Views from the Choir Loft

Chant, Mighty Pipe Organs • Two Sundays, Two Cathedrals

Richard J. Clark · January 10, 2020

WO CATHEDRALS — two Sundays. Gregorian Chant and mighty pipe organs will be front and center at two concerts: Boston’s Cathedral of the Holy Cross (Sunday 1.12.2020 @2pm) and Saint Patrick’s Cathedral, New York City. (Sunday, 1.19.2020 @ 3:15pm)

On the program is the seven-movement organ suite Gregorian Impressions. Published by The Sacred Music Press/The Lorenz Corporation, it is based on familiar and beloved plainchants. The American Organist magazine praises Gregorian Impressions for its “engaging developments.”

The Boston Archdiocesan Schola will assist singing the chants prior to each movement. Several noted liturgical musicians from New York will join members of the Boston Schola in New York.

HE TWO ORGANS: BOSTON — Sunday, January 12 @2pm: Built in 1875, the 101-rank E. & G. G. Hook and Hastings, Opus 801 contains 5,318 pipes. This instrument is highly unique in that it is nearly original in its tonal design. Clothed in stone and marble (since the recent renovation) this organ is breathing new life into the Cathedral!

• Click here for concert program and specifications of the 101-rank E. & G. G. Hook & Hastings Organ, Opus 801

• A tour of the newly renovated Holy Cross Cathedral will immediately follow the concert.

NEW YORK — Sunday, January 19th @3:15pm: five-manuals, 206 stops, 150 ranks, and 10 divisions, the Kilgen Organs were rebuilt by the Peragallo Pipe Organ Company in the 1990s.

This concert will be live-streamed here.

Both concerts are free and open to the public. See you there!

About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross. He is also Chapel Organist (Saint Mary’s Chapel) at Boston College. His compositions have been performed worldwide.

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski