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Views from the Choir Loft

“Go!” • The Word That Changed My Life Forever

Jeff Ostrowski · March 21, 2023

ORE THAN TWENTY years ago, something happened that changed my life. An opportunity arose for me to study privately with a wonderful priest who—among other things—had served as director of the PONTIFICAL INSTITUTE OF SACRED MUSIC in Rome. At that time of my life, I had only been outside the Midwest once before (when I visited New York for a few days). I went downstairs and described this opportunity to my father. Without a moment’s hesitation, my father immediately said just one word: “Go!” Moreover, he generously provided all the funds necessary to make this journey.

Obsessive Odyssey • At that time, I had already been obsessed with sacred music since high school, but meeting this priest solidified my “church music vocation.” Now is not the time to describe his influence on my life. Nor is it the time for me to discuss the various “church music heroes” this priest worked with during his career: Flor Peeters (d. 1986), Abbat Urbanus Bomm (d. 1982), Josef Cardinal Ratzinger (d. 2022), Dr. Theodore Marier (d. 2001), Monsignor Francis P. Schmitt (d. 1994), Jean Langlais (d. 1991), Monsignor Johannes Overath (d. 2002), Dr. Karl Gustav Fellerer (d. 1984), Gustaaf Frans Nees (d. 1965), Roger Wagner (d. 1992), Monsignor Higinio Anglés (d. 1969), and so forth. Suffice it to say that over the next twenty years I learned a tremendous amount from this priest, who was admired across the globe for his expertise in linguistics, sacred music, and theology.

‘Creature’ Says No? • I once wrote to this priest, describing something about the Catholic Faith that didn’t make sense to me. I think my precise words were: “Such-and-such doesn’t seem fitting.” His email response was succinct: “In the eyes of the creature?” What he was trying to make clear to me was basically this: “Jeff, Divine Revelation does not depend on what you deem to be fitting, what you deem correct, or how you would have chosen to do things.” If we step back and consider his response, he was spot on. The Catholic Faith does not require each person—no matter his training or background—to “ratify” her holy teachings. We are creatures, God is Creator. Period.

Parallel To Sacred Music • I realize our culture rejects the notion that humans are fallible. As Americans, we’re “bred from birth” to think of ourselves as little gods who already know everything and require no correction. Since the 1960s, this belief has contaminated the general view towards sacred music. All of us have constantly been told that church music must meet the “lowest common denominator” test. We are told that it must require no effort whatsoever. We are told that everyone—irrespective of training—deserves to pass judgement on the music at Mass.

Let’s Be Honest • But does this make sense? Surely not! Most Catholics—if they are honest—instinctively know that a choirmaster should be someone who has studied music. In other words, sensible Catholics will ultimately reject the “lowest common denominator” argument (when push comes to shove). But this will require that we stand up—when certain ideologues are spouting nonsense—and forcefully defend the traditional view. Once upon a time, Americans were taught that hard work is required to master something we value. Our country (and church) must once more adopt this view.

Exceedingly Intricate • Bearing in mind what I have said, it should come as no surprise that I’m fine with singing complicated pieces at the Holy Mass (in moderation). Indeed, this is the musical tradition of the Church. According to Vatican II: “The musical tradition of the universal Church is a treasure of inestimable value” which must be “preserved and fostered with great care.” During this year’s SACRED MUSIC SYMPOSIUM, Mæstro Richard J. Clark, choirmaster of Boston’s Cathedral of the Holy Cross, will conduct a piece by Father Cristóbal de Morales (d. 1553) which is—without question—exceedingly intricate.

Brief Description • This five-voice GLORIA is from Morales’ Missa Ave Maris Stella, published in 1544AD. A few months ago, I posted Part 1 of 2. Today, I release Part 2 of 2. Incredibly, in addition to using the plainsong CANTUS FIRMUS (“Ave maris stella”), Father Morales creates a perfect canon between Alto & Tenor, while simultaneously introducing a billion points of imitation:

M Rehearsal videos for each individual voice await you at #41798.

What’s A Canon? • Even some professional musicians don’t understand what a “canon” is. Two major Catholic publishing companies (which shall remain nameless) sell books containing what they call: easy canons for small choirs. The problem is, what they claim to be “canons” are not canons at all. Perhaps unwittingly, these companies are committing fraud. Real canons follow strict rules—and that’s why a true canon is the hardest composition any composer can attempt. (We had to write some at the conservatory, and it was tricky. They must be written backwards.) If you don’t know what a canon is, please watch this video:

M Direct URL link to video: https://ccwatershed.org/41790/

Conclusion • My colleague, Corrinne May, told me I do a poor job of ending my articles. She said I should include some sort of “conclusion”—and she’s right. Therefore, I will now attempt to summarize what I have said above:

(1) We must eradicate the “lowest common denominator” attitude which has infected the Catholic Church (vis-à-vis music) since the 1960s.

(2) Someone hired to lead the music at Mass should possess expertise; i.e. they should have studied sacred music. This is only natural. It’s nothing to be ashamed of.

(3) Since the purpose of sacred music is “the glory of God and the edification of the faithful,” there’s nothing wrong with singing a piece of music which—taken from the treasury of sacred music, which Vatican II said must be “preserved and fostered with great care”—is complicated or intricate. There is no law which says “anything more difficult than a campfire sing-along tune is forbidden at Mass.” (Indeed, the tradition of the Church is the opposite.) Nor is there any law which says the Sistine Chapel ceiling should be erased and replaced with crayon drawings by someone who’s never studied painting.

(4) It is important to remember that—in spite of what certain foolish people claim—there will never be music at Mass “in which everyone can participate.” The fact is, some people are tone-deaf. [For the record, some people also have disabilities which make it impossible for them to speak, or to sing in tune, or to hear sounds properly.] Perhaps someone will object: “Jeff, how can you say that not everyone can sing at Mass? After all, anyone who’s tone-deaf can grunt along.” But grunting along is not the same as singing. I know this may sound harsh, but it’s time we admit the truth. There is no such thing as “a song everybody can sing.”

(5) The GLORIA we are singing at this year’s Symposium comes from “Missa Ave Maris Stella” by Father Cristóbal de Morales. It is an example of an intricate piece of music. [Indeed, I am not aware of any more complicated piece!] We provided rehearsal videos for each individual voice at #46215 and #41798—but most readers will not click on those links, which makes me sad.

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

Filed Under: Articles Tagged With: Abbat Urbanus Bomm, Cristobal de Morales MISSA AVE MARIS STELLA, Dr Karl Gustav Fellerer, Dr Theodore Marier, Flor Peeters, Jean Langlais, Missa Ave Maris Stella, Monsignor Francis P Schmitt, Monsignor Higinio Angles, Monsignor Johannes Overath, Pontifical Institute of Sacred Music Last Updated: March 21, 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

    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
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —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 particular, today we must remember that our liturgy—celebrated according to the books promulgated by Saints Paul VI and John Paul II—must be preserved from any element from the ancient forms.”

— Bishops of Costa Rica —Hat tip to ‘Catholic Arena’

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