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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

PDF Download • Spanish Cathedral Music (1961)

Jeff Ostrowski · March 12, 2016

REAT NEWS! The online website “archive.org” has made available a fabulous book about CRISTÓBAL DE MORALES, FRANCISCO GUERRERO, and TOMÁS LUIS DE VICTORIA. It contains tons of details about their lives and compositions. If I live to be a hundred years old, I can never express how much admiration I have for this wonderful musicologist, Robert Murrell Stevenson. He was truly “king of kings” when it comes to musicology. His book is called: Spanish Cathedral Music In The Golden Age (1961):

* *  PDF Download • “Spanish Cathedral Music In The Golden Age” (1961)

I could relate firsthand stories about the “scholarship” of some musicologists that would give you goosebumps. This author, however, is the “real deal.” His name was Robert Murrell Stevenson (1916-2012), and boy did he know his stuff! I could not agree more with Dr. Walter A. Clark, 1 who wrote this about Stevenson’s scholarship:

Robert Stevenson’s legacy stands like the fabled lighthouse of ancient Alexandria, and for a long time yet to come, every researcher who makes Spanish music a port of call will rely on the guiding light shed by his work.

The following excerpt describes life as a singer in the papal chapel circa 1545AD:

A singer need not be in holy orders but must be a man of honor and of good repute. When a new member is proposed, his character shall first be examined, and then he shall be brought to a musical examination conducted by the choir members themselves. The first requisite is his voice quality; the second, his ability to keep his part in homophony; the third, his sufficiency as a singer of contrapuntal music; the fourth, his ability to sing plainsong; and the fifth his sightreading ability. A secret vote shall be taken after his musical examination, and no singer may be admitted unless two-thirds of the singers plus one, vote for his admission. After being admitted and having attended to all the financial formalities, he must give himself solely to the daily routine in the pope’s chapel and may not sing elsewhere nor carry on other business.

His duties as a new singer include moving the heavy choir books into place; as soon as a newer singer enters he no longer moves them into place for everyday singing, but he still carries them with his junior novice in the choir during processions. Only when two singers are junior to him can he consider his chores as porter ended. Absolute silence during divine office is required. All business such as requests for leaves of absence must be directed to the most senior member of the choir present. Special requests must be approved in a secret vote by two-thirds plus one. Heavy fines are to be assessed for malingering or other false reports. Every five years an extended leave is granted-five months for Italians; ten for French and Spanish. The feast box from the pope’s kitchen is to be awarded in rotation to choristers, who should divide it among their colleagues. Ceremonies for creation of new cardinals, for the exequies of a pope, and for the creation and coronation of a new pope are to follow a prescribed routine.

All unusual choir business not covered by clauses in the constitutions shall be entrusted to a committee of three, six, or nine members, composed of Italians, French, and Spaniards in equal numbers. The reason for this division by nations is that “experience has shown the singers divide always into their own national groups, and speak their own language with each other.”

I would love to hear how all those singers—who speak different languages—pronounced Latin!

Not everything was peaceful in the papal choir:

The cause of their specific complaint against Escobedo in 1536 is not known. However, he, like the other Spaniards in the choir—with the single exception of Morales—left a record of being a hot-tempered man. On one occasion, just before Mass was to begin, he called a fellow singer “a fat pig” in a loud tone of voice, and once at vespers he called a singer who had missed his place “you ass” in a raised voice.

On Holy Saturday in 1545, while the pope and several cardinals were present, two of the oldest choir members flew at each other during the blessing of the new oils, shouting in a loud voice and scandalizing the pope, along with everyone else present.

During the year 1540, Sánchez continued to behave badly—often pretending to be sick when he wanted a day off, and quarreling with other choir members. Ordoñez was another singer fined heavily for his quarrelsomeness, and for pretending to be sick when he wanted a holiday.

 

 


NOTES FROM THIS ARTICLE:

1   Walter Aaron Clark taught at the University of Kansas when I was a student there. All the students loved him, and he was particularly close to my professor, Alice Downs. It turns out Dr. Clark wrote his dissertation under the guidance of the late Robert M. Stevenson.

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

Filed Under: Articles, PDF Download Tagged With: Catholic Composer Cristobal de Morales, Francisco Guerrero Composer, Giovanni Pierluigi da Palestrina, Spanish Cathedral Music In The Golden Age, Tomas Luis de Victoria Composer Last Updated: October 6, 2022

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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 Michigan. —(Read full biography).

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President’s Corner

    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    New Bulletin Article • “14 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

What earlier generations held as sacred, remains sacred and great for us too, and it cannot be all of a sudden entirely forbidden or even considered harmful.

— Pope Benedict XVI, Letter accompanying “Summorum Pontificum” (7/7/07)

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