Views from the Choir Loft

An Essential & Unique Thing For Holy Thursday

Jeff Ostrowski · April 2, 2015 ·

OLY WEEK AS REVISED by Pope Pius XII only lasted a very short time, because Vatican II changed the liturgy again. The revisions by Pius XII were optional in 1951, and then imposed in 1955 upon all western churches. On 11 October 1962, the Second Vatican Council began. Therefore, many items have never been written out, and here’s one of them you’ll need:

* * PDF • Witten Out Conclusion of Mandatum

It was created according to this, but as you can see, it’s formatting will prevent mistakes. Maybe next year I can add the English translation.

By the way, you’ve probably already gone here and downloaded the special rubrics for Holy Thursday. You’ve also—most likely—downloaded the entire 1965 Missal which we placed online in November of 2013. ¹ However, you might enjoy looking at this special excerpt for Holy Thursday, taken from our scan of the 1965 Missal:

* * PDF • Holy Thursday in the 1965 Missal

If I have time, I’ll excerpt the Good Friday pages, too, because I noticed some funky melodies in English which I can almost guarantee were never sung anywhere by anyone.

NOTES FROM THIS ARTICLE:

1 This was the first time this historic book was ever made available online

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