Views from the Choir Loft

Singing A Capella During the Easter Triduum

Andrew R. Motyka · April 9, 2014

HE EASTER TRIDUUM can produce some interesting musical challenges. The amount of music preparation necessary for these most important three days of the liturgical year is daunting. Hopefully your preparation is going well.

One tradition that many parishes continue is singing a cappella beginning after the Gloria on Holy Thursday until the Gloria on Easter Vigil. While this is normative in the Extraordinary Form, it is optional in the Ordinary Form. The rubrics about instrumental use during the Triduum are identical to those during Lent: instruments may only be used to accompany singing. Nevertheless, following the older tradition, even in the Ordinary Form, lends a solemnity to the Triduum that punctuates the entire season.

Most choirs can sing at least simple music without accompaniment. Here are Responsorial Psalms for both Holy Thursday and Good Friday. They are set for a cappella SATB choir, and could quite easily be learned in one rehearsal (good thing; that’s probably all you have left).

I hope your last week of preparation is fruitful, beautiful, and low-stress.

CLICK BELOW for the FREE PDF download.

* * Holy Thursday Responsorial Psalm — Motyka

* * Good Friday Responsorial Psalm — Motyka

About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski

“Sharing Is Caring”

I would like to share a message from a highly respected scholar. (His articles appear in distinguished journals such as Études grégoriennes and Oxford’s Early Music.) He wrote as follows:

The Brébeuf Hymnal is very tastefully done. Your team has exquisite literary and musical taste. I see from my copy of the hymnal that you also set Ex more docti to “Rockingham” (one of my favorite melodies for “When I survey the wondrous cross”). I especially appreciate the background information at the bottom of the page. When I played at the Lutheran church, I would always have a little note about the music, sometimes about a hymn, if the “Hymnal Companion” offered something of interest. The church we attend has battered Worship II hymnals (one per pew), but almost nobody seems to want to sing. I congratulate you on the staggering amount of work it took to produce the Brébeuf hymnal: excellent contents and production.

—Jeff Ostrowski