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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 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

Thus the priest-celebrant, putting on the person of Christ, alone offers sacrifice, and not the people, nor clerics, nor even priests who reverently assist. All, however, can and should take an active part in the Sacrifice. “The Christian people, though participating in the Eucharistic Sacrifice, do not thereby possess a priestly power,” We stated in the Encyclical Mediator Dei (AAS, vol 39, 1947, p. 553).

— Pope Pius XII (2 November 1954)

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