About this blogger:
Veronica Brandt holds a Bachelor Degree in Electrical Engineering. As editor, she has produced fine publications (as well as valuable reprints) dealing with Gregorian chant, hymnody, Latin, and other subjects. These publications are distinguished on account of their tastefulness. She lives in the Blue Mountains near Sydney, Australia, with her husband Peter and five children.
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When you consider that the greatest hymns ever written—the plainchant hymns—are pushing the age of eight hundred and that the noble chorale hymn tunes of Bach date from the early eighteenth century, then what is the significance of the word “old” applied to “Mother at Thy Feet Is Kneeling”? Most of the old St. Basil hymns date from the Victorian era, particularly the 1870s and 1880s.
— Paul Hume (1956)

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Basic Steps To Improve Music At Your Parish — Part 4
published 19 July 2014 by Veronica Brandt

Import OST A VISITING CHOIR. If there’s a parish nearby doing wonderful music, maybe some of their choir members would be open to singing a Mass for you. Maybe Mass is out of the question, but a concert might be possible.

Importing singers is probably the quickest way to get good music into your parish, even if it is only for one occasion. Exposing your choir and congregation to good music is a step in the right direction.

If there is no live option, maybe see if there’s a chance to promote a recording of a worthy choir – maybe make it a fundraiser. Note, I’m not advocating playing recordings during Mass. These CDs would be for parishoners to play on their own time.

Our local musical evangelists put together an album called Prima Luce, which we sold as a fundraiser. Since then some choir members have expressed an interest in emulating the music on the recording.

We are building a culture, slowly but surely, little by little.


7-part series:   “Basic Steps To Improve Music At Your Parish”

FIRST PART • Andrew Motyka

SECOND PART • Peter Kwasniewski

THIRD PART • Richard Clark

FOURTH PART • Veronica Brandt

FIFTH PART • Fr. David Friel

SIXTH PART • Jeff Ostrowski

SEVENTH PART • Aurelio Porfiri