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Views from the Choir Loft

“Easy Polyphonic Agnus Dei” • Part 2 of 3

Jeff Ostrowski · May 14, 2021

HE OTHER DAY, I was speaking to my colleague, Keven Smith, a Curtis graduate who currently serves as choirmaster at the FSSP parish in Sacramento, California. I had decided not to record any more rehearsal videos because I’m “self conscious” when it comes to my singing voice. My feelings of inadequacy may have come from studying piano—since pianists are taught from a young age they are never good enough. 1 In any event, Keven basically told me that rehearsal videos don’t have to be perfect. He said they are valuable and I should continue making them—even though I am not pleased with my voice in the Soprano range.

I therefore offer you this rehearsal video and score. (It begins with Soprano and Alto, but at the 0:58 marker, it switches to Tenor and Bass.)

*  PDF Download • “AGNUS DEI FOR TWO VOICES”
—Based on a piece by Father Francisco Guerrero (d. 1599).

That piece is an excellent way to get your people singing when choirs return—because it’s only two voices, the range is not excessive, the Solfège is already added, and it just “clicks” in real life because Guerrero was a master of counterpoint.

Working with Volunteer Choirs:

The worst thing you can do during a choir rehearsal is talk a lot. The people are coming there to sing. And by singing together over and over, they will learn to blend. We have recently (2 weeks ago) been allowed to have choir rehearsals after a year of rehearsals being forbidden. In some ways, it is like starting over for me as a director. I need these choirs to sing together for a long time—and the issues with tuning, breathing, and relaxation will begin to be resolved. Below I am being venturesome. I’m releasing this live recording from our rehearsal in which we begin in unison then attempt to add parts:

Variety is the Spice of Life:

As choirmasters, we can learn from the great artists, who knew that variety was important to concert programs. These days, that notion seems lost. For instance, I once attended a concert by András Schiff in Kansas City, and the entire first half was Scarlatti Sonatas. Now, I love Scarlatti—but this was not an appropriate choice and most of the audience soon began to snore. Therefore, in our rehearsals, we do hard work—such as singing the above Agnus Dei in Solfège—but not for the entire rehearsal. We mix it up! We also sing “fun” songs, such as Brébeuf # 704 Hymn for the Ascension:

We also sing contemporary pieces. Here is an excerpt from last night’s rehearsal:

*  Mp3 Download • Richard Rice Kyrie
—“Mass of the Angels” by Richard Rice is #4781.

I also toss in other types of music, such as medieval plainson with an Ison added:

*  Mp3 Download • Gregorian Chant With Drone
—Listen carefully, and you hear one of the Bass singers hit a low D.

Update (8 June 2021):

You can hear a live recording of our first attempt at singing the Guerrero 2-voice “Agnus Dei.”


NOTES FROM THIS ARTICLE:

1   Piano students know their octaves will never be as fast as Josef Hofmann, their thirds will never be as clean as Josef Lhevinne, their repeated notes will never be as crisp as Horowitz, their legato will never be as sumptuous as Ignaz Tiegerman, and so forth.

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

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Filed Under: Articles, Featured, PDF Download Tagged With: Francisco Guerrero Composer, Piecemeal Agnus Dei, Piecemeal Polyphony, Two Voice Polyphony Last Updated: February 26, 2022

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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

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

On 26 July 1916—during the German occupation of Belgium—a student choir led by Van Nuffel performed his setting of the psalm “Super flumina Babylonis” in Saint Rumbold’s Cathedral. The text and the musical setting very aptly expressed the depressed and rebellious mood of the population. The acclaim was enormous, and it laid the foundation for Van Nuffel’s formation of the Saint Rumbold’s choir.

— Unknown

Recent Posts

  • Now Available! • “Hymns of Cardinal Newman: Kevin Allen’s Legendary Choral Settings”
  • Bugnini’s Statement (6 November 1966)
  • (Rehearsal Clips) • Sacred Music Symposium 2025
  • Hidden Gem: Ascendit Deus (Dalitz)
  • PDF Download • Soprano Descant — “Hail, Holy Queen Enthroned Above”

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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