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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"Goupil deserves the name of martyr not only because he has been murdered by the enemies of God and His Church while laboring in ardent charity for his neighbor, but most of all because he was killed for being at prayer and notably for making the Sign of the Cross."
— St. Isaac Jogues (after the martyrdom of Saint René Goupil)

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New Release! • “Dies Irae” Rehearsal Video
published 3 November 2016 by Jeff Ostrowski

Here’s my attempt to provide a clear “Dies Irae” rehearsal video:


The DIES IRAE “gives us a new conception of the powers of the Latin tongue” according to Dr. Samuel Duffield. Here are two exceptionally powerful lines:

Then will be brought out the book in which is written
the complete record that will decide each man’s fate.

And when the Judge is seated, all secret sin will be made known,
and no sin will go without its due punishment.

IT WAS QUITE COMMON in the 1940s and 1950s to accompany the Requiem Mass on the organ, in spite of legislation to the contrary. Dr. Daniel T. Politoske, who allowed us to borrow his copy of the NOH for scanning, once said to me: “If I had a dollar for every Requiem I sang and accompanied on the organ myself in those days, I’d be a rich man.” Many tried their hands at writing harmonies for the DIES IRAE, but the version by Msgr. Jules Van Nuffel is probably the best. I must admit that accompanying the DIES IRAE seems 100% incorrect, in my view. It takes away the “austere” and beautiful sound of voices alone. 1

Here’s an Mp3 file of the above video. And here’s the fantastic score we use at FSSP.la, based on the work of Andrew Hinkley, which includes a literal translation by Fr. John Connelly:

    * *  PDF Download • DIES IRAE (Literal English Translation)



NOTES FROM THIS ARTICLE:

1   The 1953 book “Chants of the Church” (by the Monks of Solesmes) includes a version in modern notation with a translation by Msgr. Charles E. Spence.