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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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Corpus Christi Watershed

President’s Corner

    PDF Download • Communion for Sunday
    The COMMUNION ANTIPHON with fauxbourdon psalm verses for this coming Sunday (3 May 2026) is elegant and poignant. It’s such a shame it only comes every three years. This piece—along with all the musical scores for this coming Sunday, which is the 5th Sunday of Easter (Year A)—can be downloaded free of charge from the flourishing feasts website. By the way, how is it already 2026?
    —Jeff Ostrowski
    Season’s End Repertoire
    Looking at the REPERTOIRE SHEET until the end of the choral season, I see that I’ve fallen behind schedule. (The last three months have been extraordinarily busy.) As you know, I have been providing organ harmonies for all the ENTRANCE CHANTS—as well as rehearsal videos—and you can see I’m behind where I planned to be. Now I must make up lost ground. However, the choir picks up the ENTRANCE CHANT with ease, so I’m sure it will all work out. My ‘unofficial’ harmonizations are being posted each week at the flourishing feasts website.
    —Jeff Ostrowski
    PDF Download • “Funeral Procession”
    From a mediæval Book of Hours, I was sent this glorious depiction of a Roman Catholic funeral procession by Simon Bening (d. 1561). The image resolution is extremely high. I’m not sure I know of a more beautiful illustration of a mediæval church. And I love how the servers are wearing red and pink cassocks!
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    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

Random Quote

“One of his most cherished wishes was to promote congregational singing wherever possible, for he held it to be most instructive for people of all classes and a powerful means of arousing an intelligent interest in the beauties of our sacred liturgy, especially in regard to the holy Sacrifice of the Mass. He loved to dwell in this respect upon the remarkable results achieved in parishes where the congregation had been taught to sing correctly the different portions of the Mass in plain chant.”

— Cardinal Merry del Val, speaking of Cardinal Sarto

Recent Posts

  • PDF Download • Communion for Sunday
  • “Translating the Bible” • Msgr. Ronald Knox (1953)
  • Season’s End Repertoire
  • PDF Download • “Funeral Procession”
  • Re: The “Correct” Way To Sing Gregorian Chant

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