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“What earlier generations held as sacred, remains sacred and great for us too…” Pope Benedict XVI (7 July 2007)

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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 Los Angeles.—(Read full biography).

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Quick Thoughts

25 May 2022 • FEEDBACK

From a reader: “I can’t tell you how much I appreciate all the time and resources poured into CCWatershed. It’s transformed how I approach music in the parish, and has especially helped me deepen appreciation for the ability of volunteer musicians.”

—Jeff Ostrowski
23 May 2022 • FEEDBACK

From a reader: “I wasn’t looking for it. But, I stumbled across your hand-dandy arrangement of Pachelbel’s Canon. Jeff, this is the greatest thing since sliced bread! I had to play a wedding on Saturday. The bride requested the Canon. There were 11 bridesmaids! The organ loft is a football field away from the communion rail. It’s so difficult to play and keep checking the mirror. Your arrangement is absolutely genius. One can skip and choose which variations to use. The chord names are handy so that when my eyes are off the music, I always know where I am at. A thousand times thank you for sharing this arrangement!”

—Jeff Ostrowski
19 May 2022 • “Trochee Trouble”

I’m still trying to decide how to visually present the “pure” Editio Vaticana scores, using what is (technically) the official rhythm of the Church. You can download my latest attempt, for this coming Sunday. Notice the “trochee trouble” as well as the old issue of neumes before the quilisma.

—Jeff Ostrowski

Random Quote

It’s good that you are in the USA, otherwise who is going to—in the best sense—make music?

— Ignaz Friedman writing to Josef Hofmann (4 January 1940)

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