Views from the Choir Loft

Musical Resources • Holy Thursday (FSSP, 2018)

Jeff Ostrowski · March 26, 2018 ·

These musical programs are for FSSP.la, the new FSSP Apostolate in Los Angeles. Bring your family to the High Mass (SAINT VICTOR, 8634 Holloway Dr, West Hollywood, CA 90069) at 7:00pm every Sunday.

INTROIT • Sung by the Ladies during the procession

PDF Score (Singer) • Practice Audio (Singer)

KYRIE ELEISON

We will sing Kyrie #3595 .

We also know #5294 (KYRIE “Iste Sanctus” by Guerrero)

GLORIA IN EXCELSIS

The bells ring as we sing: #5612.

GRADUAL • Sung by the men

PDF Score (Singer) • Practice Audio (Singer)

When Easter arrives, we’ll once more use ALLELUIA by Fr. Cristóbal de Morales: #3982.

CREDO IV • When we sing Plainsong Credo IV, we use alternatim

#5984 • CREDO after Guillaume de Machaut (Chaumonot)

OFFERTORY ANTIPHON

PDF Score (Singer)

OFFERTORY OTHER

Vexilla Regis by Palestrina.

SANCTUS & HOSANNA

#3496 • Guerrero SANCTUS (“Beata Mater”)

#2999 • BENEDICTUS (Francisco Guerrero)

AGNUS DEI

Today, the response each time is: miserere nobis.

We will sing #90719 by Giovanni Gabrieli.

COMMUNION ANTIPHON

This will be sung by chosen soloists.

Extra Verses for soloist

COMMUNION POLYPHONY

Since it’s Holy Thursday, we’ll sing “Whitehall” Verbum Supernum (SATB).

To learn the notes you can use #7128 in spite of the fact that words are different.

PROCESSIONAL HYMN — Pange Lingua • starting pitch = E

#178 in Campion Missal

PDF Score (Singer) • YouTube

PRAYER WITH THE CHOIR (taken from the CAMPION HYMNAL) :

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