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Views from the Choir Loft

A Teaching Moment • Including “Hail, Holy Queen Enthroned Above”

Jeff Ostrowski · August 17, 2021

NE OF THE GREATEST Church musicians used to speak of those “who know what the butter costs.” When I was younger, I didn’t understand what he meant: Why on earth does the cost of butter matter? But now that I’ve been a choirmaster for twenty years, I understand perfectly what it means—and why he used it. I think he could have added another phrase to his arsenal: Silence stings.

Silence Stings: Nothing is more frustrating than being ignored, especially when we discover an injustice demanding an explanation. Sadly, it reminds me of certain leaders in the Catholic Church who say publicly: “My mission is transparency; I will gladly engage anybody in dialogue, even the most marginalized.” Those are nice words … but if you try and get an appointment with such a leader, you’ll quickly discover that no such meeting will ever take place.

A Pressing Question: I would love to publicly debate those who edit Catholic hymnals. I desperately want to ask them: Why do you keep printing hymnals according to 18th-century technology? Do they know what it’s like to be a choirmaster? Do they realize the enormous physical and psychological obstacles we face already? How is it possible that the Brébeuf hymnal was the first project to address these basic issues in a satisfactory way? Why do Catholic hymnals continue to delete verses and use the “ugly stack” method (see below)? Why will nobody answer my questions?

Deleting Verses: Most Catholic hymnals truncate hymns by deleting verses! This is very annoying because if a hymn only has 2-3 verses, it won’t cover the liturgical action it needs to, such as Holy Communion. Even the “best” Catholic hymnals—with only a few exceptions—normally delete 50% of the verses. For example, look at this page from the New Saint Basil; that hymn is supposed to have seven verses!

Note: The Brébeuf hymnal does not delete verses; it gives you all the verses!

The “Ugly Stack” Method: Most hymnals, if they do include all the verses, put the final stanzas at the bottom, like this. That’s terrible, because it is more likely choirs will sing the ending verses in SATB harmony; whereas it’s unlikely they’ll begin with SATB harmony and switch to unison for the rest. But if the stanzas are at the bottom, SATB is out of the question (with the possible exception of very short hymns, such as 66.86 meter). Even worse is the English method, which puts the music on a different page from the lyrics. Other hymnals adopt the “Ugly Stacked” format, which squeezes all the verses between the staves—but that makes it difficult: difficult to savor the poetry and difficult to match the notes with the words.

Note: By carefully writing out each verse, the Brébeuf hymnal solved these problems in a marvelous way. Organists and choir members love this!

What Does All This Mean? Let me give you an example from real life. The other day, my choir sang for more than two hours: Solemn Vespers, Solemn Mass with full polyphony and Gregorian chant, and a Procession. More than 90% of my choir members struggle with reading music, but we didn’t have time to rehearse the hymn. So what did we do? We had the Sopranos sing first, then the Altos, then the Tenors, then the Basses—as shown in this live recording:

It came out absolutely gorgeous; and it’s all thanks to the brilliant way the Brébeuf hymnal formats the music.

You can hear a “studio” recording here:

Rehearsal videos for each individual voice await you at #783.

My Final Question: Why don’t more volunteer take advantage of these rehearsal videos? They save precious time during rehearsals.

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

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Filed Under: Articles, Featured Tagged With: Hail Holy Queen Enthroned Above Last Updated: August 25, 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

    Schola Director Posts ‘Live’ Recording
    As I explained in my article posted earlier today, Nun Komm Der Heiden Heiland is actually a Catholic tune (in spite of what some have claimed). The volunteer choir I direct sang that beautiful ADVENT melody last Sunday, and I invite you to listen to the live recording. It will get better the more we sing it.
    —Jeff Ostrowski
    Message from the Vice-President!
    The Vice-President of the Church Music Association of America, Dr. Horst Buchholz (who also serves as Director of Sacred Music for the Archdiocese of Detroit) sent us an email yesterday regarding the harmonizations (PDF) I composed for the Gregorian Chant psalm tones. Dr. Buchholz says: “Those settings are absolutely exquisite, as I'm used to when it comes from you. Bravo! Well done! Now, as a sequel, if you could write something for accompanying psalms in English that would be awesome.”
    —Jeff Ostrowski
    Requesting Our Advent Eucharistic Hymn
    A young lady named Agnes wrote to us: “Dear Mr. Ostrowski, do you have the PDF score for Ave Corpus Domini set to the ADVENT melody? Last year, we sang the hymn tune “Nun Komm der Heiden Heiland” quite a bit using your contrafactum technique. My choir appreciates the Latin hymns and practice videos, especially in the ADVENT and CHRISTMAS seasons. Your recent article on Gregorian Psalm Tones is a great help to my organist brother, and reminds us of attending VESPERS years ago when we lived in California. Thank you so much for all the effort put into providing these wonderful resources!”   Agnes, if you are listening! Yes, the PDF file you desire can be downloaded for free at the Brébeuf Portal via this URL link. Thanks for writing to us!
    —Jeff Ostrowski

Random Quote

When we say: “The people like this” we regard them as unable to develop, as animals rather than human beings, and we simply neglect our duties in helping them towards a true human existence — indeed, in this case, to truly Christian existence.

— Professor László Dobszay (2003)

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