Views from the Choir Loft

Trappist Monks in Hong Kong Chanting

Andrew Leung · January 17, 2019 ·

HE TRAPPIST MONKS (Order of Cistercians of the Strict Observance) have been in Hong Kong since 1950, they fled from the Communist China and built the current Our Lady of Joy Abbey on the distant Lantau Island in Hong Kong. Like the other monks, they lived a simple cloistered monastic life and they prayed the Divine Office seven times a day.

OWADAYS, there are 17 monks at the monastery and they mainly sing the Liturgy of the Hours to simple chant tones in Mandarin. Recently, I was invited to share about Gregorian chant with them, especially with the younger monks. They told me that they are very interested in rediscovering their heritage, and thus singing the more complex Gregorian chant. Here is what we have learned after the first few sessions.

N THE PAST, I have also helped the monks at the Monastery of the Holy Spirit in Conyers, Georgia, to start a schola formed by monks who are passionate in singing ancient chants. We had weekly rehearsals and individual singing lessons, and I would go to their Sunday Vespers and Benediction every week because the monastery is only 10-minutes-away from the parish I worked at. It was a very memorable experience and I am filled with joy as God leads me to another Trappist monastery, even though these monks really knows how to distant themselves from the outside world (I now have to travel 2 hours by train and ferry to get to this monastery).

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About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers and music director at Our Lady of China Church. He is also an artist and vocal coach at the Paul Phoenix Academy.

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