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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Recorded Music At Mass?

Jeff Ostrowski · June 12, 2020

HAVE frequently been asked some variation of this question: “Jeff, you often pontificate about Josef Hofmann, insisting—along with Sergei Rachmaninov—that no other pianist comes anywhere near him; but why exactly is this?” Of course I don’t have an answer, but I believe part of the answer has to do with the fact that Josef Hofmann came to prominence before there was such a thing as recorded music. Later on, Thomas Edison changed all that with his phonograph. (By the way, Josef Hofmann as a teenager assisted Edison with his invention!) Hofmann was trained in an era during which all music was ‘live’—and I believe we can never return to such a situation…or comprehend what it was like.

Consider that in 1900 the world contained approximately 1.6 billion people; currently, there are 7.5 billion people. Certainly we have child prodigies today, but not on the level we used to. Research the young Camille Saint-Saëns, the young Josef Hofmann, or the young Felix Mendelssohn. For that matter, research the early career of Lorin Maazel, who was conducting major orchestras at the tender age of eight! I would submit that today’s virtuosi cannot match those of 100+ years ago. Music, in general, has changed so much. Something else to ponder: in 1923 Vladimir Horowitz (with violinist Nathan Milstein) premiered violin concerti by Karol Szymanowski (d. 1937) and Sergei Prokofiev (d. 1953). That was possible because in those days it was 100% common—and fully accepted—for violinists to play concerti accompanied by the piano! Time haves changed.1

Recorded Music At Mass?

These days, people often ask: “Why can’t we have recorded music at Mass?”

I think the best answer was given by Father Peter Gee, FSSP, close to three decades ago. When I asked him why we can’t play records at Mass, he instantly replied: “Because the Mass is something living.”

P.S.

For the record, our contributor (Mr. Keven Smith) attended the school founded by Josef Hofmann: The Curtis Institute. I hope he will (eventually) find time to share some stories with us!

 


NOTES FROM THIS ARTICLE:

1   Speaking of Vladimir Horowitz, before 1953 he was quite fantastic. He had numerous operas memorized, plus tons of chamber music and concerti, to say nothing of his solo repertoire, which was massive: Brahms, Liszt, Chopin, Rachmaninov, Bach-Busoni, Mussorgsky, Beethoven, Scriabin, Haydn, Mussorgsky, Schumann, and so forth. To give just one example, early in his career Horowitz accompanied (singer) Zoya Lodaya in Schubert’s Winterreise cycle, and Horowitz played the entire piano part from memory—a feat worthy of Friedman or Hofmann! By the way, after 1953, Horowitz’s playing deteriorated in a huge way, although he was paid massive amounts of money to perform until the day he died; again, a strange paradox which is not unrelated to what I’ve been talking about, in terms of our society’s appreciation for serious music. Times have changed; and so has music.

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

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Filed Under: Articles Tagged With: Josef Hofmann Pianist Extraordinaire Last Updated: June 13, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

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“The Chasuble, or upper garment, represents the purple garment which the soldiers put upon Jesus Christ, and the heavy cross that He carried on His blessed shoulders to Mount Calvary.”

— Guide for the Laity (1875)

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