We have sung Mass at 8:30am with vernacular propers, Gregorian Offertory and Ordinary, and the hymn Beautiful Savior.

At noon I'm playing an Anniversary Mass for a priest at the Diocese Offices. Same music as above, but adding All You Who Seek a Comfort Sure.

In the evening we have vespers which will include Ecce Sacerdos Magnus of Victoria, O Salutaris Hostia of Anerio, Tantum Ergo of Allen, organ prelude by Zipoli and postlude by Fedak, full sung Vespers: Jesus Creator of the World (hymn), Psalms alternating chant (sung by the congregation) with polyphonic verses (sung by the choir), chanted reading, Magnificat chanted in Latin alternating between congregation (chant) and choir (polyphony), chanted intercessions, chanted Our Father, All You Who Seek a Comfort Sure.

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Gosh, that had to be distracting having someone on the bench. I had a homeless person come to the loft during Stations of the Cross one Friday during Lent. After that, I always locked the loft door so no one else could enter.

I wanted to blog on this topic several weeks ago, but got distracted by the colloquium in Indianapolis...

Friday, June 27, 2014, was probably celebrated as the Solemnity of the Sacred Heart in most places, but the closing worship service of the national convention of the American Guild of Organists in Boston this year happened to be at the Basilica of Our Lady of Perpetual Help (known as "Mission Church" among Bostonians). So, the memorial of Our Lady of Perpetual Help was elevated to a Solemnity, and the closing worship of the convention took place in the form of a solemn celebration of Morning Prayer according to the Catholic rite.

The music was provided by the Choir of St. Paul Church, Harvard Square, Cambridge, under the direction of John Robinson and accompanied by Dr. Jonathan Wessler on the majestic three-manual 1897 Hutchings in the basilica gallery. The choir of men and boys at St. Paul's (formerly known as the Boston Archdiocesan Choir School) has undergone an amazing transformation over the past few years under the direction of Mr. Robinson, whose formal training in the cathedral tradition of the U.K. shows forth in the laser-sharp tuning, blend, and accuracy of the boy choir. Robinson has taken all the very best techniques of the Anglican tradition and applied it to the boy choir in an unabashedly Catholic manner. The performance at the convention left a lasting impression among church musicians and organ scholars from around the world: the Choir of St. Paul's, Cambridge, shall rightfully enjoy a reputation as a world-class ensemble for many years to come.


The service began with a "choral prelude" or "introit" of sorts, the premiere performance of the winner of the 2014 AGO/ECS Publishing Award in Choral Composition, "Kyrie Eleison" by Ivan Bozicevic. The gorgeous chromatic writing started off in Greek, with gathering acceleration, dynamics, and intensity, until it reached an industrial, almost brutal climax about three minutes into the piece and burst into English. With pleasing symmetry, the second half of the work gradually relaxed in tempo and volume to a mere whisper of "have mercy on us," sung repeatedly on the descending tritone, which seemed eerily consonant by the end of the piece.

After a rousing rendition of the hymn "Hail, Queen of Heaven, the Ocean Star" (STELLA), the psalmody began with Purcell's "O God, thou art my God," which is the original source of the beloved hymn tune WESTMINSTER ABBEY, followed by the thrilling and poetic Francis Jackson setting of the Bendicite. The psallmody concluding with the entire congregation singing Psalm 149 in alternatum with the boy choir according to Tone V.

Following the reading and responsory came another world premiere, the "Benedictus" of Scott Perkins, whose reedy, audacious organ writing captured the sense of "shock and awe" which must've been felt by all when Zechariah's muted lips were suddenly opened at the naming of his son. The angularity of the opening verses and the closing Gloria Patri made the midsection of the piece all the more striking. When Zechariah addresses the infant John ("Et tu, puer...") the mood of the piece was suddenly spacious and cosmic, achingly tender and intimate yet simultaneously other-worldly. This was an important contribution to the canon of Roman Catholic liturgical music, as the great choral settings of the Benedictus in the Anglican tradition are typically secondary appendages of the Te Deum, and therefore do not stand alone successfully.

The service concluded with all seven verses of "Hail, Holy Queen" and Dr. Jonathan Wessler's brilliant rendition of the Flor Peeters Toccata, Fugue, and Hymn on "Ave Maris Stella."

The entire community of the Church Music Association of America ought to be grateful to John Robinson and Jonathan Wessler for demonstrating to the international sacred music ommunity that authentic Roman Catholic liturgical music is alive and well here in the States. It is my hope that a future CMAA colloquium will some day be held here in Boston so that you all may experience the fruits of Theodore Marier's great foundations laid a half-century ago.

I missed your post for the Feast of the Sacred Heart since I was in Spain and France at the time. Thanks for sharing your wonderful program which included two of my favorites: To Jesus, Heart All Burning (truly, a hymn of the faith) and Ave Maria by the Sisters of Mercy (one of my favorite versions). Actually, on the feast itself, I had the privilege of attending services at the Sacred Heart Basilica, Montmarte, Paris. I shall never forget this uplifting experience. Following the Vespers and Procession of the Blessed Sacrament, the throngs of thousands venerated a relic of St. John Paul II. The Mass of the Angels followed, which was actively sung by those in attendance. I could go on and on but that's it in a nutshell.