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Views from the Choir Loft

Our Church Music Movement: How Are We Doing?

Jeff Ostrowski · November 24, 2015

997 Colloquium UR BLOG is careful not to talk endlessly about itself, something readers seem to appreciate. Our contributors also seldom write articles about themselves. Today, however, I make an exception to that rule: I’d like to share how I became part of the movement for authentic church music.

Born in the 1980s, I have only the foggiest recollection of George H. W. Bush being president. Approximately four years after the fall of the Soviet Union (1991), my family became involved with the FSSP. This was a tremendous blessing since my local Catholic school had exposed me to goofy church music and formal heresy. My brothers and I subsequently served hundreds of FSSP Masses throughout the United States, and once I had the opportunity to be M.C. for a Mass celebrated by Fr. Josef Bisig. Increasingly, however, our Pastor requested that I “go up to the choir loft” and assist with the chanting—because he knew I could read music.

Throughout high school and college I served as choirmaster for FSSP Masses. My duties included transcribing music, training & conducting choirs, playing organ, and singing tons of Masses. I ran weekly rehearsals, did multiple Masses each Sunday, and even handled funerals, weddings, and extra feasts such as 15 August. This volunteer work was in addition to my various jobs, and (most significantly) being a full-time student at the University of Kansas, where I often did special projects—such as recordings of Renaissance polyphony—which frequently did not end until 3:00am. It would take a long time to mention all the wonderful experiences of those days: singing under the baton of Simon Carrington, taking part in piano competitions, making polyphonic recordings with famous singers like Dr. John Stephens, and so forth.

099 Sacred Music Looking back, I don’t understand how I was able to do so many things; where did I get the energy? On the other hand, I didn’t have children in those days…

An important event took place in the summer of 2002 when I transcribed the entire collection of “Musica Divina” by Fr. Karl Proske into the SIBELIUS music program. Many of these pieces—such as the works of Alexander Uttendal—were not known by many conductors. Transcribing these works taught me a great deal, just as Mozart learned a great deal when he copied both volumes of Bach’s Well-Tempered Clavier as a child. 1

During all those years working for FSSP parishes I never considered joining an “international movement” for church music. As far as I could tell, nobody else cared about this type of music—except the FSSP—and that was fine with me. I was thrilled to sing & teach it because it’s so powerful, moving, reverent, and holy. It changed my whole life. 2 It is church music and belongs at Mass … period.  Full Stop.

I RECEIVED A SURPRISE TELEPHONE CALL IN 2005 from a CMAA official. He’d seen my work with the Proske collection and exclaimed, “You need to assist our movement; we could really use someone like you.” To this day, I am grateful for the way he reached out to me. I was able to provide many rare books for the CMAA to scan (e.g. 1908 Graduale, Oreste Ravanello Motets, Raphael Molitor’s 1904 treatise, and so on). In return, the CMAA promoted the rare volumes we made available to the world (the Nova Organi Harmonia, the 1883 Liber Gradualis, 1903 Liber Usualis, and so on) which helped maximize their impact.

I thereafter became involved with the CMAA and had a blast directing a Sacred music documentary broadcast on three major networks, including EWTN. Teaching Gregorian chant at several colloquia, I met amazing people and had sensational conversations late into the night. If my health improves, I’d very much like to attend a Colloquium again—but probably not until our children are older. Here are a few random images from the Colloquium we filmed in 2009:

999 loyola cmaa 999 chart 998 Loyola


When I became involved with the CMAA, I learned that tons of people across the globe love traditional church music and are working to restore reverence at Mass. I never dreamed that so many love this stuff and are willing to fight for it!  It cannot be denied that many Catholic churches sing inappropriate songs at Mass; yet our movement exists, and must continue to exist, for those who want to do it right.

In other words, it isn’t about whether we can stop inappropriate music in every Catholic church. What’s important is for organizations to provide resources and encouragement for those priests and musicians desiring to do things properly (no matter what anyone else is doing). Here at Watershed—in our own small way—we try to offer helpful resources and support.

I’m glad to be part of this movement!



NOTES FROM THIS ARTICLE:

1   Please note that I’m not comparing myself to Mozart; I’m just saying that copying is a good way to learn.

2   Composers like Victoria, Lassus, Marenzio, Morales, and Palestrina have changed a whole lot of lives—not just mine!

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

Filed Under: Articles Tagged With: Sacred Music Colloquium Last Updated: January 1, 2020

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Jeff Ostrowski

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Los Angeles.—(Read full biography).

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Surprising Popularity!

One of our most popular downloads has proven to be the organ accompaniment to “The Monastery Hymnal” (131 pages). This book was compiled, arranged, and edited by Achille P. Bragers, who studied at the Lemmensinstituut (Belgium) about thirty years before that school produced the NOH. Bragers might be considered an example of Belgium “Stile Antico” whereas Flor Peeters and Jules Van Nuffel represented Belgium “Prima Pratica.” You can download the hymnal by Bragers at this link.

—Jeff Ostrowski
15 February 2021 • To Capitalize…?

In the Introit for the 6th Sunday after Pentecost, there is a question regarding whether to capitalize the word “christi.” The Vulgata does not, because Psalm 27 is not specifically referring to Our Lord, but rather to God’s “anointed one.” However, Missals tend to capitalize it, such as the official 1962 Missal and also a book from 1777 called Missel de Paris. Something tells me Monsignor Knox would not capitalize it.

—Jeff Ostrowski
15 February 2021 • “Sung vs. Spoken”

We have spoken quite a bit about “sung vs. spoken” antiphons. We have also noted that the texts of the Graduale Romanum sometimes don’t match the Missal texts (in the Extraordinary Form) because the Mass Propers are older than Saint Jerome’s Vulgate, and sometimes came from the ITALA versions of Sacred Scripture. On occasion, the Missal itself doesn’t match the Vulgate—cf. the Introit “Esto Mihi.” The Vulgate has: “Esto mihi in Deum protectórem et in domum refúgii…” but the Missal and Graduale Romanum use “Esto mihi in Deum protectórem et in locum refúgii…” The 1970s “spoken propers” use the traditional version, as you can see.

—Jeff Ostrowski

Random Quote

“I vividly remember going to church with him in Bournemouth. He was a devout Roman Catholic and it was soon after the Church had changed the liturgy (from Latin to English). My grandfather obviously didn’t agree with this and made all the responses very loudly in Latin while the rest of the congregation answered in English. I found the whole experience quite excruciating, but my grandfather was oblivious. He simply had to do what he believed to be right.”

— Simon Tolkien (2003)

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