Views from the Choir Loft

New Sacred Music Magazine — “Altare Dei”

Fr. David Friel · October 27, 2016

UST RELEASED is the first edition of Altare Dei, a new magazine devoted to liturgy and sacred music. This new effort has been conceived by Maestro Aurelio Porfiri, known by our readers as a past contributor to these pages. Porfiri’s experience as a choir master, conductor, organist, and music theorist has prepared him well to serve as editor of this new publication.

There is not an overwhelming number of journals and magazines in the field of liturgy and sacred music. Still, what makes Altare Dei different and worth reading?

1. The magazine will include such varied content as articles, interviews, profiles, editorials, and announcements about major concerts, conferences, etc.

2. Each issue will also include a substantial insert of new music. This first issue includes 6 original pieces from 4 different composers, a total of 12 pages of music. Altare Dei would be worth purchasing for this feature alone.

3. Articles will appear in English, but they will include, by translation, contributions from beyond the Anglophone world.

4. The cost of the magazine is just €6 (roughly $7 USD). There are, moreover, no shipping fees, as the content is available for instant download.

Altare Dei will be distributed strictly in digital format through the website of Choralife music publisher. It is envisioned that Altare Dei will appear as a bi-monthly magazine. The first issue is available now for download.

I am pleased to have an article featured in this first October 2016 edition. Among the other contributors are many familiar names in the fields of sacred liturgy & music:

David Fagerberg (theology professor, University of Notre Dame); Peter Kwasniewski (professor & choirmaster, Wyoming Catholic College); Colin Mawby (composer & former conductor of Westminster Cathedral choir); Serafino Tognetti, CFD (monk & writer); Sr. Rosa Goglia (philosopher); Valentino Miserachs (composer & choirmaster, Santa Maria Maggiore); Mauro Visconti (composer); Rodolfo Papa (art historian & painter)

Download this inaugural edition here, and see the excellent content for yourself!

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

About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

Epiphany Hymn • “New 2-Voice Arrangement”

The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.

—Jeff Ostrowski

Simplified Accompaniment (Epiphany Hymn)

About a month ago, I created a simplified keyboard accompaniment for “Come, Thou Long-Expected Jesus”—the famous ADVENT hymn—using a melody called CROSS OF JESUS. It was soon downloaded more than 1,000 times. As of this morning, you can download a simplified keyboard accompaniment for the belovèd Epiphany hymn “Bethlehem! Of noblest cities” (O Sola Magnarum Urbium) by clicking on this link (PDF file). Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult, which explains why choirmasters appreciate these simplified keyboard accompaniments.

—Jeff Ostrowski

Psalm Tone Challenge!

Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!

—Jeff Ostrowski

PDF Download • “In Paradisum” in English

We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.

—Jeff Ostrowski

What does this mean? “Pre-Urbanite”

Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.

—Jeff Ostrowski

PDF Download • “Santo Santo Santo”

Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.

—Jeff Ostrowski

Saint Phillip Neri founded a religious congregation called the Oratory. Animuccia was involved from early on and remained “maestro di capella” of the Oratory until his death. The Oratory was able to attract many musicians who volunteered their services, including the famous singer Francesco Soto de Langa from the Capella Sistina, the composer Palestrina, and probably the composer Tomás Luis de Victoria who lived in the same house as St. Phillip Neri for five years.

— Source Unknown