Views from the Choir Loft

PDF Download • Booklet for St. Joseph (19 March)

Jeff Ostrowski · March 20, 2017

OMETIMES OUR PARISH adds High Masses at the last second, and we usually use plainsong only. What is the quickest and best way to get starting pitches? Simply visit ccwatershed.org/nova and search for the first few words of the title in question. On Apple computers, “search” is COMMAND + F. For those using Windows, it’s CONTROL + F. Whatever you do, don’t sit there scrolling down—the search function is 100 billion times faster and better.

Here’s the booklet I put together for tonight, since the feast of Saint Joseph was transferred to 20 March this year:

* * PDF Download • Saint Joseph (19 March) During Lent

It’s not pretty, but it gets the job done. I took starting pitches in the exact way I just described. You could also use the Liber Usualis in Modern Notation for this same purpose—but that takes a lot longer to search.

The hymn chosen for Offertory is lovely. I like this verse very much:

O happiest of the happy, abounding in excess of joy, he whom—in his last hour—Christ (and the Virgin watching by him) did assist with countenance serene.

Fr. Connelly translates that verse as follows:

How singularly fortunate and blessed he was, for at his last hour Christ and the Virgin stood side by side to watch over him, their faces full of peace and comfort.

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.

“Daily I sat in the temple, close to you…”

Fulton J. Sheen always said the “very best translation” of Sacred Scripture was the version by Monsignor Ronald Knox, and here’s what Knox had for the Passion read today (Pre-1955 Palm Sunday): “And Jesus said to the multitude at that hour, You have come out to my arrest with swords and clubs, as if I were a robber; and yet I used to sit teaching in the temple close to you, day after day, and you never laid hands on me.” (Mt 26:55)

Did you catch that? Our Lord sat close to them! He was near them! The Second Person of the Blessed Trinity touched them, and was friendly toward them! Truly, the people who can hurt us the most—and betray us the most—are those whom we have loved.

—Jeff Ostrowski

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