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Views from the Choir Loft

Reflections On Playing The Piano At Church

Jeff Ostrowski · January 14, 2013

In my experiences as a Catholic Church musician, the following conversation has often occurred:

    “Jeff, why don’t you ever play the piano at Mass? Why do you play only the pipe organ?”
    “Because the piano is too much of an emotional, sentimental instrument.”
    “But the piano can be very beautiful.”
    “I agree that the piano can be very beautiful, but the correct musical instruments ought to be used in the correct
    places at the correct times.”

    “OK, Jeff, you agree the piano is beautiful. Well, God is beautiful. Why not play piano at Mass? It moves me.”
    “When it comes to the Church’s public worship of Almighty God and the reënactment of the sacrifice of
    Calvary, we have to make sure that the music is of a certain seriousness, loftiness, and dignity.”

    “You probably just don’t like the piano, Jeff.“

In conversations like these, I’ve never had any success convincing people that I love the piano. I keep saying, “I love the piano, but it is not a sacred instrument.” And the other person keeps saying, “You probably don’t like the piano. That’s why you don’t think it belongs in Church.” To “prove” I love the piano, I would like to share with you two recordings I made while still a sophomore in high school (1998). You can tell these are “live” recordings (no editing) because towards the end of the MacDowell, you can hear members of my family talking and then slamming the door.

                          •    
                    Edward MacDowell Etude de Concert    •        Nikolai Medtner Fairy Tale

Pope St. Pius X wrote in an official Church document (1903): “The employment of the piano is forbidden in church, as is also that of noisy or frivolous instruments such as drums, cymbals, bells and the like.” Although the piano is one of the most beautiful instruments, I do agree with Pope Pius X. It is a highly emotional percussive instrument not suited for the public worship of Almighty God. I love the piano, but not in Church.

“Music is to be heard, not seen”

EOPLE who didn’t like children very much used to say, “Children are to be seen not heard.” In other words, children were to keep their mouths shut. In my mind, however, music is to heard not seen. I think watching people make music distracts from the pure joy that comes from listening. I’m sure others will disagree strongly with this opinion of mine. Below are video versions the same two recordings (from above). I simply cannot focus on the music as well when my eyes are “watching” something: do you agree?

      


Incidentally, I also think there are many reasons why the choir or cantor at Mass should not become a “center of attention.” Pius X seems to agree, when he said: “It will also be fitting that singers while singing in church wear the ecclesiastical habit and surplice, and that they be hidden behind gratings when the choir is excessively open to the public gaze.”

Piano Culture

Not only was the piano a huge part of my life for many years, but the whole culture of the “golden age pianists” played a huge role in my life. I drew many sketches of the great pianists, and here are some examples:

When all was said and done, I think I must have drawn about forty (40) great pianists total: Ignaz Friedman, Josef Lhevinne, Leopold Godowski, Wiktor Labunski, and many others. However, my sketches were nothing compared to those of my mother, who has a natural talent for art:

My mother drew that picture of the great Anton Rubinstein in about twenty minutes — what amazing talent!

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

    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt

Random Quote

“Franz Liszt was an eminent keyboard virtuoso but a dangerous example for the young. … As a composer he was terrible.”

— Clara Schumann

Recent Posts

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  • “Hybrid” Chant Notation?
  • Available! • Free Rehearsal Videos for Agnus Dei “Mille Regretz” after Gombert (d. 1560)
  • Urgent! • We Desperately Need Funds!
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