Views from the Choir Loft

Ronald Knox • His Actual Voice!

Jeff Ostrowski · September 18, 2018 ·

ONSIGNOR RONALD KNOX is definitely in the “Top Five” when it comes to men who have influenced the creation of the Saint Jean de Brébeuf Hymnal. The Breviary translations by Msgr. Knox—which so few people today know about—are absolutely fantastic and sui generis. Each word is carefully chosen, and he often brings out hidden meanings from the Pre-Urbanite versions in ways only a genius could. Moreover, Knox was heavily involved with the creation of the New Westminster Hymnal; something confirmed by his biographer, Evelyn Waugh. ¹

We can reveal more about our project once the Brébeuf Hymnal has been released…and it’s very close to hitting the market. Perhaps as soon as October!

One of the committee members sent me the voice of Msgr. Knox, giving a splendid lecture:

* * Mp3 Download • “The Incarnation and Childhood” (Ronald Knox)

By the way, I love his accent; especially the way he pronounces “history” and “theory.” Knox was a close friend of the young Fulton J. Sheen, and it’s not hard to imagine the influence the older priest had on the younger preacher:

One of these days, I hope some brilliant author comes out with a modern biography of Knox—it would be a bestseller!

NOTES FROM THIS ARTICLE:

1 The New Westminster Hymnal—in terms of what they set out to do in that era and how they went about accomplishing their goal—was a major inspiration for our project.

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