Views from the Choir Loft

“Meet Me In St. Louis”

Lucas Tappan · November 21, 2017

HILE THE SUMMERS IN ST. LOUIS might be insufferable, the autumn weather often proves a treat. The colorful foliage and city skyline set against the Arch and the river delight the eye, although nothing so much as the Cathedral Basilica of St. Louis. Perhaps I am biased, (having spent part of my youth in its shadow, if 30 miles is close enough to be considered “in the shadow”), but I consider this church the most beautiful Catholic edifice in these United States and am always happy to return. A few weeks ago I was able to make the pilgrimage again, only this time with a choir in tow, and thanks to the hospitality of the ever convivial Dr. Buchholz, our Schola Cantorum had a marvelous time.

Jeff O. recently asked if directors take pictures of their choirs and I can’t say that I do, but thankfully others did and one parent even recorded several pieces with his iPhone. I thought I would share those with you today and I hope you enjoy!

* * Exultate Deo • A. Scarlatti (1660-1725)

* * Ave Maria • C. Wulke (b. 1989)

* * Te Deum in C • C. V. Stanford (1852-1924)

* * Postlude in D minor (Op. 105, no. 6) • C. V. Stanford (1852-1924)

(Played by John Deahl, my assistant)

About Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four 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