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Views from the Choir Loft

Symposium 2019 • “Video Outtakes”

Jeff Ostrowski · August 16, 2019

IKE EVERYONE ELSE, I have my own personal struggles: spiritual, physical, financial, and so forth. I have bad days, like everybody else. But something I like to call to mind—which gives me joy—is the very special “week.” When I refer to “the week,” I’m referencing the Sacred Music Symposium, which is a very happy week that occurs each year. During difficult moments, I often recall the beautiful memories, bringing a smile to my face. Regarding this year’s Symposium, I wish I could express in a particular way my thanks to Andrea, Kevin, Richard, and Alfred for what they did. I’ve tried to express my gratitude to them, but I doubt they know how very special it was—happy memories I shall never forget.

God-willing, we will eventually post the professional audio recordings, as well as the marvelous testimonials from the participants. I say “God-willing” because we can never know the future; today might be my last day on earth. Only the Lord knows.

Until we get the professional recordings posted,
please enjoy the iPhone snippets below!

Maestro Clark, who just travelled across the entire United States, steps off his plane and begins rehearsing a brand new “Ave Maria,” written specifically for the First Mass of Fr. Luc Poirier, FSSP:


Dr. Calabrese rehearsing the Magnificat by Guerrero, in spite of the bells ringing:


Maestro Clark rehearsing part of the Benedictus shortly before the First Mass of Fr. Luc Poirier:


Dr. Calabrese rehearsing what is probably my favorite part of the Palestrina Kyrie, viz. the “Christe” section:


Friends from Las Vegas preparing to teach a course on multi-track recordings:


Dr. Calabrese rehearsing part of the Palestrina Kyrie:


Maestro Clark rehearsing part of the Palestrina Benedictus:


The theme of this year’s conference was “Roman Catholic Hymnody,” and in this clip we sight-read a hymn text by Fr. Dominic Popplewell, FSSP. The pieces in the Brébeuf hymnal are “simple”—for the average choir—but profoundly rewarding to sing:


Alongside the Sacred Music Symposium, Fr. James Fryar, FSSP, always runs an altar server camp with help from FSSP seminarians:


The Symposium is a place where literally anything can happen. Here are two famous church musicians just walking around talking:


This is a short excerpt from Dr. Calabrese’s conducting clinics, which are very much in demand:


After a long day of classes, rehearsals, Mass, Solemn Vespers, and so forth, we always closed with a beautiful setting of a hymn by Cardinal Newman. The sheet music will be available soon:


The Sacred Music Symposium has become the preëminent conference on Church music the world over. I can’t think of any other sacred music conference that approaches what we do. I think we gained this reputation by avoiding the “trap” into which too many conferences fall. We give valuable instruction the people can take home with them; we don’t just sing the entire time. That being said, we do an awful lot of singing:


Here’s a clip of participants walking to the Chapel to rehearse:


During Sacred Music Symposium 2019, we sight-read tons of SATB hymns from the Brébeuf hymnal. Here is an example:


A few photographs. The final one, where I am with a young lady in a yellow (orange?) shirt, was taken the very first day of the Symposium:

82950 Sacred Music Symposium 82952 faculty 82953 Sacred Music Symposium 82954 Sacred Music Symposium 82955 Sacred Music Symposium 82956 Sacred Music Symposium 82957 Sacred Music Symposium 82598 Sacred Music Symposium 82982-beginning-day-POINTS
Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: March 17, 2022

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

It should be borne in mind that there is no preference expressed in the liturgical legislation for either “versus populum” or “ad orientem.” Since both positions enjoy the favor of law, the legislation may not be invoked to say that one position or the other accords more closely with the mind of the Church.

— ‘Congregation for Divine Worship (Vatican City), 10 April 2000’

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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