choristers. The Senior Choristers, along with the Men of the Choir, sing every Sunday from September through Corpus Christi, as well as for concerts and civic events. Contact Dr. Lucas Tappan: ltappan@mphm.com Website

ELLICOTT CITY, MD
Regina Caeli Schola Cantorum: a Gregorian Chant class for children grade 3-8. Rehearsals on Mondays. Contact the Director Mia Coyne: miacoyne@gmail.com Website

PASADENA, MD
St Jane Frances de Chantal: Parish Children’s Choir for children grade 3-8, rehearses on Wednesday evenings and sings for Sunday 10am Mass. Gregorian Chant and Hymns. Director Mia Coyne: miacoyne@gmail.com Website

CAMBRIDGE, MA
St Paul’s, Harvard Square: home to the renowned St Paul’s Choir School, one of two Catholic Choir Schools in the USA. Musical boys in 3rd grade should apply for entry at 4th grade. Contact John Robinson, Director of Music: 617-868-8658, jrobinson@choirschool.net Information Website

KALAMAZOO, MI
St. Mary’s, Kalamazoo, Michigan has a children’s choir which sings principally at the EF Mass. Propers, Ordinary, and hymns and motets. Chant and some polyphony. Website

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Now I Walk In Beauty

We are delighted to post Jeffrey Morse's review of the CMAA's latest publication, Now I Walk In Beauty by Wilko Brouwers. To purchase this new book, please visit the CMAA Shop.

Now I Walk In Beauty: 100 Songs and Melodies for School and Choir Collected and edited by Wilko Brouwers, published by The Church Music Association of America, 2017

The appearance of any new material for the Ward Method is newsworthy, and this latest songbook from Wilko Brouwers, coming nearly 40 years after the last revision of the Ward Method books by by Dr. Theodore Marier, is certainly no exception and breathes an invigorating freshness into a musical method that has been long awaited. The Ward Method, created by Justine Bayard Ward (1879-1975), is a method for the teaching of music to children through singing as both “method and goal” as Brouwers points out in his introduction, using the well known rhythmic gestures of the method which interiorize in the child the “arsis” and “thesis” of the melodic line. These rhythmic gestures help the child to, as Brouwers writes, “experience the inner development within one tone toward the next tone, or within one group of tones toward the next group”. The Ward Method also uses a rather unique method of teaching solfeggio, built upon the previous work of Fr. Thomas Shields, Fr. John B. Young, S.J., and surprisingly, Jean- Jacques Rousseau, the 18th century French philosopher. The Ward Method, starting in the earliest grades, as a twenty minute class, five days a week, eventually leads the child to a mastery of both Gregorian Chant and its notation and to modern notation and singing, with the ability to easily sight-sing in either notation. It also leads to a facility in rhythmic and melodic dictation, improvisation, and to creating a beautiful and well-rounded tone in singing.

Despite its proven success, and arguably, its superiority over other methods like Orff and Kodaly, its popularity and influence started to wane in the years after the Second Vatican Council, with most of the international Ward Centers closing: Cambridge (U.K.), Paris, New Zealand, Belgium, and others. The abandonment of Gregorian Chant and the shrinking number of school sisters in the wake of the Council, seemed to signal the end of this amazing and proven method of teaching music. The Ward Method books were revised after the death of Justine Ward, and have been kept in print by the Catholic University of America Press, and classes in the method are still offered there as well as at the University of Northern Colorado. In the last number of years there has been a revival of interest in the Ward Method, perhaps because of the renewed interest in Gregorian Chant and the growing homeschooling movement, not to mention in various schools where it is also used.

Now I Walk in Beauty: 100 Songs and Melodies for School and Choir, has arrived at just the right time. While hymn books and song books have always been part of the pedagogy of the Ward Method, many of them, if not most, are now out of print, available only rarely in used book shops. Now I Walk in Beauty, fills a void as a new Ward songbook, with songs both sacred and secular, reflecting the way the method has always taught music. The collection is comprehensive, and comprises folk songs (e.g. Arkansas Traveller, The Skye Boat Song, Little Red Bird), Sacred Hymns, both Latin and English (e.g. Puer Nobis Nascitur, Cor Jesus, Eternal Father, O God Our Help in Ages Past) as well as folk songs in other languages. It also includes music for the main liturgical season of the year: Advent, Christmas, Easter etc. The pieces in this book are delightful, and could easily be used at Mass or other services, at a school choir concert, or just for for the fun of singing. The collection of 100 songs and melodies starts with the simplest two-note melody and the pieces then progress in difficulty until number 100: “Stella Splendens”, a brilliant little two-part medieval piece from the 14th century Liber Vermell. It is clear that Wilko Brouwers has gone to great trouble to search out some of the most beautiful music to include in this collection; some things are familiar, but many others more obscure and rare, and not often found in collections of music, if at all.

