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Views from the Choir Loft

“Part 3 of 3” • Guerrero Kyrie for Our Lady

Jeff Ostrowski · August 13, 2021

HE PROJECT IS COMPLETE! Choirmasters find themselves in need of a brief yet powerful KYRIE ELEISON for their volunteer choirs—and there’s no better choice than Father Guerrero’s De Beata Virgine II (1582AD). It’s a gorgeous composition—but that’s not all. For instance, consider its third section (below). A choir director can explain how the thema comes directly from the plainsong, then describe how Guerrero’s counter-melody is “like a mirror-image” of the thema, and is picked up by the various voices. The choirmaster can also show how each voice has “balance”—in the sense that voices beginning with long values will be reversed later on (and vice-versa).

For all three movements: click here.

Here’s the third (and final) movement:

*  PDF Download • SECTION 3 of 3
—Father Guerrero’s “Missa De Beata Virgine II”
—Edition: Roma 1582AD.

Rehearsal videos for each individual voice await you at #59773.

More Interesting Things: Choirmasters who teach this piece can point out the “connection points.” What are connection points? One would be the Soprano, which gives the Alto its note in measure 1, then “connects” again in measure 4. The same thing (between the same voices) happens in measure 7 and measure 11. Another connection point would measure 11 and measure 14 between Tenor and Bass. And there are tons more! In measures 8-9 there is a tiny little “baby stretto” between Alto and Tenor; and the same thing happens between Bass and Alto in measures 11-12. In measure 5 and measure 12, the Alto voices gives their note to the Soprano voices (an octave higher). These are just a few examples you can share with your choir.

What Is A Trope? During the Middle Ages, most of the Mass prayers were troped. As Father Friel reminds us, Sequences were tropes. The Kyrie was troped. The Gloria was troped. The Agnus Dei was troped. Even the readings were troped. The Kyrie which Father Guerrero uses (see above) is called “Kyrie Cum Jubilo.” In the Editio Vaticana, it’s called KYRIE IX. If you don’t know what a Trope is, please scroll to the bottom of this article:

*  Article • “Reform of the Reform” • Eight Lies We Were Told

No More Tropes: On 20 July 1562, during the 22nd Session of the Council of Trent, a commission of seven prelates was appointed to examine the question of liturgical abuses. Among the Postulata nonnullorum patrum circa varios abusus in missis subinductos—(“Petitions by certain Fathers about various abuses introduced into Mass”)—one finds the following: “Let those additions Mariam gubernans, Mariam coronans be removed from the hymn Glória in excélsis; they seem an unbefitting insertion” (source). On 7 January 1575, Father Guerrero’s chapter in Sevilla decreed that henceforth the Roman rite, as reformed by the Council of Trent, is to be used exclusively. This decree rendered obsolete such “troped” Masses as Guerrero’s De beata Virgine (1566) as well as polytextual Masses, such as his Beata Mater (1566). [But those who have attended the Sacred Music Symposium know that the texts can be altered so these Masses can still be used.]

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

Filed Under: Articles, PDF Download Tagged With: Missa De Beata Virgine II, Piecemeal 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

“Both of these appointments—of Cardinal Lercaro and Father Bugnini—to key positions on the Consilium made it possible for voices to be heard that could not be heard during the proceedings of the Council, and likewise silenced others.”

— Alfons Cardinal Stickler, Vatican II ‘peritus’

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  • “Dom Jausions had a skilled hand. His transcriptions are masterpieces of neatness & precision.”

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