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Corpus Christi Watershed

Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

A “Dirty” Word (For Musicians)

Jeff Ostrowski · April 30, 2022

IME PASSES and musical fashions change. Years ago, the great pianists played transcriptions on every single one of their programs. But around the year 1955, “transcription” became a dirty word. Pianists who played transcriptions were ridiculed. The new generation of pianists was unbearably pedantic, and their interpretations were boring and uninspired; in other words, transcriptions were but one casualty of the “urtext” age.

A Silly Argument: Serious musicians realize there’s nothing evil about a transcription, provided it was created by a skilled musician. The pedantic pianists (like Ruth Slenczynska)—who foolishly condemn all transcriptions—should examine Johann Sebastian Bach’s Violin Concerto in E Major (BWV 1042) and his Harpsichord Concerto in D Major (BWV 1054). The reason I mention those two will be obvious to anyone who listens to a few bars of each. Ferruccio Busoni pointed out the inconsistency of those who denigrate arrangements yet praise variations as “original” compositions:

Strangely enough, the variation-form is highly esteemed by the Worshippers of the Letter. That is singular; for the variation-form when built upon a borrowed theme produces a whole series of “arrangements” which, besides, are least respectful when most ingenious. So the arrangement is not good, because it varies the original; and the variation is good, although it “arranges” the original.

Swingle Singers: Busoni was certainly correct. Yet our current zeitgeist says transcriptions are “bad” while Theme-Variations (by Beethoven, Rachmaninoff, Liszt, Paganini, Brahms, and so forth) are “good.” On the other hand, I would never assert that every transcription ever made is valid. One group that leaves me mystified is the Swingle Singers. Their singing technique is excellent, but several of their transcriptions strike me as rather odd and unsatisfactory. The beginning of this Partita is interesting, but then it goes crazy with “scat” singing:

If you Google “Bach Swingle Singers” you’ll find tons of transcriptions. You can make up your own mind if they work.

The Passage Of Time: Speaking of how music is often a result of the zeitgeist… In 1856, the feast of the Most Sacred Heart of Jesus was prescribed for the universal Church. Later on, Pope Pius XI gave it an octave and raised it to the same rank as the feasts of Christmas and Ascension. It was assigned a new Mass formula and Office by a decree of 29 January 1929. If one takes the time to examine the ALLELUIA VERSE “Tóllite Jugum,” one will see how the melismatic morae vocis are in perfect correspondence with the rhythmic markings of Dom Mocquereau. This should not surprise us, because in 1929 such plainsong adaptations were created by the Abbey of Solesmes. That is to say, the Vatican Commission ceased to exist (officially) in 1914, and from that point forward the work was given over to the Abbey of Solesmes. In other words, don’t expect to find these propers in a Graduale from 1908.

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

Filed Under: Articles Tagged With: Mora Vocis, Most Sacred Heart of Jesus, Ruth Slenczynska, Swingle Singers Bach Last Updated: May 2, 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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President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“The choir shall henceforth sing or say no anthems of our Lady or other Saints, but only of our Lord, and then not in Latin; but choosing out the best and most sounding to Christian religion they shall turn the same into English, setting thereunto a plain and distinct note for every syllable one: they shall sing them and none other.”

— 1548 Edict of King Edward VI (a heretic) for Lincoln Cathedral

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