Views from the Choir Loft

Staggering Canonic Setting • “Gloria” from Mass III

Jeff Ostrowski · January 14, 2016

HEN ABBOT POTHIER published the Editio Vaticana circa 1910, his work had a profound influence on composers like Claude Debussy, Nadia Boulanger, Marcel Dupré, Louis Vierne, Gabriel Fauré, Jean Langlais, and Camille Saint-Saëns. Famously, Maurice Duruflé was influenced by the Vaticana rhythmic markings of Solesmes—and he was not alone. Raphaël Mercier’s treatment of the vertical episemata in his ingenious (yet relatively simple) setting shows the influence of Solesmes:

* * PDF Download • “CANONIC GLORIA III” — (SATB Choir Score)

Organists will use this score.

Do you see how Mercier took the melodies of “Gloria III” and brilliantly combined them into canons? I was so impressed, I created rehearsal videos to help amateur choirs. (Please pardon the soprano notes—I did the best I could.)

REHEARSAL VIDEOS :

EQUAL VOICES : YouTube • Mp3 Audio

SOPRANO : YouTube • Audio

ALTO : YouTube • Audio

TENOR : YouTube • Audio

BASS : YouTube • Audio

NOTES FROM THIS ARTICLE:

1 This setting by Mercier came from a rare collection of Church music by Roman Catholic composers in France. At some point, I’d like to scan the entire thing and post it online—but many of the pages are in pretty bad shape and it’s missing the first 50+ pages. The manuscript appears to be handwritten (possibly a lithograph) and I’m told “in house” collections were common for cathedrals during of that time. Fr. Adrian Fortescue gave his organist scores written by hand, and I believe the Birmingham Oratory routinely used handwritten scores, which frequently were (eventually) printed for the general public.

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