Views from the Choir Loft

Rehearsal Videos • “Jesu Dulcis Memoria”

Jeff Ostrowski · September 3, 2015

OUR CHOIR CAN SING the following composition at any time during the liturgical year. I first sang it as a freshman in college, under Dr. James F. Daugherty. At the last minute, Daugherty shifted us into “mixed position”—he loved keeping us on our toes! Singing this piece a cappella that night made a great impression upon me, and I realized I wanted to be a choirmaster the rest of my life (not a pianist):

* * PDF Download • “Jesu Dulcis Memoria” (attr. VICTORIA)

* * PDF Download • Additional Verses to make this piece longer

Scroll to the bottom and you’ll discover wonderful REHEARSAL VIDEOS to help your choir learn.

THIS PIECE HAS BEEN attributed to a Spanish priest, Tomás Luis de Victoria (d. 1611)—perhaps the greatest composer of all time—but anyone familiar with Victoria’s style realizes that he could not have written this piece. ¹ I had thought the earliest copy was from 1843, in a French collection called Recueil des morceaux de musique ancienne—literally “A collection of scraps of ancient music.” Here’s how it looked in 1843:

* * PDF Download • “Jesu Dulcis Memoria” from 1843

However, my friend Nancho Alvarez sent me another copy, also created toward the middle of the 19th century:

I suspect the person who created that manuscript is the true composer.

REHEARSAL VIDEOS :

EQUAL VOICES : YouTube • Mp3 Audio

SOPRANO : YouTube • Audio

ALTO : YouTube • Audio

TENOR : YouTube • Audio

BASS : YouTube • Audio

NOTES FROM THIS ARTICLE:

1 If Victoria did compose this piece, it must have been written toward the very end of his life, based on the style.

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