Although Ted Marier was, I am sure, a valuable member of the Pius X Hymnal Committee and personally edited several hymns and pieces of polyphony in the hymnal, he wasn't "the editor" by a long shot. On the title page one reads: Compiled, Arranged and Edited by the Faculty of the PIUS TENTH SCHOOL OF LITURGICAL MUSIC, Manhattanville College of the Sacred Heart, Purchase, New York. Additional information about the faculty's work on the hymnal is found on the acknowledgment page. I personally knew five of the six members of the hymnal committee (all but J. Vincent Higginson) and several other Pius X faculty members who worked long and hard on the project. I feel confident in stating that Dr. Marier never himself claimed to have been the editor of this fine hymnal and choir book (more so the latter than the former). Why rewrite history?

Well, then give the credit to Mother Morgan. She was the guiding force in the preparation of the hymnal.

Perhaps people associate the hymnal with Marier because he contributed so many arrangements to it.

I'm going to start calling Oramus Cantando "the Krisman hymnal."

Ronkrisman: I was a member of the Boston Archdiocesan Choir at St. Paul Church, Cambridge, MA from 1976-1986 under Dr. Marier's direction. I'm unaware if Dr. Marier ever considered himself a primary "editor" of the Pius X Hymnal or not. But he was proud of the fact that it was the first important Catholic hymnal of hymns, chants and polyphony in the early 1950s. He was also a faculty member of Pius X summer school for many years. But most importantly, Dr. Marier was, from 1945 - 1962, THE "editor" at McLaughlin & Reilly---the sole publisher of the Pius X hymnal. In that regard, he was certainly a major driving force as an "editor" in the publication of the hymnal. I know that he and Mother Morgan were good friends, as he spoke of her often, and they did work on the publication of the hymnal together with others. Later, he was responsible for the publication of "Cantus Populi" (M&R) as well.

Also, Dr. M. worked tirelessly to upate the catalogue of M&R during his editorship, adding masses and motets of Flor Peeters, Jean Langlais, Russell Woollen, Palestrina, de Lassus, etc. At M&R, he was also responsible for publishing "The Little Organ Book" (Peeters' organ method) "Mass in Ancient Style" - J. Langlais, "Mass in Honor of St. Joseph", "Missa Laudis" and "Missa Festiva" --all by Peeters. The "Twelve Chorales on Gregorian Themes" -- J. Demessieux were first published at M&R in 1950 at Dr. Marier's request of Demessieux. Dr. Marier was responsible for bringing Mme. Demessieux to Boston on a couple of occasions for recitals at Symphony Hall.

To sing under his direction, and to hear him improvising at the organ is something I will never forget. He was RELENTLESS when it came to producing a choral sound that was balanced, beautiful, and with impeccable diction. He worked us until he got what he wanted. He was a devout Catholic, always a gentleman, but persistant in achieving excellence of sacred choral music for the honor and glory of God. A day doesn't pass that I don't miss him, especially when I now sing anthems or motets that I sang under Dr. Marier's direction.

Thank you, Unda_Maris, for your wonderful tribute to Dr. Marier. Although he no longer taught at Manhattanville College during the summers and full academic year I studied there, I met Dr. Marier for the first time at the Easter week 1970 CMAA conference he directed in Boston on new music for the revised Order of Mass. After that I was able to worship at St. Paul's in Cambridge on a number of occasions while he was there. It was at the 1970 CMAA meeting that the participants first experienced Dr. Marier's recto tono Glory to God in the Highest and its very creative accompaniment.

I enjoyed very much reading your recollections.

I'm going to start calling Oramus Cantando "the Krisman hymnal."

And the St. Gregory's Hymnal the "Montani Hymnal"

Ronkrisman: Thank you for your interesting note about your studies at Manhattanville College, and meeting Dr. Marier. Also pleased that your were able to attend Mass at St. Paul, Cambridge and see and hear Dr. Marier in his own environment. The acoustics at St. Paul's were about 4.5 seconds....barrel vaulted ceilings, marble pillars and no carpeting anywhere.

We sang his recto-tono Gloria a few times during the year, in addition to one he wrote in a responsorial psalm setting (in HPSC). Additional Glorias we sang were from masses by Peeters, Langlais, Woollen, Palestrina, Vittoria, Gretchaninov and Bruckner.

His passing was a tremendous loss to all who were a part of his life. I'm pleased you were able to experience some of what I experienced at St. Paul's.

Best,
Unda Maris