About this blogger:
A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.
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"Upon the road, René was always occupied with God. His words and the discourses he held were all expressive of submission to the commands of Divine Providence, and showed a willing acceptance of the death which God was sending him. He gave himself to God as a sacrifice, to be reduced to ashes by the fires of the Iroquois, which that good Father's hand would kindle. He sought the means to bless Him in all things and everywhere. Covered with wounds as he himself was, Goupil dressed the wounds of other persons, of the enemies who had received some blows in the fight as well as those of the prisoners. He opened the vein for a sick Iroquois. And he did it all with as much charity as if he had done it to persons who were his best friends."
— St. Isaac Jogues (writing in 1643)

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Shortest “Kyrie” Palestrina Ever Wrote
published 20 December 2016 by Jeff Ostrowski

ACK IN 2013, I released a “simple plan” to improve music at Mass. In that article, I mentioned my belief that an a priori decision made after Vatican II—which eliminated the ancient praxis of simultaneous song & prayer—will someday be corrected. However, waiting for that day would be foolish; we must do our best with the current situation. As I’ve said before, the most “painless” way to introduce worthy music to the Ordinary Form (without irritating your pastor) is choral extensions, which embellish the music while still allowing congregational participation.

For the first few years, this will require polyphony that isn’t too long. Did you know Palestrina set entire litanies to polyphony? 1 The “Kyrie Eleison” from such works can be excerpted, and a simple plainsong melody can be sung by the congregation as shown here:

    * *  PDF Download • Shortest “Kyrie” Palestrina Ever Wrote


REHEARSAL VIDEOS for each individual voice—along with PDF score—await you at #6482. If you like them, please consider donating $5.00 per month.


Palestrina’s CANTUS FIRMUS is the litany melody, which you probably know by heart:

543 Litany


The chart below shows the clever way Palestrina mixes three polyphonic lines together—using beautiful invertible counterpoint—while still respecting the conventions of vertical harmony. (Yes, such horizontal rules did exist, in spite of assertions by some today.)

544 invertible counterpoint


Much ink has been spilled regarding problematic music introduced after the Second Vatican Council, and let’s not kid ourselves: the situation is dire. Too many musicians today rigidly refuse to be inclusive, eliminating from Mass practically everything composed before 1965.

My problem with many of today’s Catholic composers is their almost complete ignorance of counterpoint. I cannot understand why they excuse themselves from studying something considered essential by Marenzio, Bach, Mozart, Chopin, Brahms, and every other great composer. The worst is when I read forums or magazines where contemporary composers bloviate about the rules of counterpoint. Then I peek at their compositions only to discover they haven’t the foggiest notion of authentic counterpoint—which cannot be faked.



NOTES FROM THIS ARTICLE:

1   We recently posted about the complete works of Palestrina, which can be downloaded in their entirety online!