Views from the Choir Loft

“Notwithstanding all our troubles, we sing Mass” —1601 AD

Jeff Ostrowski · February 24, 2020

ANY Catholics and Catholic priests suffered martyrdom when England became Anglican (after King Henry VIII). It is fascinating to learn about those dangerous times. Father Henry Garnett (d. 1606), a Catholic priest, was friends with William Byrd. He was also very close to Saint Robert Southwell, whose brilliant hymns appear in the Brébeuf hymnal. I know that our vocation—that of being a church musician—is fraught with difficulties and obstacles. But at least we are not being threatened by torture and execution! Notice the following sentence: “Notwithstanding all our troubles, we still sing the Mass”…from 30 June 1601:

Let’s remember this when we are tempted to complain about our (sacred) vocation providing music for Mass!

Read more by downloading this PDF file: The Troubles of Our Catholic Forefathers Related by Themselves (London, 1877).

Speaking of “Speaking”…

Fr. Michael Irwin was the very first FSSP priest in the United States. One year, he did something very funny I will never forget. There are certain prayers on Good Friday which the 1962 Holy Week says to speak, not sing. Fr. Irwin forgot, and (as an altar boy) I could tell he was embarrassed. So, what did he do? He began the prayer singing, and slowly morphed into speaking. So, by the time the prayer ended, he was speaking. I still laugh, when I remember his “trick”—and I’m sure my brother remembers, too. This was circa 2002.

About Jeff Ostrowski

A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.

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