Views from the Choir Loft

Working on a Compline booklet

Veronica Brandt · April 12, 2014 ·

VERY NIGHT MY FAMILY SINGS Compline together. It is an awesome habit to have in place. The peace and regular practice of singing together is valuable, but there is another side effect. Our cat loves this as a time when she has her humans staying still, ready to smoodge up against, and our toddling daughter finds she has a captive audience for her latest accomplishments.

We go by the 1962 Roman rite books, like in the ’62 Liber Usualis.

I have been working on a booklet, and mentioned it here, a few months ago.

Now Holy Week is almost upon us, I have recently added a note at the end about Compline in the Sacred Triduum. Hopefully I can finish the Easter Octave section this week, but it is going to be busy!

Last time I linked to my Github repo, but that was probably not very accomodating. So here is the work in progress (yes, it will probably forever be a work in progress, but it keeps getting better, and you are welcome to take it and fit it to your needs/wants)

* * DOWNLOAD HERE

About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. As editor, she has produced fine publications (as well as valuable reprints) dealing with Gregorian chant, hymnody, Latin, and other subjects. These publications are distinguished on account of their tastefulness. She lives in the Blue Mountains near Sydney, Australia, with her husband Peter and six children.

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