Views from the Choir Loft

New Work from Paul Jernberg

Fr. David Friel · February 16, 2020

EVERAL times in recent years, we have featured composer Paul Jernberg on this blog (e.g., here and here). This is for good reason. Jernberg writes beautiful music, eminently fitting for the sacred liturgy. He is also involved in worthwhile projects such as the Magnificat Institute of Sacred Music.

Recently, Jernberg has undertaken a new project that deserves attention. As he explains, he wanted to write a book sharing his insights about truth, beauty, and goodness in relation to Catholic sacred music. In the process of writing, he decided that the material might be more effective if it were to be published online and in installments. A few of the installments have already begun to appear on his website.

Jernberg’s blogging retains the structure of his intended book. It will proceed in a few major sections:

Prologue: Foundations
Part I: Holy Repertoire
Part II: Humble Artistry
Part III: Fire of Love
Epilogue

Something wonderful about this work is that it is available not only in written format, but also as a series of podcasts. If it is easier to listen to each installment, recordings are available here.

Jernberg’s music is a delight to hear, and I am sure this new project will be enlightening to read.

About Fr. David Friel

Ordained in 2011, Father Friel served for five years as Parochial Vicar at St. Anselm Parish in Northeast Philly. He is currently a doctoral candidate in liturgical theology at The Catholic University of America in Washington, D.C.

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