Proof Good People Still Exist

Jeff Ostrowski · December 25, 2016

IDNIGHT MASS in Hollywood with the Priestly Fraternity of Saint Peter (FSSP.la) was fabulous. I must say, the choral sound was prayerful and beautiful. In particular, the way their voices tackled Guerrero’s BENEDICTUS (Missa Beata Mater) was truly sublime, as was their “O Magnum Mysterium” by Tomás Luis de Victoria, a Roman Catholic priest. After Mass—around 2:00am—we took a choir photograph. (Does your choir ever take photos?)

Our two FSSP priests joined us for the photo:

In a world that seems increasingly filled with cold indifference, ignorance, and malice, I feel so blessed to work with delightful people like these.

For the record, several singers shown in this photo have assisted with the Corpus Christi Watershed polyphonic rehearsal videos.

Our Solemn Mass (with Deacon & Subdeacon) at Midnight on Christmas is always done in complete darkness, except for candles.

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.

“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

“Sharing Is Caring”

I would like to share a message from a highly respected scholar. (His articles appear in distinguished journals such as Études grégoriennes and Oxford’s Early Music.) He wrote as follows:

The Brébeuf Hymnal is very tastefully done. Your team has exquisite literary and musical taste. I see from my copy of the hymnal that you also set Ex more docti to “Rockingham” (one of my favorite melodies for “When I survey the wondrous cross”). I especially appreciate the background information at the bottom of the page. When I played at the Lutheran church, I would always have a little note about the music, sometimes about a hymn, if the “Hymnal Companion” offered something of interest. The church we attend has battered Worship II hymnals (one per pew), but almost nobody seems to want to sing. I congratulate you on the staggering amount of work it took to produce the Brébeuf hymnal: excellent contents and production.

—Jeff Ostrowski