• 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

Marier’s Majestic Music • In Singapore?

Jeff Ostrowski · February 23, 2023

ANY AMERICANS seem incapable of listening. While you’re speaking, they’re already formulating what they’re going to say next. But every so often, we encounter a Life-saving Listener. You know what I mean: somebody who genuinely listens to what you’re saying. I can think of at least five people in my life who listen. One of them is my colleague, William Fritz … but there are others. One person I conversed with frequently—although I never met him—was DR. THEODORE MARIER. When I speak of “conversation,” I mean communication on an exceptionally deep level.

Speaking To Dead Composers? • How can I speak to someone who’s no longer living? Those who have read my articles (Talking To Dead Composers) understand what I mean. To make a long story short, certain musical problems can never be “correctly” solved. For instance, a Dominant Seventh can never be correctly resolved: either TI must “resolve” to SOL, or one must make do with an incomplete chord. Hundreds of other conundrums could be cited. When I was hired to work on the Brébeuf Catholic Hymnal, the team spent several years exhaustively analyzing the harmonizations of DR. THEODORE MARIER (d. 2001), EDWARD C. CURRIE (d. 1963), and DOM GREGORY MURRAY (d. 1992). Each of those men had a particular predilection for solving harmonic issues. Needless to say, there is no “correct” answer. So much depends upon the tessitura desired, the acoustic, the singers’ skill level, and a million other factors. On the other hand, I can tell almost instantly when I’m looking at a hymn harmonization composed by someone who’s never stood in front of a choir in real life. When I examine a harmonization by someone like Marier, I say to myself: “Oh, look what he does here! He’s striving to do XYZ…”

Marier’s Music In Singapore! • Someone sent me some iPhone clips of Dr. Marier’s music being sung in Singapore. You can hear [Clip 1 • Clip 2] they are singing the Brébeuf version, which is based upon the harmonization by Dr. Marier. The singers are getting ready to go sing inside their church. I assume they are practicing outside in an effort not to disturb people praying before Mass? In any event, I hope they are taking advantage of the rehearsal videos we created:

M To access this hymn’s media in the Brébeuf Portal, click here.

Accompanied Chant • It would be difficult to find someone who’s spent more time than I have studying Marier’s hymn harmonizations. On the other hand, I have only briefly looked at his Gregorian Chant harmonizations—but according to Mᵒ Richard J. Clark, they are excellent and supremely modal. I think Dr. Marier would be pleased with the efforts I am making to teach plainsong to my volunteer choir. I say this with confidence because Dr. Marier was a big fan of Flor Peeters, who composed the NOH accompaniments we use. Below is a live recording of last week’s INTROIT. It was far from perfect, but at least we have a start:

St. Paul’s Choir School • Dr. Marier had an advantage, since he was able to work with his singers on a daily basis at the Saint Paul Choir School in Cambridge, Massachusetts. We are trying as best we can, but we need to make more progress in terms of a “choral blend.” We are singing hymns from the Brébeuf Hymnal without accompaniment so the volunteer singers can hear one another. Again, more progress needs to be made, but we have a start:

M To access this hymn’s media in the Brébeuf Portal, click here.

Soprano Descants • It is entirely possible that some of our readers knew Dr. Theodore Marier when he was alive. I would be interested to know whether he employed Soprano Descants for the hymns. My volunteer choir loves descants. Last week we sang one—it occurs on the final verse:

M To access this hymn’s media in the Brébeuf Portal, click here.

Anniversary Of Death • A member of Dr. Marier’s family just sent me an email letting me know that tomorrow (!!!) is the anniversary of his passing into eternal life. The email informs me that he died on 24 February 2001. This year, as we have mentioned several times, the Sacred Music Symposium is being dedicated to the memory of Dr. Theodore Marier.

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

Filed Under: Articles, Featured Tagged With: Andrew Gregory Murray d 1992, Dom Gregory Murray, Dr Theodore Marier, Edward C Currie, marier, Saint Paul Choir School Marier, Talking With Dead Composers Last Updated: April 27, 2023

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

“After the Second Vatican Council, the impression arose that the pope really could do anything in liturgical matters, especially if he were acting on the mandate of an ecumenical council. Eventually, the idea of the givenness of the liturgy, the fact that one cannot do with it what one will, faded from the public consciousness of the West.”

— Joseph Cardinal Ratzinger

Recent Posts

  • “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)
  • PDF Download • “Entrance Chant” for the Fifth 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.