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.

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.