Views from the Choir Loft

Sensational Hymn for St. Joseph … with Modern Polyphony!

Jeff Ostrowski · July 6, 2016

Y CHOIR GREATLY ENJOYS singing Mercier’s CANONIC GLORIA, which uses the Editio Vaticana version of Gloria III as a canon between men and women. Mercier’s luxuriant modern harmonies never get old, melding perfectly with the ancient plainsong. In the footnote section, I mentioned the “in house” collection where I found that Gloria.

The following hymn comes from that same book, except Mercier appears to have chosen a French variant instead of the Vaticana melody. ¹

I attempted to record the vocal lines myself—to give a rough idea how this piece sounds—but just remember I’m a baritone! These harmonies were meant to be sung by a full choir:

* * PDF • “CAELITUM JOSEPH” by Raphaël Mercier (d. 1953)

REHEARSAL VIDEOS :

EQUAL VOICES : YouTube • Mp3 Audio

SOPRANO : YouTube • Audio

ALTO : YouTube • Audio

TENOR : YouTube • Audio

BASS : YouTube • Audio

Organists can teach the chant melody using this score.

Or they can print the Lower Key for training purposes.

Our priest has a special devotion to St. Joseph, so we’ll be singing this piece a lot at our FSSP Apostolate here in Los Angeles.

NOTES FROM THIS ARTICLE:

1 For the record, neither does it correspond to Mocquereau’s 1903 Liber Usualis. In that book, Mocquereau chose a “Renaissance” variant which matches the one chosen by polyphonic composers such as Fr. Victoria (†1611) and Fr. Asola (†1609).

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