Views from the Choir Loft

Musical Resources • 13th Sunday after Pentecost (Extraordinary Form)

Jeff Ostrowski · August 19, 2015

RESPONSES FOR HIGH MASS

PDF Score (Singer) • printed on a single sheet

PROCESSIONAL

Organist.

ASPERGES

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

To practice the new section of the Asperges, you must locate #4550.

INTROIT • Sung by the men only.

PDF Score (Singer) • Practice Audio (Singer)

KYRIE ELEISON

To practice the Kyrie by Richard Rice, which we will do soon, you must locate #4781.

And never forget our Palestrina Kyrie that we sing sometimes. The 1st section (#5054) and the 2nd section (#5053).

GLORIA IN EXCELSIS

The Gloria this week is #4748.

The one by Zachariis (†1594) which we’ve been doing for months is #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

Christe Supreme • Score • Accompaniment

SANCTUS & HOSANNA

To practice the polyphic “Hosanna,” you must locate #5048. You don’t need to practice the Chant Part.

Our members need to memorize (if possible) the solfège from “4912” which we use to begin rehearsal.

AGNUS DEI

To practice the Agnus Dei by Philippe Verdelot (d. 1531), you must locate #4801.

COMMUNION ANTIPHON

PDF Score (Singer) • Practice Audio (Singer)

COMMUNION POLYPHONY • Lhoumeau “Ave Maris Stella”

To practice, you must locate #4669.

RECESSIONAL HYMN • #904 Hail, True Victim, Life And Light

From the Campion Hymnal. Organist.

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.

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski