Views from the Choir Loft

A Hymn That Just Keeps Popping Up

Jeff Ostrowski · November 16, 2017

HE COMMITTEE on which I serve continues to make progress on the St. Jean de Brébeuf Hymnal. We often provide multiple tunes for a single hymn text, because congregations appreciate this. Besides, singing the same text to a “new” tune can make one appreciate different aspects of the text which, after all, is a prayer.

One tune that keeps popping up is INNSBRUCK, often paired with O Esca Viatorum (link)—a traditional Eucharistic hymn. After finishing editing one of the texts for INNSBRUCK, I was driving down the road listening to a marvelous recording of Bach’s St. Matthew Passion…

…and what should I hear?

* * Mp3 • Excerpt from Bach’s St. Matthew Passion

J.S. Bach “recycled” many works, but in the Brébeuf hymnal we stop short of going as far as he does. For example, Bach used the PASSION CHORALE in many places, including his Christmas Oratorio! That’s pretty bold, folks.

I did not tell my choir this in advance, but during Mass last Sunday, I suddenly felt inspired to sing INNSBRUCK. I asked them to pull it out, and they sang it very well:

Someone in the pews recorded the entire Mass, which you can view on YouTube.

Albert Schweitzer—speaking specifically of Bach’s incomparable and magnificent Art of the Fugue—wrote that Bach’s music inhabits a “still and serious world…deserted and rigid, without color, without light, without motion; it does not gladden, does not distract; yet we cannot break away from it.” Believe it or not, that’s actually a compliment!

(Those who love Bach will understand.)

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