Views from the Choir Loft

Two February Workshops

Fr. David Friel · January 13, 2019 ·

ARLY February will feature two interesting workshops in the field of sacred music. One of these opportunities will take place in Chicago, while the other will be held in Indiana. Both promise to be beneficial for participants.

First, the Lumen Christi Institute is sponsoring a Mass for the feast of the Presentation (Candlemas) on February 2, 2019 at 9 AM in the Bond Chapel of the University of Chicago. Music for the liturgy will be provided by Schola Antiqua. Following Mass will be a breakfast and symposium, including several very scholarly speakers:

Michael Anderson (Eastman School of Music)

Margot Fassler (University of Notre Dame)

Peter Jeffery (Universtiy of Notre Dame)

Prior Peter Funk, OSB (Monastery of the Holy Cross)

Robert Kendrick (University of Chicago)

The theme of the symposium is “Sacred Music in Context and Practice.” More information is available here.

Second, the 10th annual National Winter Pastoral Chant Conference will be held February 4-8, 2019 (Monday through Friday). Sponsored each year by the Saint Basil’s School of Gregorian Chant (an institute of the University of St. Thomas, Houston, TX), the site for this conference is St. Meinrad Archabbey in Indiana.

More information about the Winter Pastoral Chant Conference is available here.

About Fr. David Friel

Ordained in 2011, Father Friel served for five years as Parochial Vicar at St. Anselm Parish in Northeast Philly. He is currently a doctoral candidate in liturgical theology at The Catholic University of America in Washington, D.C.

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