Views from the Choir Loft

Praying for Our Dead

Andrew Leung · September 10, 2015

ROVIDING MUSIC for funerals is an essential part of a church musician’s life. And usually, we have to prepare the music with very short notices. The nice part about funerals is the extra money we get. They negative side is that funerals can mess up your daily schedule, especially if you have to prepare some rehearsals for the evening or the funeral falls on your day off.

I don’t know if you have this experience, but sometimes the music request of the family of the deceased drives me crazy! So, I created a list of hymns, hymns that can be found in common of the American Catholic hymnals, for Catholic funerals.

* * PDF • 32 HYMNS FOR CATHOLIC FUNERALS

My friend, Bridget Scott, music director at Our Lady of the Mountains Roman Catholic Church (OLM) in Jasper, GA, also contributed to the list. I am very happy to announced that we will be collaborating again in October. A workshop called “Praying for Our Dead: Essential Music of the Catholic Funeral Mass” will be held at OLM on October 3. Fr. Charles Byrd will be giving a keynote on the theology of the Mass of the Dead and Funeral Music. Resources and guide on funeral planning will also be included in the music packet. More information is available on the website of the newly established St. Ambrose School of Chant.

Finally, I just want to share a beautiful hymn that is perfect for Catholic funeral. Abide With Me sung by the famous King’s College Choir:

And a concert version arranged by Dr. Paul Weber sung by the Schola Cantorum Franciscana (This video was taken when I was an undergrad, good luck finding me in the choir!). This setting is available on Choralife.

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

About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(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