Views from the Choir Loft

PDF Download: Eucharistic Verset By Palestrina

Jeff Ostrowski · January 27, 2015 ·

ELOW, YOU WILL FIND a Eucharistic Polyphonic Verset adapted from a larger work by Palestrina. It’s a bit challenging, so polyphonic practice videos & audio files have been provided. The verset works very well in between verses of a Pange Lingua (Gregorian chant) taken from the Liber Cantualis of Solesmes.

* * PDF Download • Polyphonic Verset

* * Audio Recording • Polyphony Only (by Matt Curtis)

When you’re teaching your choir the chant, try this organ accompaniment. ¹ I recommend having your Tenors or Sopranos only sing the chant verses.

To help your choir learn, practice videos & audio files are available:

Practice Video: SOPRANO • Mp3 Practice File: SOPRANO

Practice Video: ALTO • Mp3 Practice Audio: ALTO

Practice Video: TENOR • Mp3 Practice Audio: TENOR

Practice Video: BASS • Mp3 Practice Audio: BASS

Once they’ve learned their parts, have them practice against the Equal Voices audio recording (SEE ABOVE).

NOTES FROM THIS ARTICLE:

1 I wouldn’t use the organ accompaniment when you mix the chant with polyphony.

About Jeff Ostrowski

A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and 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