Views from the Choir Loft

Mass In Honor Of Saint Isaac Jogues

Corpus Christi Watershed · May 19, 2014

Musical resources for the Mass in honor of St. Isaac Jogues:

* * Excerpted PDF — As printed inside the Jogues Illuminated Missal

* * Organ Accompaniments — At a Congregational Pitch Level

* * SATB Choir Scores — with Optional Organ Accompaniment

* * REMINDER: This is a compilation Mass, so titles of individual pieces below may not reference the Mass in honor of St. Isaac Jogues.

VIDEO RECORDINGS FOR PRACTICE:

“Lord, Have Mercy” • SATB

“Glory To God” • SATB • Unison (Modern) • Unison (Gregorian) • Unison (Mp3)

“I Believe In One God” • Unison Alternatim • Unison (Mp3)

“Holy, Holy, Holy” • SATB • Unison (Female) • Unison (Male)

“Mystery Of Faith” • SATB • Unison

“Doxology & Amen” • SATB • Unison

“Our Father” • SATB

“Lamb Of God” • SATB • Unison

SATB Practice Recordings (AUDIO):

“Lord, Have Mercy”  •  SOPR  •  ALTO  •  TENR  •  BASS

“Glory To God”  •  SOPR  •  ALTO  •  TENR  •  BASS

“Holy, Holy, Holy”  •  SOPR  •  ALTO  •  TENR  •  BASS

“Mystery Of Faith”  •  SOPR  •  ALTO  •  TENR  •  BASS

“Doxology & Amen”  •  SOPR  •  ALTO  •  TENR  •  BASS

“Our Father”  •  SOPR  •  ALTO  •  TENR  •  BASS

“Lamb Of God”  •  SOPR  •  ALTO  •  TENR  •  BASS

Miscellaneous Versions of the Creed:

Congregational Printout (Gregorian Notation)

Choir Score (Modern Notation)

Choir Score (Gregorian Notation)

* * REMINDER: This is a compilation Mass, so titles of individual pieces may not reference the Mass in honor of St. Isaac Jogues.

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

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

“We must say it plainly: the Roman rite as we knew it exists no more. It has gone. Some walls of the structure have fallen, others have been altered—we can look at it as a ruin or as the partial foundation of a new building. Think back, if you remember it, to the Latin sung High Mass with Gregorian chant. Compare it with the modern post-Vatican II Mass. It is not only the words, but also the tunes and even certain actions that are different. In fact it is a different liturgy of the Mass.”

— Fr. Joseph Gelineau (1978)