Views from the Choir Loft

Rehearsal Videos • “Sanctus & Hosanna” (Guerrero)

Jeff Ostrowski · May 23, 2017

KNOW A SECRET. Would you like to hear? Once upon a time, Roman Catholic composers were trained from birth in a special art of musical composition. This situation produced masters whose liturgical works contain unthinkable beauty, waiting for all to enjoy. They would combine plainsong themes in supremely brilliant ways, and I have tried to indicate such places by means of red ink: ¹

* * PDF • SANCTUS & HOSANNA (“Missa Iste Sanctus”)

For years, I hoped other Catholic websites would promote the gorgeous compositions by such giants as Palestrina, Verdelot, Victoria, Guerrero, Lassus, Marenzio, and others. However, very few do—although they exert tremendous energy complaining about “bad liturgy.” Therefore, I began making rehearsal videos in which I sing all the vocal parts (even the soprano notes!) to help this music live again in our churches:

REHEARSAL VIDEOS for each individual voice await you at #5454.

Many people (inexplicably) do not visit LALEMANT POLYPHONIC, where individual voice parts are located. That’s a huge mistake, because the whole point of these tracks is the individual voice tracks—and we’ve seen marvelous results from their use here in Los Angeles. By the way, those who attend Sacred Music Symposium 2017 will learn how to create these recordings.

Could anyone listen to the Tenor Rehearsal Video (at the “Hosanna” section) and not be overwhelmed by the majestic dignity and holiness of these melodies?

The Benedictus is forthcoming.

NOTES FROM THIS ARTICLE:

1 The red ink refers to the motet which serves as the basis for this parody Mass.

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

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

Music List • (Palm Sunday, 2026)

Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.

—Jeff Ostrowski

Easter • Would You Sing This Hymn?

He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.

—Jeff Ostrowski

Pipe Organ “Answers” in Plainsong?

In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.

—Jeff Ostrowski

“Gregorian Chant Quiz” • 24 March 2026

How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!

—Jeff Ostrowski

PDF Download • “Ubi Caritas” (SATB)

I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.

—Jeff Ostrowski

PDF Download • “Holy, Holy, Holy”

For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.

—Jeff Ostrowski