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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Mass in Honor of the Blessed Virgin Mary, Star of the Sea

Richard J. Clark · May 30, 2014

UITE SIMPLY PUT, to meet composer, conductor, and organist Michael Olbash is to encounter a gentleman at ease in the modern world, a man both unassuming and understated in gesture and words. Only in time does he reveal the depth and breadth of his talent, intellect, personality, and great humor. (His modest comportment requires this long and drawn out revelation; his actions speak with concise clarity.) One discovers he is a man of enormous personality, for Michael is extraordinarily passionate about God, his family, and the liturgy.

It is no wonder that from such a man comes a mass setting of both unassuming stature and simplicity, but yet carries the weight of the sacred mysteries in its powerful melodic gestures and harmonic foundations. Chant melody and harmony flow without the listener consciously recognizing their natural union; both uphold the sacred text in the natural order of prayer.

DOWNLOAD Complete Score:
PDF • Mass in Honor of the Blessed Virgin Mary, Star of the Sea (for Schola, Organ)
• For transpositions or congregation inserts Click here to contact Michael Olbash via Email.

Its origins are quite notable on three fronts: It was composed to be performed by the Blackstone Valley Catholic Youth Choir, a group Olbash founded dedicated to teaching children Gregorian Chant. Secondly, it was composed in 2010, dedicated to His Eminence Seán Cardinal O’Malley on the 40th anniversary of his ordination to the priesthood. Thirdly, it was premiered at the New Music session at the 2010 CMAA colloquium at Duquesne.

Very intentional with the structure of the melody and the work’s liturgical functionality, Olbash indicates the following:

• Each movement intentionally uses a “gathering tone” in the style of Dr. Theodore Marier.
• Each invocation of the Kyrie is progressively longer, in imitation of the Gregorian style.
• The Gloria, in addition to borrowing from “Ave Maris Stella,” has three similar “peaks” where short series (i.e. we praise you, we bless you, we adore you, we glorify you) sort of “ramp up” to a climax (“we give you thanks for your great glory”). The other peaks are “you are seated” and “you alone”. There is also a sneaky little use of the opening of the Ave Maria chant at the words “for you alone.” The two iterations of the Lord’s Name are also both designed to allow for a stretching of tempo for congregations who have a custom of bowing, cresc. (or dim.) on the Lord’s Name, etc.
• The score is published in a key friendly for most congregations; however, the sound clips are a step higher so that they would be most suitable for children’s voices.

Listen here to the Gloria recorded at St. Paul’s in Harvard Square with none other than John Robinson on organ.

Each movement is unique, based on different melodic elements; yet there is continuity and unity. Furthermore, each movement naturally fits within the proper shape of the liturgy, something Michael understands quite well. A wonderful example is the recording of the Preface and Sanctus. Of this Michael writes:

“The Sanctus, based on the preface tone, is an hommage to the simple English chant settings of the Sanctus by Theodore Marier found in his landmark hymnal, “Hymns, Psalms, and Spiritual Songs.”

Listen here to the Preface and Sanctus. The recording features the dialogue and preface for the Solemnity of the Immaculate Conception. Revel in the relationship between the two, flowing not simply as separate sections, but a natural progression revealing the organic unity of the liturgy:

ASS IN HONOR OF THE BLESSED VIRGIN MARY, STAR OF THE SEA is a true gem for any parish and schola. It possesses unity, continuity, and balance. There is enough simplicity to be accessible, yet filled with artistic depth and joyful surprises to maintain interest. This is a work that bears repetition. Like Mr. Olbash’s personality, this setting will reveal new elements of prayer with each use. It bears the mandate of Pope Saint Pius X that music for the liturgy be Sacred, Beautiful, and Universal.

The beautiful recordings above are featured on the Blackstone Valley Catholic Youth Choir recording Clothed with the Sun — Music for the Solemnities of the Immaculate Conception and the Assumption of Mary. To buy the CD click here.

Please pray for the good works of Michael and many like him who are dedicated to serving the Church. Such prayer and joy these children bring to the liturgy and to our lives!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Catholic Youth Choirs, congregational singing, Gregorian Chant, Roman Missal Third Edition, Singing the Mass Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Pope Leo XIV Has Announced…”
    My pastor asked me to write brief articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The most recent article speaks about the recent announcement by Pope Leo XIV, which does have an impact on church musicians. Scheduled for publication on 2025 08 10th, it’s called: “Pope Leo XIV Has Announced…”
    —Jeff Ostrowski
    “Chants” • 18th Sunday in Ordinary Time
    All the chants for 3 August 2025—which is the 18th Sunday in Ordinary Time (Year C)—have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (from the book of Wisdom) is stunning. That feast website has been called “the best kept secret of Church music.”
    —Jeff Ostrowski
    “Corn” From Heaven?
    The Westminster Version of the Sacred Scriptures was produced by Roman Catholics in England and bears a 15 March 1958 IMPRIMATUR from the Archbishop of Westminster. Its IMPRIMI POTEST was given by the director of the Pontifical Biblical Institute in Rome. Sometimes words chosen by translators sound funny to American ears. For instance, one of our Responsorial Psalms has as its refrain: “The Lord gave them bread from heaven.” But the British version has “The Lord gave them corn from heaven.” Feel free to examine this with your own eyes. (It comes from Psalm 77.)
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“The sacrificial death of Jesus Christ the High Priest on Calvary is and will remain the basis for the active participation of the faithful in the liturgy. Membership in the Church, which is brought about by valid baptism, makes one a part of the Mystical Body of Christ, THE PRIEST, to whose priesthood one is interiorly conformed through the baptismal character.”

— “Divini Cultus Studium” (Dr. Robert A. Skeris, 1990)

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