Views from the Choir Loft

Epiphany Proclamation

Veronica Brandt · December 19, 2015

HEREBY ANNOUNCE THE RELEASE of the Proclamation of Moveable Feasts for 2016! You can download it here.

Many years ago (thirteen to be exact) the resident Parish Liturgical Experts gave me a manuscript to be typeset for the upcoming feast of the Epiphany. That was straightforward – the experts had done all the difficult part of arranging the words and music. I just typed it up.

In the following years, usually just after Midnight Mass, one Liturgical Expert would ask that dreaded question “Did you receive my email?” Then, on Christmas Day, I would take the words and fit them to the music to the best of my meagre ability.

It was not a thrilling job and I made sure the source code was available online for anyone else to take over from me, but still each year I was asked and each year I managed to put it together.

Then that particular Liturgical Expert passed away.

So now each Christmas I remember Mr Michael Pearce and fix up an Epiphany Proclamation, even though my local Latin Mass does not use it. Some years I have thought to let it slide only to be reminded by someone across the globe.

There is no compulsion to sing the Epiphany Proclamation or “de publicatione Festorum mobilium”. I have been told it is only for Cathedrals, but some parishes use it too. I am not a liturgical expert – I just type things up.

About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. As editor, she has produced fine publications (as well as valuable reprints) dealing with Gregorian chant, hymnody, Latin, and other subjects. These publications are distinguished on account of their tastefulness. She lives in the Blue Mountains near Sydney, Australia, with her husband Peter and six 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