Since so many ask me how things are going at the Boston Archdiocesan Choir School and St. Paul Parish under the leadership of new music director John Robinson, perhaps some readers of this forum will be interested in my assessment.

As you may already know, Mr. Robinson is the former assistant director and organist at Cantebury Cathedral in England. He’s a former boy chorister (Hereford Cathedral), still in his twenties, married, and owner of two dogs (referred to as “the lads”). Selected from among six highly qualified finalists, Robinson was the unanimous choice because the selection committee realized they were in the presence of a genuinely rare talent. His audition rehearsal with both men and boys was a model of efficiency and aided by an ability to establish pitches without keyboard reference and a knack for vocally demonstrating passages in the register of each part the boys were thoroughly engaged (the British accent I’m sure helped). Though I did not hear him play the organ during the audition process, his playing these past two months has been both effortless and engaging; his solo recital given this past Sunday afternoon at St. Paul’s was simply spectacular.

Though everyone was greatly relieved when Robinson accepted the appointment, there was nonetheless a shared anxiety. Though it has been twenty-five years since Theodore Marier retired from the choir school, selecting a director with no working or educational relationship with Marier made everyone a bit apprehensive. Changes were inevitable.

And changes there have been: choir seating for both rehearsal and Sunday liturgies has been rearranged; fifth and sixth graders no longer attend Wednesday evening rehearsal with the men; the trademark Sunday liturgy program leaflets have been radically altered; hymn descants have been put on hold and singing the second half of the psalm verses in parts is restricted now to only the final verse; a goal seems to have counter tenors assume the role of alto as at Westminster Cathedral in London and St. Thomas in New York (given the rarity of local counter-tenors not to mention a tight parish/school budget, this may be somewhat unrealistic); the British manner of shaping consonant word endings has given the chanting a more measured pace; Latin introits are now sung weekly as opposed to only Advent, Lent and major feast days; in the classroom, the school’s adaption of the Ward method is being gradually phased out; Marier’s four-part ordinary settings, formerly a weekly fixture, are now sung only sporadically (or perhaps until the new director becomes more familiar with them); finally, demanding repertoire is being introduced at a faster clip, sometimes with only one rehearsal for the men and rarely with no more than two.

Some of these changes were welcomed immediately, others have required time for acceptance. Most conspicuously appreciated is the improved behavior of the boys. It no longer requires fifteen minutes of settling down time before rehearsals begin in earnest. Though a sung weekly Latin introit adds pressure, there is a growing confidence to the boys’ singing. Old timers miss the splendor of the hymn descants but have been assured in time those will be reintroduced. Champions of the Ward method are disappointed yet surely must admit, however reluctantly, that other approaches to choral development have a proven track record.

Personally, I’m delighted in the direction and challenges he’s given us. It only takes a few moments into a rehearsal to know Robinson possesses special qualities that just can’t be taught. A frequently voiced concern is whether someone so young and unfamiliar with the local culture can hold his ground against interference from clergy and lay persons in positions of authority. (The selection of the hymn tune Lambillotte at a recent liturgy instead of Marier’s wonderful setting of “Come, Holy Ghost” raised such suspicions.) Nonetheless, behind Robinson’s personable soft-spoken charm one senses a resolute determination and an ability to make wise, principled decisions. Retaining Jennifer Lester as associate music director is certainly a case in point. A noted conductor in her own right and rock-solid organ accompanist, she has steadied the ship during these first weeks of transition.

Given time Robinson will surely put his own mark on the school and with God’s grace a future generation will look back on his era with the same reverential admiration we now hold for Theodore Marier and his long-time colleague and successor John Dunn. To that end, please keep the school and parish in your prayers.