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Corpus Christi Watershed

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Views from the Choir Loft

PDF Download • Symposium Kyrie Revealed

Jeff Ostrowski · February 8, 2023

O MICROPHONE can accurately capture the complex, luscious, magnificent sound of a full choir in real life. Each singer aims for each pitch, but some are slightly higher and others slightly lower—and that’s what makes the choral sound so rich. People often complain: “Catholic priests won’t pay a living wage for choir directors, yet gladly pay millions to purchase a pipe organ.” That is certainly true (and scandalous), but I believe this is because most priests have never heard a full choir in real life. At this year’s Sacred Music Symposium, I will discuss techniques for recruiting (and keeping) volunteer singers.

Quartet Vs. Choir • Professional groups—in an effort to save money—sometimes attempt polyphony with “one per part.” No matter how excellent the singers, this still produces a QUARTET SOUND, which is not the same as a choir. Indeed, the masterpieces of the Renaissance often juxtapose the sound of the QUARTET against the full choir, e.g. during the BENEDICTUS movement of the SANCTUS. Roger Wagner said: “Soloists are dangerous in any church choir! Their voices frequently do not blend with those of the other singers to form a rich, integrated tone.” The spectacular book by the legendary Dr. Stevenson provides irrefutable evidence showing that choirs were often quite large in Renaissance times. That makes sense, considering the massive churches their voices had to fill.

Rehearsal Videos • I often produce practice videos for each individual voice. Although these videos are far from perfect, they save rehearsal time. That means more time can be spent on vocal production, vowels, pronunciation, phrasing, and a million other things.

Part 1 (with me attempting Soprano):

Part 2 and Part 3 (with a real Soprano):

Sadness • You can download the PDF score (for free) and hear the rehearsal videos for each individual voice at #43065. However, most readers will not do that, and this makes me sad.

By the way, here’s an excerpt from the Stevenson book vis-à-vis how the members of the Sistine Chapel were chosen in the days of Father Cristóbal de Morales (d. 1553):

“When a new singer is proposed, his character shall first be examined, and then he shall be brought to a musical examination conducted by the choir members themselves. The first requisite is his voice quality; the second, his ability to keep his part in homophony; the third, his sufficiency as a singer of contrapuntal music; the fourth, his ability to sing plainsong; and the fifth his sight-reading ability. A secret vote shall be taken after his musical examination, and no singer may be admitted unless two-thirds of the singers (plus one vote) for his admission. After being admitted—and having attended to all the financial formalities—he must give himself solely to the daily routine in the pope’s chapel and may not sing elsewhere nor carry on other business. His duties as a new singer include moving the heavy choirbooks into place; as soon as a newer singer enters he no longer moves them into place for everyday singing, but he still carries them with his junior novice in the choir during processions. Absolute silence during divine office is required. All business such as requests for leaves of absence must be directed to the most senior member of the choir present. Special requests must be approved in a secret vote by two-thirds plus one. Heavy fines are to be assessed for malingering or other false reports. Every five years an extended leave is granted-five months for Italians; ten for French and Spanish. The feast box from the pope’s kitchen is to be awarded in rotation to choristers, who should divide it among their colleagues.”

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

Filed Under: Articles, Featured, PDF Download Tagged With: Robert Murrell Stevenson, Sacred Music Symposium 2023 Last Updated: February 8, 2023

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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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Corpus Christi Watershed

President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

“In condemning us, you condemn all your own ancestors—all the ancient priests, bishops and kings—all that was once the glory of England, the island of saints and the most devoted child of the See of Peter. For what have we taught, however you may qualify it with the odious name of treason, that they did not uniformly teach?”

— Father Edmund Campion (to the Anglicans about to murder him)

Recent Posts

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  • “Dom Jausions had a skilled hand. His transcriptions are masterpieces of neatness & precision.”

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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.

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