This Sunday’s Responsorial Psalm . . . Free To All

Corpus Christi Watershed · April 23, 2013 ·

Here’s a video recording of the Responsorial Psalm that will be sung on Sunday:

* * Click Here to access more than 3,000 free Responsorial Psalms.

R. I will praise your name forever, my king and my God.
The LORD is gracious and merciful,
slow to anger and of great kindness.
The LORD is good to all
and compassionate toward all his works.
R. I will praise your name forever, my king and my God.
Let all your works give you thanks, O LORD,
and let your faithful ones bless you.
Let them discourse of the glory of your kingdom
and speak of your might.
R. I will praise your name forever, my king and my God.
Let them make known your might to the children of Adam,
and the glorious splendor of your kingdom.
Your kingdom is a kingdom for all ages,
and your dominion endures through all generations.
R. I will praise your name forever, my king and my God.

Could Pope St. Pius X Sing?

“On 12 March 1908, the complete publication of the Roman Gradual was issued by the Vatican Press. On that very day, Dom Pothier solemnly presented the first copy to the Holy Father. A witness of the audience says that Pius X wished to be the first to see the new book; he opened it at random, at page 128 of the supplement pro aliquibus locis—it was the Introit of the new Feast of Our Lady of Lourdes. The Pope sang it with perfect taste to the last note.” (Catholic Choirmaster, February 1915)

—Jeff Ostrowski

Julius Bas Accompaniment

A very prolific harmonizer of Gregorian chant in the early 20th century was Mr. Julius Bas. He often uses a very strange technique, wherein he employs rests to eliminate the Alto, Tenor, and Bass voices. Consider what he did with “Lumen ad revelationem” here:

* JPEG • Lumen ad revelationem

It seems quite lazy, and I’ve never seen anyone else use such a technique, although Dr. Peter Wagner often switched to parallel octaves when he ran out of ideas… (Yuck!)

—Jeff Ostrowski

Hitting wrong notes

Fr. Valentine Young, OFM, used to say: “The organist can play 1,000 correct notes and one wrong note—and the only thing people will care about is the wrong note.” Last Sunday I hit some wrong notes, and felt bad. Then I remembered a story about Rudolf Serkin and started to chuckle. Charles Rosen (or was it Leon Fleisher?) told the story of Serkin playing a Beethoven Sonata in front of a large audience. The theme is all in octaves; but Serkin hit some wrong notes, and played parallel 7ths instead. This so unnerved him that every time the theme returned, he played the entire thing in parallel 7ths! We must remember that even the greatest hit wrong notes. Alfred Cortot, Vladimir Horowitz, Wilhelm Backhaus, Edwin Fischer, Sviatoslav Richter, Egon Petri—they all hit wrong notes, which we can hear on recordings. (Josef Hofmann was an exception, but he was super-human so he doesn’t count!)

—Jeff Ostrowski