Views from the Choir Loft

“Te Saeculorum” • Simple, Sensational, SATB

Jeff Ostrowski · October 30, 2015

AM ALWAYS SEARCHING FOR brief SATB pieces that can be used throughout the liturgical year. The following seems to have been written for the institution of the FEAST OF CHRIST THE KING, ¹ but can be sung at any time. The piece alternates back and forth between chant & polyphony, just like this setting of the “Ave Maris Stella.” Examine the chant used by Mercier and you’ll see it comes from Mocquereau’s 1903 Liber Usualis. This suggests that Mocquereau’s edition continued to be employed by French musicians in spite of the Editio Vaticana publications which began appearing in 1905.

* * PDF Download • “Te Saeculorum” (MERCIER)

When you listen to this rehearsal video, do you hear how the composer has mixed together in a marvelous fashion the plainsong melody?

That rehearsal video uses words the first time; but when the refrain is repeated, it’s sung in Solfège. It also provides assistance for counting the rhythm.

Rehearsal Videos :

EQUAL VOICES : YouTube • Mp3 Audio

SOPRANO : YouTube • Audio

ALTO : YouTube • Audio

TENOR : YouTube • Audio

BASS : YouTube • Audio

When teaching the chant verses, you can use this accompaniment.

NOTES FROM THIS ARTICLE:

1 Pope Pius XI—who also wrote about the Sacrament of Matrimony—established the Feast of Christ the King on 11 December 1925, by means of an encyclical letter called “Quas primas.”

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