Views from the Choir Loft

Musical Resources • Holy Thursday (1962 Missal)

Jeff Ostrowski · March 24, 2016

Everything must be done according to the RUBRICS of Pius XII 1955 Holy Week.

RESPONSES FOR HIGH MASS

PDF Score (Singer) • printed on a single sheet

INTROIT • Sung during the procession

PDF Score (Singer) • Practice Audio (Singer)

KYRIE ELEISON

The new “Kyrie” is #3661 and #3579 and is mixed with this score.

GLORIA IN EXCELSIS

Today the organ is played only at this moment—and we sing #3610.

GRADUAL

PDF Score (Singer) • Practice Audio (Singer)

CREDO

No Credo on Holy Thursday.

WASHING OF THE FEET

Antiphon III

PDF Score (Singer) • Video

CONCLUSION • WASHING OF THE FEET

PDF for Singers & Celebrant

OFFERTORY ANTIPHON

PDF Score (Singer)

OFFERTORY HYMN

Palestrina: REFRAIN and also the VERSES

SANCTUS & HOSANNA

We have been singing the “Hosanna” section from #3496

AGNUS DEI

Today, the response each time is: miserere nobis.

The current setting lacks rehearsal videos.

Please be learning #3379.

COMMUNION ANTIPHON

PDF Score (Singer) • Practice Audio (Singer)

Extra Verses for soloist

COMMUNION POLYPHONY

“Jesu Dulcis Memoria” is number #4428.

With added verses.

PROCESSIONAL HYMN — Pange Lingua • starting pitch = E

#178 in Campion Missal

PDF Score (Singer) • YouTube

PRAYER WITH THE CHOIR (taken from the CAMPION HYMNAL) :

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