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Views from the Choir Loft

Arranging and Transcribing Our Way Through the Epidemic

Dr. Alfred Calabrese · May 26, 2020

DDLY, TIME SEEMS to be moving faster. Locking down, slowly opening, cautiously venturing out (at least for some), I still feel caught in a timeless, oozing fluidity in which one day, one week, melts into another, like so many clocks and cows of a Dalí painting. Although many of us still plan and play for our livestreamed Masses, the usual punctuations of time seem less incisive. It’s hard to believe that Pentecost is this week. Didn’t we just have Palm Sunday?

In this period, I am trying to be as optimistic as possible about returning to public Mass on Sundays. Today, Tuesday, in the Diocese of Dallas, we will be allowed to begin having one public Mass per day, Monday through Friday only, at 25% occupancy and with other strict guidelines. Our parish staff will be serving as ushers for these first few weeks; in fact, I will be ushering at the first several of these. I am glad to serve in this capacity and can’t wait to say to whomever shows up today, “Welcome Back!”

And, optimistically, I am planning for a return one day to public Sunday Mass, with sung chant and polyphony. When that becomes safe, well, we do not know. I do not want to engage here the discussion of choir vs. no choir, or droplets vs. aerosols, or singing vs. humming, or any of the other discussions going on now. I’m not a medical doctor. What I do want to mention today is what we might be able to imagine when it is deemed safe to have at least a few musicians available.

The art of composing is, I think, a crucial discipline for any conductor to engage in. Likewise, the art of arranging or transcription can be equally important, and useful. I am fortunate to be working with many talented young musicians who possess several skill sets. Some are accomplished instrumentalists as well as conductors and singers. So I ask myself, how can I put these talents to good use?

Imagine with me if you will, a time when we could have three or four musicians at Mass, but no more. What to do? Yes, chant the propers. But is that it? I am imagining a new ensemble, built out of necessity, for the singing of polyphonic motets and even Mass ordinaries. We know that during the Renaissance and early Baroque, especially in times of war and pestilence, various voice parts would have been covered by an instrument if no singer was available. Trombones work especially well for this, as do stringed instruments or oboes and bassoons. For example, something as beautiful (and neglected) as the two-voice bicinia of Orlando de Lassus might be imagined with one singer on one part and say, a trombone on the other. How about a tenor with a viola? All the words still sung, all the counterpoint still there. And what a cool sound that could be! While we would love to have our full choirs back immediately, that just may not happen. But with a little imagination, might it be possible that we could still hear the works of Lassus, Josquin, Palestrina, Guerrero, et al.?

Arrangement of music is not a new thing. Verdi operas and Mahler symphonies have been arranged for small ensembles. Both Duruflé and Fauré arranged their own Requiems for various combinations and sizes of ensembles. Transcribing or adapting existing music into a completely different medium might be a stretch, but who knows what we will be faced with in the future. We should be ready.

Don’t forget to compose. Composing out of necessity often yields wonderful results. What if you had only three singers? Would you have repertoire to perform? Perhaps you will need to write something. Here is a little Communion motet that I composed for three voices that’s very easy but gets the job done.

In closing, I want to reiterate that we must be ready to imagine all sorts of scenarios and necessities. I recently watched this amazing transcription of Bach’s St. John Passion. Whether or not this is your cup of tea, you’ll have to admit that it is both a tour de force performance and an extremely creative and interesting adaptation for these historic and unprecedented times. Make sure you watch the final chorus, “Ruht wohl.” It will blow you away!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

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Filed Under: Articles Last Updated: May 26, 2020

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About Dr. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

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Alabama Assessment!

We received this evaluation of Symposium 2022 from an Alabama participant:

“Oh, how the Symposium echoed the words of Cardinal Merry Del Val: …choosing only what is most conformed to Thy glory, which is my final aim. In one short and fast paced week, the faculty and attendees showed me the hand of God and our Lady working in our lives. The wide range of education—from Gregorian Chant, jazz modes in organ improvisation, to ‘staying sane’ while leading a choir—were certainly first-class knowledge from the best teachers of the art. However, the most powerful lesson was learning how to pray as a choir. The sacrifice of putting songs together, taking time to learn the sacred text, meditating on the church teaching through the chants, and gaining the virtues required to persevere in these duties were not only qualities of a choir but of a saint. The sanctification of the lives of the attendees was a beautiful outcome of this event … and that in itself is worth more than a beautifully-sung Solesmes style chant!”

—Jeff Ostrowski
PDF Download • Trinity Sunday (22 pages)

Feel free to download this Organ Accompaniment Booklet for Trinity Sunday (Second Vespers). Notice how the modes progress by number. Psalm 1 is mode 1; Psalm 2 is mode 2; Psalm 3 is mode 3; Psalm 4 is mode 4; Psalm 5 is mode 5. I am told by an expert that other feasts (such as Corpus Christi) are likewise organized by mode, and it’s called a “numerical office.”

—Jeff Ostrowski
10 June 2022 • “Official” rhythm of plainsong

I continue to search for the most beautiful way to present the “pure” Editio Vaticana scores. (Technically, the “pure” rhythm of the official edition is what everyone is supposed to use.) You can download my latest attempt, which is the Introit for this coming Sunday: Feast of the Most Holy Trinity. Because this is not an ancient feast, the Introit had to be adapted (perhaps around 750AD). Prior Johner says the adaptation is “not an entirely happy one.”

—Jeff Ostrowski

Random Quote

The local church should be conscious that church worship is not really the same as what we sing in a bar, or what we sing in a convention for youth.

— Francis Cardinal Arinze (2005)

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