Views from the Choir Loft

PDF Download • Monsignor Ronald A. Knox “The Trials Of A Translator” (1949)

Jeff Ostrowski · March 28, 2016 ·

HAVE ALREADY admitted how much I admire Msgr. Ronald Knox as a writer. In essence, this 113-page book is an apologia for his famous translation of the Bible. ¹ I hope you find this book as fascinating as I have:

* * PDF • TRIALS OF A TRANSLATOR (1949)

The Italians have a phrase: “The translator is a traitor.” Some love the Knox Bible, others hate it. There will always be people who quibble with translations—no matter what. If you search hard enough on the internet, you can even find people who claim that the 1970s ICEL translation of the Roman Missal was more accurate than the current one. For myself, I don’t see how they can hold this view:

* * PDF • COMPARISON CHART A

* * PDF • COMPARISON CHART B

I’m fine with folks offering substantive criticisms of the current ICEL translation, which is far from perfect. However, I find interesting that the same people desperate to poke holes in the new translation never opposed things like:

* * PDF • Theologically goofy hymn lyrics (Examples)

* * PDF • 1996 Publication by NPM

By remaining silent on atrocities like that, they have disqualified themselves (in my opinion) from commenting on the new translation of the Roman Missal. ²

I probably spend too much time trying to find the “perfect” translations for my choir. If you look at the Hymn on page 35 of this Good Friday booklet you’ll catch my drift…

NOTES FROM THIS ARTICLE:

1 The complete Knox Bible is available online.

2 For the record, many of these same people calmly accept rulings which say the GIRM can be ignored. The GIRM requires that any texts replacing the entrance antiphon must be approved by the local bishop or bishops’ conference.

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.

Could Pope St. Pius X Sing?

“On 12 March 1908, the complete publication of the Roman Gradual was issued by the Vatican Press. On that very day, Dom Pothier solemnly presented the first copy to the Holy Father. A witness of the audience says that Pius X wished to be the first to see the new book; he opened it at random, at page 128 of the supplement pro aliquibus locis—it was the Introit of the new Feast of Our Lady of Lourdes. The Pope sang it with perfect taste to the last note.” (Catholic Choirmaster, February 1915)

—Jeff Ostrowski

Julius Bas Accompaniment

A very prolific harmonizer of Gregorian chant in the early 20th century was Mr. Julius Bas. He often uses a very strange technique, wherein he employs rests to eliminate the Alto, Tenor, and Bass voices. Consider what he did with “Lumen ad revelationem” here:

* JPEG • Lumen ad revelationem

It seems quite lazy, and I’ve never seen anyone else use such a technique, although Dr. Peter Wagner often switched to parallel octaves when he ran out of ideas… (Yuck!)

—Jeff Ostrowski

Hitting wrong notes

Fr. Valentine Young, OFM, used to say: “The organist can play 1,000 correct notes and one wrong note—and the only thing people will care about is the wrong note.” Last Sunday I hit some wrong notes, and felt bad. Then I remembered a story about Rudolf Serkin and started to chuckle. Charles Rosen (or was it Leon Fleisher?) told the story of Serkin playing a Beethoven Sonata in front of a large audience. The theme is all in octaves; but Serkin hit some wrong notes, and played parallel 7ths instead. This so unnerved him that every time the theme returned, he played the entire thing in parallel 7ths! We must remember that even the greatest hit wrong notes. Alfred Cortot, Vladimir Horowitz, Wilhelm Backhaus, Edwin Fischer, Sviatoslav Richter, Egon Petri—they all hit wrong notes, which we can hear on recordings. (Josef Hofmann was an exception, but he was super-human so he doesn’t count!)

—Jeff Ostrowski