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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Choir Members’ Behavior In The Year 1596

Jeff Ostrowski · June 11, 2013

EFORE I BEGIN this blog, you might be wondering about the definition of “Musicology.” That’s easy: it’s basically “Music History.” While studying as an undergraduate, all the doors read, “Music History.” Then, in my senior year, they all switched to “Musicology.” I guess the department wanted to “keep up with the times,” but I imagine it must have been really strange for the professors to wake up one morning and be called a different thing.

In any event, one of my graduate Musicology professors always used to complain about the Bach conferences. She would say, “Here they are arguing over the most minute things: what color pen did Bach use, what color shoes did Bach have, and so forth. Meanwhile, we’re lucky if we even know when composers of the early Renaissance were born!”

This professor had a point. The further one goes back in history, the less documentation exists (for a variety of reasons, which I won’t delve into here). There was one early Renaissance composer who lived for 120 years. At least, that’s what musicologists thought for the longest time. Eventually they realized “he” was actually two people: father & son.

On the other hand, documentation doesn’t solve all problems. For instance, those of us who carefully studied the life of Vladimir Horowitz know that he often lied during interviews. Sometimes, his memory was faulty. Other times, the transcriber of the interview was at fault. Other times, the printed programs from the early 1900s were incorrect.

BEARING ALL THIS IN MIND, the reader will be able to better understand why it’s so exciting to find reliable information about Renaissance composers. If you are a Church musician, you really ought to read this part of Msgr. Richard Schuler’s doctoral dissertation (published in Caecilia in 1963):

      * *  The Life and Liturgical Works of Giovanni Maria Nanino (1545-1607) [pdf]

Here are some excerpts I hope you enjoy:

On 24 December, Nanino records that the singers missed a response of Amen which they were supposed to make after the pope said the Gospel at Matins. But the careful and farsighted Nanino records that the books were marked so that the same thing would not happen the following year, as it might if they depended only on memory. He adds the instruction that this Amen is to be answered “without delay.”

The pope replied that all should conduct themselves in choro with devotion and attention, that they should not engage each other in idle chatter since that causes many bad discords. In the future more attention should be exercised.

Oratio Crescentio was absent and was fined eighty-seven julii.

In mid-December the chapel was filled with painters who were decorating it, so the choir had a three day vacation.

First, he takes up the question of absences, noting that each singer could miss two days in a year’s time, provided those days were not Sundays, feasts of the Blessed Virgin, the Apostles or Evangelists, or any day listed in the calendar at the beginning of his “Diario.” Neither could anyone miss a public consistory held in the Sala Ducale of the Vatican palace. He solves the problem of the distinction between absences and tardiness by declaring that a singer who is not in his place by the end of the Epistle will be marked absent. Fines vary according to the rank of the day on which the tardiness or absence occurred, and if any bonus (regaglia) should come to the singers because of an appearance of the choir at a function outside the Sistine chapel, the culprit would forfeit his share. At papal Masses, the regulations against tardiness were more stringent than at Masses celebrated by cardinals or bishops. Nanino records that any singer who is not in his place and in his vestments by the end of the repetition of the introit will be fined eight vinti. At papal Vespers the singer who is not present at the Gloria Patri of the first psalm pays a fine of fifty balocchi.

As a composer, I found this excerpt extremely interesting:

The “Diario” for 1594, written by Hippolito Gambocci, also records an interesting anecdote that involved Nanino. The reigning pontiff was Pope Clement VIII (1592-1605). According to custom, the choir sang a special motet for the pope while he was dining on the anniversary of his coronation, which for Clement was February ninth. The fitting In diademate capitis by Nanino was performed, and it attracted the special notice of the pope and possibly his displeasure. He asked whose composition it was, and when told that Nanino was the composer he somewhat softened his attitude and attempted to shift his criticism, since Nanino was a recognized master. The pope then declared that he did not like the words of the piece, but the maestro di cappella pointed out that they were taken from the Bible. The “Diario” does not add any further comment. None was necessary.

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

Filed Under: Articles Tagged With: Giovanni Maria Nanino Last Updated: May 6, 2021

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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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Who dreamed on that day that within a few years, far less than a decade, the Latin past of the Church would be all but expunged, that it would be reduced to a memory fading into the middle distance? The thought of it would have horrified us, but it seemed so far beyond the realm of the possible as to be ridiculous. So we laughed it off.”

— Archbishop Dwyer of Portland (26-Oct-1973)

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  • New Bulletin Article • “12 October 2025”

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