Views from the Choir Loft

Resources • 2nd Sunday after Easter (1962 Missal)

Jeff Ostrowski · April 17, 2015 ·

RESPONSES FOR HIGH MASS

PDF Score (Singer) • printed on a single sheet

PROCESSIONAL

Organist.

VIDI AQUAM

From Campion Hymnal.

INTROIT

PDF Score (Singer) • Practice Audio (Singer)

KYRIE ELEISON • Palestrina Parody Mass

Part 1 with Impleta Sunt “Christe”

GLORIA IN EXCELSIS • Zachariis (†1594)

Practice Videos and scores

GRADUAL & TRACT • Mode III

PDF Score (Singer)

CREDO IV • Alternatim

PDF Score (Singer) • Practice Audio (Singer) • Organist

OFFRT. ANTIPHON

PDF Score (Singer)

OFFRT. HYMN • Salve Festa Dies

PDF Score (Singer) • Organist

Bass Section go here and learn the harmony for the REFRAIN ONLY (“Salve festa dies, etc.”).

Everyone else please learn the unison for the REFRAIN here.

SANCTUS • Palestrina (“Vexilla”)

Chant Part • Polyphony Part • Practice the Solfège for the Polyphonic section

AGNUS

Du Fay Agnus Dei • Score • {Women Voice} • {Middle Voice} • {Men Voice}

COMM. ANTIPHON

PDF Score (Singer) • Practice Audio (Singer)

COMMUNION HYMN • Vita Sanctorum with Refrain

Complete score, with polyphony & unison: PDF Score (Singer)

EQUAL VOICES: YouTube

SOPRANO: YouTube

ALTO: YouTube

TENOR: YouTube

BASS: YouTube

RECESSIONAL HYMN • #841 Christ, The Lord, Is Risen Today

From Campion Hymnal.

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