Views from the Choir Loft

Setting propers to psalm tones with gregorio

Veronica Brandt · June 10, 2013

OW TO get started typing up chant? It all depends what you want to type. Here is a video showing how easy it is to arrange the propers to psalm tones for the 4th Sunday after Pentecost.

The links required are:

gabc.romanliturgy.org/propers.html for the online-install-nothing version and
the Chrome App for the offline-faster version.

From Benjamin Bloomfield’s Blog comes this quote from the Liber Brevior:

These abridged chants are intended exclusively for churches where it is not possible to properly execute all the melodies of the Roman Gradual and for which a simple melody of the Sacred Texts is tolerated (S. C. R. N° 3697). Where there are Choirs sufficiently trained, the official Chant of the Gradual must be kept.

I had a little technical difficulty with the video software so the picture tends to lag behind the sound, but with a bit of patience I hope it helps explain how to use the Propers Tool. And thanks to Jeff Ostrowski for the great idea to make the video while holding a baby!

Illustration from the Breviary of John the Fearless. Paris, 1413-1419. Harley 2897, f.33v from the British Library.

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

About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. She lives near Sydney, Australia, with her husband and six children.—(Read full biography).

22 September 2020 • “Tears of Joy”

A reader wrote to us: “Thank you for the sample verses of Hymn #869 (Solemn Hymn to the Son of God). I found this music posted to YouTube this morning, and I’ve lost count at of the number of times I’ve replayed it and—no exaggeration!—it makes me tear up each time. This lovely hymn makes me feel closer to Jesus in a way I have not experienced before. It also makes me want to proceed with my daily prayers right then and there, rather than run off to the next errand or household task. I could play your traditional hymns and liturgical music all day long!” —(Ann from the Boston area)

—Jeff Ostrowski

Myth Re: Johann Sebastian Bach

Some musicologists try to make a “splash” by saying that Bach was totally forgotten when he died—remembered only as an organ virtuoso—and that his sons were more famous than he was. Such an idea is indefensible. It is true that musical styles changed in 1750AD—but this is normal. Musical styles change constantly; e.g. much of the repertoire of Hofmann and Rachmaninov was considered “garbage” toward the end of their lives. But those who carefully study the lives of Wolfgang Amadeus Mozart, Christian Gottlob Neefe, Franz Liszt, John Field, Hans von Bülow, Felix Mendelssohn, Frédéric Chopin, and countless others realize that Bach was revered. It’s true that his music was seldom played in public, but music by “dead composers” was generally speaking not played in public until approximately the middle of the 19th century.

—Jeff Ostrowski

Arthur Friedheim, Franz Liszt’s Secretary

Arthur Friedheim (d. 1932) has a very poor reputation as a pianist, and Liszt rejected him several times before finally accepting him as a pupil, yet the Liszt recordings he left are quite good—especially considering the transgressions by other Liszt pupils. Friedheim must have been an amazing musician; twice he was asked to become conductor of the New York Philharmonic (1898 + 1911) but he declined both times. Circa 1912, Friedheim was recording Chopin’s “Funeral March” but the record ran out, so he simply stopped in the middle of the piece. Things sure have changed! Pianists no longer stop in the middle of pieces, although Cortot would sometimes abridge pieces to make them fit on records (cf. Chopin’s Andante Spianato & Grande Polonaise Brilliante).

—Jeff Ostrowski