• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
  • Donate
Views from the Choir Loft

A Deaf Composer? A Deaf Conductor?

Jeff Ostrowski · November 1, 2021

INGS. We truly live like kings in the year 2021. For example, I can type on my iPhone and within a few minutes anything I desire will (quite literally) be dropped on my front porch—courtesy of DoorDash, Postmates, InstaCart, Amazon-Prime, or some other company. A recent study 1 showed that the poorest Americans today possess more wealth (and modern conveniences) than 90% of Americans who lived in the year 1906. On the other hand, Americans are “poverty-stricken” when it comes to friendships and human interactions. Because most Americans never have to leave their homes, we end up addicted to screens, severely overweight, and lacking in Vitamin D (which comes from sunshine).

Incapable Of Conversing: Because Americans have become addicted to screens, we no longer engage in deep conversations with others. This is why—in my humble opinion—everywhere you go the music is played too loud: in restaurants, at wedding receptions, at parties, and so on. One must shout across the table to be heard. Wherever I go, I carry special ear plugs in my wallet. When I encounter loud music, I protect my hearing with ear plugs (made of wax). Never forget that hearing loss is irreparable!

Personal Experience: When I’m sick with a cold, my hearing becomes clogged and I can’t hear properly—which is a choirmaster’s worst nightmare. Last week, I suffered from a cold. Therefore, I really can’t tell how the following live recording from Sunday actually sounds. Without any rehearsal, we attempted to add harmony at each refrain.

I really hope it sounds okay, but I can’t tell for sure until my ears get back to normal:

—
Rehearsal videos for each individual voice await you at #759.

The Saint Jean de Brébeuf Hymnal has the most spectacular collection of hymns to Christ the King. To learn about several, please click here.

No Radio; No Recordings; No Cars! Earlier, I spoke of how Americans 100 years ago had none of the luxuries we take for granted. I found myself pondering these realities while reading a fascinating diary written by the wife of Josef Hofmann (d. 1957). Mrs. Hofmann’s diary entries contain numerous anecdotes, such as Hofmann’s private interactions with legendary figures like Ignaz Paderewski, Harold Bauer, Mischa Elman, and Sergei Rachmaninoff. It is fascinating to read about the extreme hardships faced by Hofmann and his wife (in spite of their wealth and fame) as they traveled to extremely remote towns throughout Russia to give concerts in bitter cold temperatures. The hotels, the food, and the pianos were frequently atrocious. These were the days before modern conveniences: no cellphones, no cars, no television, no radio, and no World Wide Web! The people in these tiny rural towns would surround and besiege Josef Hofmann, showing their adulation for the world’s greatest pianist. My question is: How did they know how great he was? After all, phonograph recordings had not been invented yet. Were those “peasants” (for lack of a better word) so familiar with Chopin’s Ballades, Liszt’s Rhapsodies, and Schumann’s Symphonic Etudes that they could tell how superior Hofmann’s interpretations were?

Deaf Composers: Even someone as phenomenal as Hofmann began to deteriorate in old age. At the age of sixty, Hofmann was still a million times better than any other pianist—which the greatest pianists freely admit—but when he reached 65, a sharp decline was observable in his playing (especially his live performances on the Bell Telephone Hour). Hofmann’s decline is somewhat comparable to composers who lose their hearing. In the history of music, several very famous composers have gone deaf, such as Gabriel Fauré (d. 1924) and Ludwig van Beethoven (d. 1827). Losing one’s hearing must be a truly horrifying experience for a musician.


NOTES FROM THIS ARTICLE:

1   Of course, some people had great wealth back then. Conductor Leopold Stokowski (who, for the record, began his career as a choirmaster and organist) married an heiress named Gloria Vanderbilt, whose father had once given his son a monetary gift—and the amount of this “gift” was greater than all the money in the USA treasury! FDR was handicapped due to polio, but he didn’t like people to notice this. Therefore, whenever FDR visited a place, the Secret Service would arrive a few weeks in advance and build roads and bridges which allowed FDR to “walk” out of his car without having to go up and down steps. They would literally build a new road for Roosevelt’s 10-second walk—and these two examples demonstrate that wealthy people certainly existed back then!

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

Filed Under: Articles Tagged With: Harold Bauer, Hymn for Christ the King, Ignaz Paderewski, Josef Hofmann Pianist Extraordinaire, Sergei Rachmaninoff Last Updated: December 30, 2021

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“The main place should be given, all things being equal, to gregorian chant, as being proper to the roman Liturgy. Other kinds of sacred music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action and that they foster the participation of all the faithful.”

— ‘2011 GIRM, §41 (Roman Missal, 3rd Edition)’

Recent Posts

  • A Gentleman (Whom I Don’t Know) Approached Me After Mass Yesterday And Said…
  • “For me, Gregorian chant at the Mass was much more consonant with what the Mass truly is…” —Bp. Earl Fernandes
  • “Lindisfarne Gospels” • Created circa 705 A.D.
  • “Music List” • 5th Sunday of Easter (Year C)
  • Communion Chant (5th Sunday of Easter)

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

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.