Views from the Choir Loft

Musical Resources • 5th Sunday after Pentecost (Extraordinary Form)

Jeff Ostrowski · June 26, 2015

RESPONSES FOR HIGH MASS

PDF Score (Singer) • printed on a single sheet

PROCESSIONAL

Organist.

ASPERGES

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

INTROIT • Sung by the men only.

PDF Score (Singer) • Practice Video (Singer)

KYRIE ELEISON • Palestrina Parody Mass

To practice the polyphony for the 1st Section, you must locate #5054.

To practice the (solfège) polyphony for the 2nd Section, you must locate #5053.

GLORIA IN EXCELSIS • Zachariis (†1594)

To practice, you must locate #5051.

GRADUAL & ALLELUIA

To practice, you must locate #5050.

You don’t need to practice the chant verses which change each week.

CREDO IV • Alternatim

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

OFFERTORY ANTIPHON

PDF Score (Singer)

OFFERTORY ORGAN MUSIC

Organist.

SANCTUS & HOSANNA • Palestrina (“Vexilla”)

To practice the polyphic “Hosanna,” you must locate #5048.

You don’t need to practice the Chant Part. You need to be learning “4912” if you don’t already know it, because we’ll be doing this one eventually.

AGNUS DEI • Philippe Verdelot (d. 1531)

To practice, you must locate #4801.

COMMUNION ANTIPHON

PDF Score (Singer) • Practice Video (Singer)

COMMUNION POLYPHONY

To practice, you must locate #4911.

RECESSIONAL HYMN • #933 Praise, My Soul, The King Of Heaven

From the Campion Hymnal. Organist.

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

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Los Angeles.—(Read full biography).

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

“I vividly remember going to church with him in Bournemouth. He was a devout Roman Catholic and it was soon after the Church had changed the liturgy (from Latin to English). My grandfather obviously didn’t agree with this and made all the responses very loudly in Latin while the rest of the congregation answered in English. I found the whole experience quite excruciating, but my grandfather was oblivious. He simply had to do what he believed to be right.”

— Simon Tolkien (2003)