Views from the Choir Loft

PDF Download • SATB “Sanctus” by Orlando de Lassus

Jeff Ostrowski · October 7, 2019 ·

HERE ARE APPROXIMATELY sixty-two (62) people who sing in the parish choirs I direct, and I have found that rehearsal videos can save time during rehearsals. Very soon we will release a new (updated) website, and we have some incredible contributors lined up—they will begin blogging when the new site launches. One of them grew up singing in England, and has some amazing stories to tell about the way singers in England can sight-read polyphony. I have no idea what he would think of the concept of “rehearsal videos,” but I suppose we will find out soon enough…

We have completed part 1 of a Sanctus by Orlando de Lassus (considered by some to be the greatest composer of all time). When part 2 is finished, we’ll release that, as well.

* * PDF Download • Sanctus & Hosanna (Part 1 of 2)

REHEARSAL VIDEOS for each individual voice and PDF score await you at #81362.

Fun Fact: It turns out that iPad and iPhone can utilize the “search” function on a website. Just start typing something in the actual URL searchbar—e.g. try “81362”—and then something will appear upon which you can select “ON THIS PAGE.” Using the search bar saves time!

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