HOSE REGISTERED for Symposium 2019 should have received an email this morning containing practice videos for all the music. Some who participate sight-read music perfectly—and such people don’t need the practice videos. But some do appreciate the videos, which make rehearsals more fruitful. This is especially true because the Symposium is always jam-packed with various sessions and presentations. (We have always been careful not to fall into a very common “trap” at similar conferences: where rehearsals are prioritized to the exclusion of everything else.)
The following will help participants learn the Gloria:
Have you registered yet?
Only a few spots remain as of 23 May 2019.
Apply for Sacred Music Symposium 2019.
NE REASON people come back to the Symposium year after year has to do with repertoire selection. Rather than choosing only the “standard warhorses”—pieces which are sung over and over and over—we bring to light masterpieces that have been overlooked. It’s breathtaking to recall pieces known today only because our Symposium discovered them. Examples include Guerrero’s Beata Mater Mass, Monsignor Jules Van Nuffel’s Pater Noster, Guerrero’s Missa Iste Sanctus, and so many more. These are not inferior pieces. Indeed, I don’t know a setting more powerful than those two by Guerrero—and I am dead serious. This year, the conference is focused on hymnody.
Palestrina’s Mass can be called by several different names:
Incredibly, nobody has ever created a naming system for Gregorian tunes. (A musicology student should really make this into a dissertation!) Metrical hymns have a “flawed” naming system. It’s flawed because sometimes there are numerous names for the same tune: e.g. HALTON HOLGATE is also called SHARON and JERSEY and BOYCE. The opposite problem is also true; e.g. WALTHAM refers to one melody in Hymns Ancient and Modern (#324), a totally different melody in the New English Hymnal, and a totally different one in the Episcopal 1940 Hymnal (#259).