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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Are Choirmasters Allowed To Have A Bad Day?

Jeff Ostrowski · November 26, 2019

80746-valdimir-horowitz-rach-3-in-1941 LADIMIR HOROWITZ was certainly among the greatest virtuosi of all time. From a purely musical standpoint, he never reached the level of Josef Hofmann, but when Horowitz was in his prime—1928 to 1953—his technique and repeated notes were comparable (perhaps) to Hofmann’s. Moreover, some recordings by Horowitz have never been surpassed: e.g. his Sousa March, his improvements to the Liszt Hungarian Second, his Chopin op. 55 no. 2, his Mendelssohn-Liszt Wedding Variations, and so on. With regard to Rachmaninov’s 3rd Concerto, Horowitz was responsible for its extreme popularity today. Vladimir reached the pinnacle of his career on 4 May 1941 in Carnegie Hall. With Sir John Barbirolli conducting, he played the D Minor Piano Concerto (“Rach3”) with the New York Philharmonic, and a secret recording was made. For years, this was a rare collector’s item, since it was “pirated.” In the late 1990s, I received a cassette copy from Dr. Ates Tanin in Canada—which I guarded with my life—but today the entire performance can be heard on YouTube. By 1941, Horowitz had been playing Rach3 for 23 years, since he claims to have begun learning it when he was 15 or 16. 1 The 1941 performance has never been surpassed: not by Argerich, not by Rachmaninov, not by Gieseking, not by Horowitz himself. At the very end, a man in the audience yells “Bravo,” and this was truly a glorious moment. 2

AS A MUSIC DIRECTOR, have you ever had a bad day? During Mass, have you been disappointed by your playing, or conducting, or your choir’s singing? At times like that, remember that even someone as stupendous as Horowitz occasionally has bad days. Indeed, one of his 1983 concerts was particularly bad—with tons of memory lapses, incoherencies, and wrong notes. For this concert alone, Horowitz received more than $1 million dollars: an insanely high fee in the 1980s. Listen to an excerpt from that concert:

    * *  Mp3 Download • 1983 Concert (“Live”) by Horowitz

For purposes of comparison, here’s the same piece, recorded “live” when I was in high school:

    * *  Mp3 Download • 1999 Concert (“Live”) by Jeff Ostrowski

Needless to say, the skill of Horowitz is not in question; when he was in grade school, Horowitz could play better than I ever will. The point is, everyone has bad days.

Next time something goes really wrong, remember that 1983 concert by Horowitz.

Say to yourself: “Nobody is perfect!”  And make it better next time.



NOTES FROM THIS ARTICLE:

1   He was born around 1903 somewhere in the Ukraine. I say “around” because there are serious discrepancies regarding his birthplace (Berdychiv vs. Kiev) and—for a long time—the year of his birth. For example, when he made his debut in Germany (1926), he pretended to be 20 years old, because it made his skills seem more impressive, even though he was actually about 23. Most of the official books placed his birth year at 1904, but eventually Horowitz admitted that he lied about the true year (1903) to avoid military service in the Soviet Union. Indeed, Horowitz often lied during interviews later in life, and finding the truth can be difficult. Horowitz even lied about the recording of his famous “Historic Return” to Carnegie Hall in 1965: the “live” recording of the Schumann Fantasy Coda was secretly doctored, with wrong notes repaired.

2   When you have time, read the story of Sir John Barbirolli, Albert Victor Alexander, and Winston Churchill during WWII—it’s fascinating.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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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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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

“Finally, let us not forget that listening especially is active participation. When we listen to the performances of Bach’s Saint Matthew Passion, we can fully participate actively in the Passion of Christ. And so, if we listen attentively to the singing and organ music during the celebration of the divine services, our participation is not less complete. The real significance of this objective and very important aspect is insufficiently understood.”

— Flor Peeters

Recent Posts

  • PDF Download • “Rarer Than a Blue Moon” — Side-by-Side English Translation (Pius XII Psalter)
  • Fulton J. Sheen • “24-Hour Catechism”
  • Simplified Accompaniment (Easter Hymn)
  • PDF Download • “Quasi Modo Sunday”
  • ‘German’ Introductions for Hymns

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