Views from the Choir Loft

I Am Moving Again!

Andrew Leung · August 25, 2016 ·

N THE PAST TWO YEARS, I have moved twice: from Ohio to Georgia when I was appointed music director at St. Pius X, and then from Georgia back to Ohio when I decided to join the Diocese of Steubenville. And yes, I am moving again, but it’s a little further away this time. Due to some immigration complications, I won’t be returning to the USA for a few years. The Diocese of Steubenville has decided to send me to study at St. Joseph Seminary in Macau, China for the coming few years. I am very grateful for their support and allowing me to continue my seminarian formation.

I will be moving to Macau in less than a week. Please continue to pray for me and my discernment. I am very happy that I am sent to St. Joseph Seminary. It’s nice to live so close to home (Macau is only an hour away from Hong Kong). The seminary has a wonderful faculty and a very good formation team. Also, there are many historic Catholic churches in Macau, including the seminary and its church.

St. Joseph Seminary was founded by the Jesuits in 1728. The seminary building and the church was built and consecrated in 1758. The church was built in the Baroque style and it is the only church in Macau with a dome. A pipe organ was installed in the choir loft in 2009. On the St. Joseph side altar, an first class relic, a bone of the arm, of St. Francis Xavier is exposed for veneration. In contrast with the elaborate architecture of St. Joseph’s Church, the Seminary is a simple, neo-classical compound designed with an internal cloister garden. Here are some pictures of the seminary and the church:

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Next week, I will introduce more about the history and the churches of the Diocese of Macau.

About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers and music director at Our Lady of China Church. He is also an artist and vocal coach at the Paul Phoenix Academy.

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

On 12 March 1908, Feast of St. Gregory the Great, the complete publication of the “Graduale” was issued by the Vatican Press. That very day, Dom Pothier solemnly presented the first copy to the Holy Father. 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”—the Introit of the new Feast of Our lady of Lourdes. The Pope sang it with perfect taste to the last note.

— A witness of the papal audience writing circa 1915