Views from the Choir Loft

(Video) • Closing Mass of Symposium 2018

Jeff Ostrowski · July 9, 2018

O MANY THINGS make the Sacred Music Symposium unique. One example has to do with how we approach the sacred liturgy. We could have all kinds of camera people at Mass taking photos, audio, and video—but we don’t. We feel that only in extremely rare circumstances should cameras be allowed during the Holy Mass. We feel that the Real Presence of JESUS CHRIST is something that must be constantly reverenced whenever we’re at Church.

Sometimes, however, it’s possible to place small recording devices at Mass without distracting anyone’s prayer. (The quality is never professional, and the audio does not accurately reproduce the choral sound.)

A small recording device was placed at the back of the church:

IMPORTANT : In the description to the YouTube video, you will find “track marks” which allow you to skip to individual musical selections. Thanks to Miss P.W.

A statement from one of the participants:

“The Symposium was wonderful. I have attended similar programs in the past, but what set this experience apart was that the Faith was at its center. Being surrounded by like-minded Catholics for five days was refreshing, and singing the most beautiful music in the world—with dozens of wonderful individuals who cherish the rich body of Tradition and meaning behind it—was lovely. It was like being in virtual heaven for the length of a work week.”

By the way, the musical presentation before the Final Mass was absolutely fantastic—and we are looking into whether that can also be released online.

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