Views from the Choir Loft

Solesmes is not infallible…

Jeff Ostrowski · November 16, 2015

HE LEVEL OF PERFECTION attained by the liturgical books of Solesmes Abbey has inspired Catholics for well over a century. Abbot Pothier was not content to restore the authentic Gregorian rhythm and melodies. He collaborated with a Belgian printer to create a very special neumatic notation which has been copied to this day.

However, the monks of Solesmes are not infallible.

Look at the accent on the word ÁDJUVA in this 1926 book by Solesmes:

Perhaps they were thinking of “adjútor et protéctor factus est mihi.” Or perhaps they were thinking of “Adjútor meus, tibi psallam.” In most other Solesmes books, however, it’s correct:

For the record, some have suggested Solesmes had very little to do with this 1926 book (Chants Abrégés) which is said to have been created in Canada. However, there is contradictory information on that point.

Here’s an error in Solesmes “Mass & Vespers” (1957):

113 Mass Vespers ERROR

It’s nice to know that even the best & brightest make errors.

(Speaking of errors, according to Fr. George Rutler, I ought to have said “brightest and best” because that phrase comes from an Epiphany hymn.)

In 1957, Solesmes forgot they were supposed to be writing in English, not French:

90298 solesmes GRADUEL

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