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 lives with his wife and two children.
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“Today the Church has made a big mistake, turning the clock back 500 years with guitars and popular songs. I don't like it at all. Gregorian Chant is a vital and important tradition of the Church and to waste this—by having guys mix religious words with profane, Western songs—is hugely grave, hugely grave.”
— Maestro Ennio Morricone (10 Sept 2009)

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Sensational Hymn for St. Joseph … with Modern Polyphony!
published 6 July 2016 by Jeff Ostrowski

Y CHOIR GREATLY ENJOYS singing Mercier’s CANONIC GLORIA, which uses the Editio Vaticana version of Gloria III as a canon between men and women. Mercier’s luxuriant modern harmonies never get old, melding perfectly with the ancient plainsong. In the footnote section, I mentioned the “in house” collection where I found that Gloria.

The following hymn comes from that same book, except Mercier appears to have chosen a French variant instead of the Vaticana melody. 1

I attempted to record the vocal lines myself—to give a rough idea how this piece sounds—but just remember I’m a baritone! These harmonies were meant to be sung by a full choir:

    * *  PDF “CAELITUM JOSEPH” by Raphaël Mercier (d. 1953)


REHEARSAL VIDEOS :

EQUAL VOICES : YouTube   •   Mp3 Audio

SOPRANO : YouTube   •   Audio

ALTO : YouTube   •   Audio

TENOR : YouTube   •   Audio

BASS : YouTube   •   Audio

Organists can teach the chant melody using this score.

Or they can print the Lower Key for training purposes.


Our priest has a special devotion to St. Joseph, so we’ll be singing this piece a lot at our FSSP Apostolate here in Los Angeles.



NOTES FROM THIS ARTICLE:

1   For the record, neither does it correspond to Mocquereau’s 1903 Liber Usualis. In that book, Mocquereau chose a “Renaissance” variant which matches the one chosen by polyphonic composers such as Fr. Victoria (†1611) and Fr. Asola (†1609).