Views from the Choir Loft

PDF Download • The Most Difficult Piece! (Sacred Music Symposium 2020)

Jeff Ostrowski · March 17, 2020

OME EXTREMELY intelligent people are terrified of Coronavirus possibly spreading in America. On the other hand, some very smart people have pointed out that our “reaction”—in spite of its good intention—might cause serious and irreparable damage to the country. For instance, so many people have already lost employment because of the governmental regulations. They are now unable to earn money for their families. No matter which “side” you are on, I think we can all agree that Americans stuck at home should use their time in a productive manner. We are, therefore, trying to release as much music as we can, so you can start rehearsing for Sacred Music Symposium 2020.

Here is a rehearsal video for the most challenging piece of all. It is the “Hosanna” section of the Sanctus. (The other movements will be added soon.)

You can download the PDF, and rehearse each individual voice by locating #79467. (Currently, it’s at the very top, so you will find it easily.)

By the way, you should visit the Symposium website and read the “Official Statement on Coronavirus,” posted earlier today.

We have already spoken about the magnificent Missa Mille Regretz by Cristóbal de Morales, a Spanish priest who was one of greatest composers of all time. You will be hearing a lot more about it. For the time being, you can listen to the chanson (“Mille regretz”) if you click here. You can also hear the Hilliard Ensemble sing this “Hosanna” if you go to the 3:03 marker.

I have much more to say about Missa Mille Regretz…so please stay tuned!

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.

“Daily I sat in the temple, close to you…”

Fulton J. Sheen always said the “very best translation” of Sacred Scripture was the version by Monsignor Ronald Knox, and here’s what Knox had for the Passion read today (Pre-1955 Palm Sunday): “And Jesus said to the multitude at that hour, You have come out to my arrest with swords and clubs, as if I were a robber; and yet I used to sit teaching in the temple close to you, day after day, and you never laid hands on me.” (Mt 26:55)

Did you catch that? Our Lord sat close to them! He was near them! The Second Person of the Blessed Trinity touched them, and was friendly toward them! Truly, the people who can hurt us the most—and betray us the most—are those whom we have loved.

—Jeff Ostrowski

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