Views from the Choir Loft

Counter-Melodies • “Accompaniment of Psalm Tones”

Jeff Ostrowski · December 17, 2018 ·

NE OF THE ABSOLUTE “best kept secrets” of Catholic music was revealed to me by Fr. Valentine Young, OFM. It is Albert Bloomfield’s astounding 465-page book, which allows any parish to sing Sunday Vespers. ¹ Each Sunday, we have been using this magnificent book at Saint Vitus—our whole parish sings Vespers, and it is fantastic! I have started to accompany Vespers on the organ, with great success, using the NOH. We alternate between men and women. Once the congregation becomes familiar enough, I want to start adding counter-melodies to the psalmody.

Do you know what counter-melodies are?

Answer: Go to the 1:07 marker and you will hear something worth dying for:

The organist used to belong to a monastery in England—a Catholic monastery, not Anglican. I think he does a magnificent job, although the pause between each verse needs to be shortened; it is just a tiny bit too long. There should be a definite pause, but it should not be too lengthy. If you go back and read the “visitations” from the 15th and 16th centuries, ² you will notice this is something monks and nuns complained about: when the pause in the middle of each psalm verse was prolonged too much. They also complained about too many dogs in church…I guess bringing dogs into church was common in those days.

NOTES FROM THIS ARTICLE:

1 I hope Mr. Bloomfield creates another edition which includes starting pitches.

2 Each year, the visitation was when a bishop would visit the monastery or convent and speak privately with each member. That was an opportunity for the member to complain about whatever was bothersome—and some of these make for fascinating reading!

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