Views from the Choir Loft

PDF Download • Easy Hymn with Melody in Tenor

Jeff Ostrowski · January 11, 2018 ·

EOPLE HAVE BEEN ASKING how our committee could possibly work on a single hymnal for five years. (Reminder: I’m part of an international team creating a hymnal dedicated to St. Jean de Brébeuf.) Because our task involves art and theology, sometimes a single word can be argued over for weeks! ¹

The Brébeuf hymnal also carefully chooses melodies. Do you see how the following tune (“Old Hundredth”) can be used in the Tenor voice?

REHEARSAL VIDEOS for each individual voice & PDF score await you at #90771.

IT MAKES ME SAD that some readers won’t click on the above link (#90771).

…where you can download the PDF score.

…where you can access individual rehearsal videos.

…where you can get all verses in Latin and English, with a literal translation, too.

But many won’t follow that link, which makes me glum.

NOTES FROM THIS ARTICLE:

1 Contrariwise, I’m often astounded at the sloppiness in productions by “big” Catholic publishers. A recent GIA hymnal doesn’t even examine whether the rhyme scheme matches, when texts are cobbled together.

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.

Could Pope St. Pius X Sing?

“On 12 March 1908, the complete publication of the Roman Gradual was issued by the Vatican Press. On that very day, Dom Pothier solemnly presented the first copy to the Holy Father. A witness of the audience says that Pius X wished to be the first to see the new book; he opened it at random, at page 128 of the supplement pro aliquibus locis—it was the Introit of the new Feast of Our Lady of Lourdes. The Pope sang it with perfect taste to the last note.” (Catholic Choirmaster, February 1915)

—Jeff Ostrowski

Julius Bas Accompaniment

A very prolific harmonizer of Gregorian chant in the early 20th century was Mr. Julius Bas. He often uses a very strange technique, wherein he employs rests to eliminate the Alto, Tenor, and Bass voices. Consider what he did with “Lumen ad revelationem” here:

* JPEG • Lumen ad revelationem

It seems quite lazy, and I’ve never seen anyone else use such a technique, although Dr. Peter Wagner often switched to parallel octaves when he ran out of ideas… (Yuck!)

—Jeff Ostrowski

Hitting wrong notes

Fr. Valentine Young, OFM, used to say: “The organist can play 1,000 correct notes and one wrong note—and the only thing people will care about is the wrong note.” Last Sunday I hit some wrong notes, and felt bad. Then I remembered a story about Rudolf Serkin and started to chuckle. Charles Rosen (or was it Leon Fleisher?) told the story of Serkin playing a Beethoven Sonata in front of a large audience. The theme is all in octaves; but Serkin hit some wrong notes, and played parallel 7ths instead. This so unnerved him that every time the theme returned, he played the entire thing in parallel 7ths! We must remember that even the greatest hit wrong notes. Alfred Cortot, Vladimir Horowitz, Wilhelm Backhaus, Edwin Fischer, Sviatoslav Richter, Egon Petri—they all hit wrong notes, which we can hear on recordings. (Josef Hofmann was an exception, but he was super-human so he doesn’t count!)

—Jeff Ostrowski