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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

Are Choirmasters Allowed To Have A Bad Day?

Jeff Ostrowski · November 26, 2019

80746-valdimir-horowitz-rach-3-in-1941 LADIMIR HOROWITZ was certainly among the greatest virtuosi of all time. From a purely musical standpoint, he never reached the level of Josef Hofmann, but when Horowitz was in his prime—1928 to 1953—his technique and repeated notes were comparable (perhaps) to Hofmann’s. Moreover, some recordings by Horowitz have never been surpassed: e.g. his Sousa March, his improvements to the Liszt Hungarian Second, his Chopin op. 55 no. 2, his Mendelssohn-Liszt Wedding Variations, and so on. With regard to Rachmaninov’s 3rd Concerto, Horowitz was responsible for its extreme popularity today. Vladimir reached the pinnacle of his career on 4 May 1941 in Carnegie Hall. With Sir John Barbirolli conducting, he played the D Minor Piano Concerto (“Rach3”) with the New York Philharmonic, and a secret recording was made. For years, this was a rare collector’s item, since it was “pirated.” In the late 1990s, I received a cassette copy from Dr. Ates Tanin in Canada—which I guarded with my life—but today the entire performance can be heard on YouTube. By 1941, Horowitz had been playing Rach3 for 23 years, since he claims to have begun learning it when he was 15 or 16. 1 The 1941 performance has never been surpassed: not by Argerich, not by Rachmaninov, not by Gieseking, not by Horowitz himself. At the very end, a man in the audience yells “Bravo,” and this was truly a glorious moment. 2

AS A MUSIC DIRECTOR, have you ever had a bad day? During Mass, have you been disappointed by your playing, or conducting, or your choir’s singing? At times like that, remember that even someone as stupendous as Horowitz occasionally has bad days. Indeed, one of his 1983 concerts was particularly bad—with tons of memory lapses, incoherencies, and wrong notes. For this concert alone, Horowitz received more than $1 million dollars: an insanely high fee in the 1980s. Listen to an excerpt from that concert:

    * *  Mp3 Download • 1983 Concert (“Live”) by Horowitz

For purposes of comparison, here’s the same piece, recorded “live” when I was in high school:

    * *  Mp3 Download • 1999 Concert (“Live”) by Jeff Ostrowski

Needless to say, the skill of Horowitz is not in question; when he was in grade school, Horowitz could play better than I ever will. The point is, everyone has bad days.

Next time something goes really wrong, remember that 1983 concert by Horowitz.

Say to yourself: “Nobody is perfect!”  And make it better next time.



NOTES FROM THIS ARTICLE:

1   He was born around 1903 somewhere in the Ukraine. I say “around” because there are serious discrepancies regarding his birthplace (Berdychiv vs. Kiev) and—for a long time—the year of his birth. For example, when he made his debut in Germany (1926), he pretended to be 20 years old, because it made his skills seem more impressive, even though he was actually about 23. Most of the official books placed his birth year at 1904, but eventually Horowitz admitted that he lied about the true year (1903) to avoid military service in the Soviet Union. Indeed, Horowitz often lied during interviews later in life, and finding the truth can be difficult. Horowitz even lied about the recording of his famous “Historic Return” to Carnegie Hall in 1965: the “live” recording of the Schumann Fantasy Coda was secretly doctored, with wrong notes repaired.

2   When you have time, read the story of Sir John Barbirolli, Albert Victor Alexander, and Winston Churchill during WWII—it’s fascinating.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    ‘Bogey’ of the Half-Educated: Paraphrase
    Father Adrian Porter, using the cracher dans la soupe example, did a praiseworthy job explaining the difference between ‘dynamic’ and ‘formal’ translation. This is something Monsignor Ronald Knox explained time and again—yet even now certain parties feign ignorance. I suppose there will always be people who pretend the only ‘valid’ translation of Mitigásti omnem iram tuam; avertísti ab ira indignatiónis tuæ… would be “You mitigated all ire of you; you have averted from your indignation’s ire.” Those who would defend such a translation suffer from an unfortunate malady. One of my professors called it “cognate on the brain.”
    —Jeff Ostrowski
    Father Cuthbert Lattey • “The Hebrew MSS”
    Father Cuthbert Lattey (d. 1954) wrote: “In a large number of cases the ancient Christian versions and some other ancient sources seem to have been based upon a better Hebrew text than that adopted by the rabbis for official use and alone suffered to survive. Sometimes, too, the cognate languages suggest a suitable meaning for which there is little or no support in the comparatively small amount of ancient Hebrew that has survived. The evidence of the metre is also at times so clear as of itself to furnish a strong argument; often it is confirmed by some other considerations. […] The Jewish copyists and their directors, however, seem to have lost the tradition of the metre at an early date, and the meticulous care of the rabbis in preserving their own official and traditional text (the ‘massoretic’ text) came too late, when the mischief had already been done.” • Msgr. Knox adds: “It seems the safest principle to follow the Latin—after all, St. Jerome will sometimes have had a better text than the Massoretes—except on the rare occasions when there is no sense to be extracted from the Vulgate at all.”
    —Jeff Ostrowski
    “Music List” • 9 Nov. (Dedic. Lateran)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 9 November 2025, which is the Dedication of the Lateran Basilica. If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of November (2025)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski

Random Quote

“Church officials frequently asked Tomás Luis de Victoria for his opinion on cathedral appointments because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist, and never accepted any extra pay for being a chapelmaster. Held in great esteem, his contract allowed him frequent travel away from the convent, and he attended Palestrina’s funeral (in Rome) in 1594.”

— ‘Dr. Robert Stevenson, 1961 (mod.)’

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  • Father Cuthbert Lattey • “The Hebrew MSS”
  • Re: The People’s Mass Book (1974)
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