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“What earlier generations held as sacred, remains sacred and great for us too…” Pope Benedict XVI (7 July 2007)

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Views from the Choir Loft

“Talking To Dead Composers” • Part 2

Jeff Ostrowski · August 5, 2021

EAD COMPOSERS: I speak to them frequently. In previous articles I have explained what I mean by “talking to dead composers.” I won’t repeat everything I wrote, but basically it means that if one spends decades analyzing hymn harmonizations, one begins to see the particular ways that various musicians solved the “problems” each melody presents. Dom Gregory Murray (d. 1992) had a particular approach. So did Edward C. Currie (d. 1963). So did Theodore Marier (d. 2001). These harmonic conundrums have been around at least since the time of J.S. Bach, and there is no correct “solution” … but it’s fun to communicate with these (dead) musicians and see them striving mightily for the best solution.

Another Way To Talk: Another way we can “speak” to dead composers is by carefully taking note of the tunes favored by the really smart musicians. An example would be RUSTINGTON, which was favored by musicians like Dr. Marier. When a hymnal editor eliminates certain bad tunes and favors certain good tunes only to discover this was done by (dead) editors in the past, it really feels like talking to them. One feels exuberant! One feels as if these (dead) musicians “validate” or “confirm” or “ratify” one’s choices, and it’s exciting. In addition to the more common tune for Alleluia Sing To Jesus (viz. HYFRYDOL), the Brébeuf hymnal also uses RUSTINGTON as a shared melody. Here’s a live recording last Sunday by a volunteer choir:

The Situation Has Changed: Something unsettling happened when The Saint John Brébeuf Hymnal was first released to the public. Certain voices on the internet—who claimed to be “experts” in the field of sacred music—ferociously attacked this book because of its approach to common melodies. The Brébeuf hymnal had chosen an exceptionally bold approach to these “common melodies,” making it possible to spoon-feed one’s congregation sublime tunes without frustrating them. But the situation has changed. Major publishing houses, following in the footsteps of the Brébeuf hymnal, are now touting the advantage of “texts which can be used with multiple tunes.” In other words, the Brébeuf approach—initially mocked and derided—has become such a success that it’s being stolen by the big publishing companies!

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

Filed Under: Articles, Featured Tagged With: Common Hymn Melodies, Talking With Dead Composers Last Updated: August 5, 2021

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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 Los Angeles.—(Read full biography).

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Quick Thoughts

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 liturgical reform bears absolutely no relation to what is called “desacralization” and in no way intends to lend support to the phenomenon of “secularizing the world.” Accordingly the rites must retain their dignity, spirit of reverence, and sacred character.

— Sacred Congregation for Divine Worship (5 September 1970)

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