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Views from the Choir Loft

1902 Ebner Kyriale Accompaniments

Corpus Christi Watershed · March 19, 2013

km0_oak-tome_1902_Ebner_Kyriale_Accompaniments HE FOLLOWING BOOK has been made available for free download courtesy of the Jean de Lalande Library. If you appreciate these efforts, please consider making a donation by using the link at the top of the page.

      * *  1902 Ebner Kyriale Accompaniments (PDF)

• Organum comitans ad Ordinarium Missae • Ludovicus Ebner • 116 pages • 1902 Ratisbonae : Sumptibus et typis Friderici Pustet • Notes: An update on Witt’s KYRIALE/MISSA PRO DEFUNCTIS, especially in terms of rhythm. Contains a 1902 Preface by Haberl, as is normal with these publications. •

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Filed Under: Articles Last Updated: January 1, 2020

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Quick Thoughts

19 May 2022 • “Trochee Trouble”

I’m still trying to decide how to visually present the “pure” Editio Vaticana scores, using what is (technically) the official rhythm of the Church. You can download my latest attempt, for this coming Sunday. Notice the “trochee trouble” as well as the old issue of neumes before the quilisma.

—Jeff Ostrowski
16 May 2022 • Harmonized Chant?

This year’s upcoming Sacred Music Symposium will demonstrate several ways to sing the CREDO at Mass. This is because—for many parishes—to sing a full-length polyphonic CREDO by Victoria or Palestrina is out of the question. Therefore, we show options that are halfway between plainsong and polyphony. You can hear my choir rehearsing a section that sounds like harmonized plainsong.

—Jeff Ostrowski
14 May 2022 • “Pure” Vatican Edition

As readers know, my choir has been singing from the “pure” Editio Vaticana. That is to say, the official rhythm which—technically—is the only rhythm allowed by the Church. I haven’t figured out how I want the scores to look, so in the meantime we’ve been using temporary scores that look like this. Stay tuned!

—Jeff Ostrowski

Random Quote

“Victoria not only made his professional debut as church organist: he also continued active on the organ bench until the very eve of his death. Indeed, during his last seven years at Madrid (1604-1611) he occupied no other musical post but that of convent organist.”

— Dr. Robert Stevenson (1961)

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