Views from the Choir Loft

“Pater Noster” by Monsignor Jules Van Nuffel

Jeff Ostrowski · May 8, 2018

AVE YOU applied to the 2018 Sacred Music Symposium, to be held in June? If not, why not? We have accepted 75 singers, but a few spots still remain. Don’t miss this fabulous opportunity! For example, participants will sing a marvelous composition by Msgr. Jules Van Nuffel, whose artistry has inspired everything in my musical career, ever since I first discovered him in 1998, thanks to Dr. Daniel Politoske. ¹

This breathtaking “Our Father” will close the Symposium:

HAVE recorded rehearsal videos for each individual line, and you can access them at the following website, along with information about the PDF score:

* * PATER NOSTER (Rehearsal videos) …Search for number 89161

For example, here’s my practice video for the TENOR voice:

Those who attend the Symposium this year will learn how I create rehearsal videos like those. You owe it to yourself to visit that web link, listen to some rehearsal videos, and consider whether you should apply for the 2018 Sacred Music Symposium.

NOTES FROM THIS ARTICLE:

1 Jules Van Nuffel composes using a “contemporary” (modern) harmonic language, as opposed to, for example, a Romantic, Baroque, or Classical style. There are also “contemporary” (living) composers who attempt to imitate former styles—but Jules Van Nuffel does not fall into that category.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

Bugnini’s Statement (6 November 1966)

With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.

—Jeff Ostrowski

Luis Martínez Must Go!

Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]

—Jeff Ostrowski

Urgent! • We Desperately Need Funds!

A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!

—Jeff Ostrowski

Pope Pius XII Hymnal?

Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.

—Corpus Christi Watershed

“Hybrid” Chant Notation?

Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.

—Corpus Christi Watershed

Antiphons Don’t Match?

A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).

—Corpus Christi Watershed