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Views from the Choir Loft

1946 Organ Accompaniments for the Kyriale (Lapierre)

Corpus Christi Watershed · March 19, 2013

Dr. Lapierre Accompaniments for the Kyriale 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.

      * *  1946 Organ Accompaniments for the Kyriale (Lapierre)

• Organ Accompaniments for the “Ordinarium Missæ” by Dr. Eugene Lapierre, the person who gave Roger Wagner his doctorate • Born in Montreal, Lapierre received his earliest musical education at Saint Brigid’s Church in his native city where he was a pupil of choirmaster Lucien Perreault. He then studied the organ with Étienne Guillet and worked as an accompanist at the Royal Military College Saint-Jean. He entered the École des Hautes Études Commerciales where he earned a degree in 1922. From 1924–1928 Lapierre studied in Paris through a grant from the Canadian government, first at the Institut Grégorien where he earned a diploma in 1926 and then at the Schola cantorum where he eared a diploma in 1928. Among his teachers in Paris were Georges Caussade (composition), Vincent d’Indy (composition), Marcel Dupré (organ and improvisation), Simone Plé-Caussade (piano), and P. Sylva Hérard (piano). He went on to earn a diploma in journalism and Doctor of Music (1930) from the Université de Montréal, after which he worked as a journalist for La Patrie. While writing for that newspaper he continued to study the organ with Benoît Poirier. During the 1920s and 1930s Lapierre served as organist for several churches in Montreal, including Saint-Philomène de Rosemont, Saint-Denis, and Saint-Jacques (1922-4 and 1928–36). From 1936–1944 he was organist at Saint-Stanislas-de-Kostka and from 1944–70 he served in that position at Saint-Alphonse-d’Youville. In 1921 he was appointed secretary of the Conservatoire national de musique and was later appointed the school’s director in 1927, a post he held up until his death in 1970. Among his notable pupils are Gaston Allaire, Émilien Allard, Françoise Aubut, Pierre Brabant, Albertine Caron-Legris, Alfred Mignault, Colombe Pelletier, and Édouard Woolley. • Eugène Lapierre (8 June 1899 – 21 October 1970) was a Canadian organist, composer, journalist, writer on music, arts administrator, and music educator. He was awarded the King George V Silver Jubilee Medal in 1935 and the King George VI Coronation Medal in 1937. In 1963 he was named Chevalier of the Order of Malta and in 1966 he received the Bene merenti de patria from the Saint-Jean-Baptiste Society. He is the great uncle of composer Yves Lapierre. •

courtesy of Ted Krasnicki

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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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

“However well equipped and trained a choir may be, all its good points may be obscured by an unsuitable accompaniment. In fact the organist can, in a large measure, either make or mar his choir. It must be owned, however, that the accompanist of Plainsong has to contend with many difficulties. […] The purist will still find his best enjoyment of the chant when it is sung unaccompanied, but to most a becoming accompaniment gives an added charm.”

— Benedictines of Stanbrook (1905)

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