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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

Catholic Artists and “Self Hatred”

Jeff Ostrowski · November 9, 2020

NE OF MY PROFESSORS at the conservatory was Alice Downs. Perhaps I’ll write an article about her someday; she’s difficult to “pigeonhole.” She was a child prodigy and had the opportunity to study with the legendary Alfred Cortot in the 1950s, but instead chose Jacques Février because Cortot often ‘neglected’ his students due to his busy schedule. (To be fair, so did Josef Hofmann and Josef Lhevinne; assistants did most of the teaching.) Alice Downs once told me that she discouraged her male students from pursuing the study of music “unless you can’t live without it.” I remember pondering whether I can “live without” music. I bring this up is because artists tend to be quite passionate. Indeed, pursuit of artistic perfection drove almost all of the greatest artists into miserable lives. For example, Sviatoslav Richter couldn’t function—much less perform—unless he carried around his pink, plastic lobster for comfort. Hofmann (probably the greatest pianist of all time) became an alcoholic. Horowitz lived a very troubled life. So did Ferruccio Busoni (toward the end). Ignaz Friedman was hopelessly addicted to gambling. I could give many more examples.

In the past, I have described my absolute hatred for projects I undertook ten years ago, fifteen years ago, twenty years ago. I look at what I have done in the past and painfully observe every flaw. I am filled with embarrassment, self-hatred, and self-criticism. I know other artists who experience similar feelings, which are not inconsiderable.

The Answer?

What’s the answer to feelings of self-doubt and self-hatred? Let me share with you my theory. I believe trenchant self-criticism is actually a good thing, because it means the artist is always reaching higher and higher. It sets the artist apart from those who are lazy, those who are apathetic and—worst of all—those who cannot tell what is excellent and what is garbage. The reality is, even the greatest artists produced flawed items at the beginning of their careers (e.g. Chopin’s 1st Piano Sonata). Artists must overcome two challenges:

(1) Paralysis • Artists must resist paralysis; instead, their motto must be: “Live and learn.” There’s always tomorrow. If you made a small error, you’ll be sure to correct it next time.

(2) Rudeness • When somebody praises past work (in which the artist now sees flaws), artists should not reply: “That’s garbage; I hate it.” Instead, follow the advice of Father Valentine Young, who said: “Whenever someone gives you a compliment, just say Thank you and nothing else.” Sage advice.

Furthermore, de gustibus non disputandum est. For example, Robert Schumann is considered a great musician by almost everyone. But when Frédéric Chopin’s student played Schumann’s Op. 9 Carnaval for him, Chopin replied: “I hate such music.”

Nobody Is Perfect

It can be helpful to remind ourselves that even the most fabulous productions have flaws. For example, on page 750 of the (absolutely gorgeous) Gregorian Missal (Solesmes Abbey, 2012), the editors accidentally lapse into French:

After Vatican II, the Breviary was revised. Look at this error they made in the “Vexilla Regis” of Bishop Fortunatus, which erroneously copies the line above:

Achille P. Bragers had a sloppy editor who wrote “Creator of the Starry Night”—but if you look on page 3, it was supposed to be “Creator of the Starry Height.” This was for his 1954 hymnal:

Consider “Mass and Vespers” (Solesmes Abbey, 1957), perhaps the most magnificent book ever produced. We find a major error in the English translation:

As I stated earlier, the Gregorian Missal (Solesmes Abbey, 2012) is an absolute masterpiece—but look at this header:

For that matter, examine at the headers in the Gregorian Missal (Solesmes Abbey, 2012) for Advent:

Can you understand what is horribly wrong with the translation here? Give it a try:

Even the finest books, such as the Nova Organi Harmonia Ad Graduale Juxta Editionem Vaticanam contain wrong notes. In “Mass and Vespers” (Solesmes Abbey, 1957) we see the note on “vinum” is incorrect, and even the Custos shows this:

Some people consider the most beautiful book ever printed to be Fortescue’s 1913 “Hymnal for Saint Hugh” printed by the Roman Catholic printer, Stanley Morison (d. 1967). It’s a gorgeous book, but even that book contains typos. For example, look at the accent on “créduli” (erroneously placed on the penult):

But that error doesn’t spoil Father Fortescue’s book. You can see a sample page of the beautiful typesetting from 1913. Nor does the following typo wreck “Mass and Vespers” (Solesmes Abbey, 1913) even though the word “the” is spelled incorrectly:

The “Offertoriale Triplex” prints “circuítu” for Christmas Day, but the correct accent is “circúitu.” It’s difficult to understand why they allowed this mistake, when the whole emphasis in the Triplex is supposed to be about “the word”—wouldn’t the first step be learning how to pronounce the word circúitu, before trying to reproduce the practices of a certain monastery 1,000+ years ago?

I talk about more typos in this 2017 article and in this 2016 article.

Here is a glaring typo from Mass & Vespers (1957).

The 1965 Missal—which is full of typos—spells Epiphany incorrectly: with three (3) P’s

I’m also confused when organizations publish erroneous reproductions of ancient prayers and attempt to “copyright” those flawed versions. An example would be this one: the correct accent is “índue” not “indúe.” (It is rather disheartening to think of young boys learning the pray that prayer incorrectly.)

Surprises From The Past

Something cool happens sometimes. You hear something or read something you published a long time ago and…it’s better than you remember! I recently came across a recording made about 13 years ago when I was teaching at a Catholic high school. I have no idea how it was recorded or when it was recorded. For that matter, I don’t remember teaching this piece or playing it on the piano. (I had no paid accompanist, so I had to play the piano as accompanist for the children.) If you had taken me into a court of law a few days ago, I would have said I never heard this piece—although I clearly did, because the recording proves it!

Anywhere, here’s a brief excerpt:

*  Mp3 Download • “Violet” (Recorded circa 2007)

I was pleasantly surprised by how this came out! The lesson is this: The artist is usually not objective about his own productions.

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

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Filed Under: Articles, Featured Last Updated: November 27, 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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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

Far from dreading an encounter with the Iroquois, Fr. Garnier often told us he would be quite content to fall into their hands and remain their prisoner if—while they were torturing him—he at least had a chance of instructing them as long as his torments lasted. If they allowed him to live, it would afford him a golden opportunity to work for their conversion, which was now impossible, since the gateway to their country was closed as long as they were our enemies.

— Father Ragueneau (Jesuit Relations)

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