Views from the Choir Loft

“O Sanctissima” • SATB Contemporary Setting!

Jeff Ostrowski · September 15, 2017

OU PROBABLY KNOW the famous hymn “O Sanctissima,” often sung with a melody called SICILIAN MARINERS (first published in 1792). Here’s gorgeous contemporary setting by Maria Quinn, mixed with a very simple 2-voice arrangement with organ from the Campion Hymnal. If there’s time, you can repeat the first verse after the fourth verse.

I recorded all the voices, so please excuse my screechy soprano notes:

REHEARSAL VIDEOS for each individual voice await you at #4456.
The full PDF score can be downloaded there.

We often receive emails asking how to download the PDF score, and that deeply saddens me.

I’ve tried to let people know that these scores—along with individual rehearsal tracks—can be downloaded at the Lalemant Polyphonic.

If you use Mac, press COMMAND + F and type in “4456.”

For PC users, hit CONTROL + F and type in “4456.”

If you fail to go there and download the PDF version, you might miss the 2-voice version (with organ accompaniment). And promise me you’ll sing through the Tenor line. Breathtaking, no?

I repeat: Please go there and freely download the score!

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.

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

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