The collection is most obviously “Ward” in the first 40 songs: numbers are used for the solfeggio names (e.g. 1=“Doh”, 2=“Re”, 3=“Fa”, etc.), partial staves of one, two or three lines are used, the “Doh” clef is used on the modern staff, and the “rhythmic waves” are included, showing arsis and thesis. The other 60 songs are presented primarily without any obvious Ward Method devices, weaning the student from some of the supports of earlier pedagogy, however one could still have the singers use solfeggio to discover the melody. Indeed this would be expected in the method, mentally placing the “doh” clef on “G” when the key signature has one sharp, for example, or perhaps drawing in with pencil the arsis and thesis. This said, a thorough knowledge of the Ward Method, or even a cursory knowledge is certainly not needed to use this book in your school or church choir, or in teaching music at home. Despite its value to Ward teachers and students, there is no reason why this splendid volume shouldn't be used by all in the musical education of children. The musical levels covered in this collection are from the very beginning of musical education through the students ability to solfege major scale melodies and minor ones (based on “LA”). The inspiring music in this collection will doubtless leave the student wanting to discover even more.

Included in this collection are end-notes on nearly every piece, giving provenance and history as well as interesting facts, as well as a separate section entitled “What’s New in Each Melody”, giving pedagogical insights for each melody (suggested pitch, intonation/solfeggio, rhythmic gestures and hints about notation used). This is a fabulous collection, certainly one to thrill the hearts of Ward teachers and their students, coming from one of the great teachers of the Ward Method. This new book, it is hoped, will certainly do much to excite interest in the method amongst those who are not familiar with it, and one can only hope that this is only the beginning of a succession of new materials to help revitalize this amazing teaching method, and fulfil the hope that ‘all might sing’.

Jeffrey Morse

Jeffrey Morse Studied Gregorian Chant and Ward Method with Dr Mary Berry (Mother Thomas More, CRSA), and was a Ward Method student of Dr Alise Brown at the University of Northern Colorado, and has been regularly a member of the faculty of the CMAA

Fatima Centenary Celebrations at St John Cantius

There have been celebrations at St John Cantius, Chicago on the 13th of every month since last May to celebrate the centenary of the Fatima apparitions. This Friday, October 13th, over 3000 attended the final event commemorating the 100th anniversary of the 'Miracle of the Sun'. Bishop Joseph Perry celebrated Pontifical High Mass which was attended by a large number of the faithful, including many religious and clergy, as well as a large group of seminarians from Mundelein Seminary. Father Rocky Hoffman, Executive Director of Relevant Radio preached the sermon. Following Pontifical Mass, there was a candlelight ceremony to crown the statue of Our Lady of Fatima on the steps of the church. The statue was carried by members of the Chicago Police Department. More photos here.

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Sacred Arts Conference in Chicago

This October 29th, the Catholic Art Guild, a Chicago-based community of artists, will host a landmark conference bringing together leading philosophers and artists to rediscover the power of Beauty in the modern world.

The conference, entitled “Beauty and the Restoration of the Sacred”, will feature English philosopher Sir Roger Scruton, well-known for his BBC documentary “Why Beauty Matters,” as well as architect Duncan Stroik, classical artist Anthony Visco, and art historian and educator Denis McNamara.

The ground-breaking conference opens with a Solemn High Mass featuring Renaissance choral music in the baroque splendor of Chicago’s historic St. John Cantius Church, a parish well known for bringing beauty into Christian worship.

Conference presentations and discussions will take place at the The Drake Hotel, followed by an elegant banquet, wine service, culminating in a stimulating panel discussion.

“Beauty has been so denigrated in today’s culture as a result of prevalent utilitarian thinking. This unfortunately relegates those with artistic gifts to the periphery or worse, tells them their gifts are useless,” says organizer and guild President Kathleen Carr, “We hope this conference will shine a light on the necessity of Beauty in today’s world.”

All visual artists, designers, architects, art educators, and art lovers are welcome to attend. Tickets and more information can be found at www.CatholicArtGuild.org

Closing Mass of the CMAA Colloquium

The final Mass of the CMAA Colloquium took place yesterday at St Mark’s Church, St Paul Minnesota. Solemn Mass for the Feast of the Nativity of St John the Baptist was celebrated by the CMAA Chaplain, Fr Robert Pasley. Amongst the choir directors pictured are Jonathan Ryan, Mary Ann Carr Wilson, Jeffrey Morse, Wilko Brouwers, David Hughes and Melanie Malinka.

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