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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

    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
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    “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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt

Random Quote

At High Mass the Celebrant is not allowed to proceed with the Offertory while the “Credo” is being sung. Likewise he should not proceed with the Consecration until the singing of the “Sanctus” is completed.

— Father Carlo Rossini (1939)

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