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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

“Polyphonic Sanctus” by J.S. Bach • Jeff Attempts All Voices (Even the Girls’ Vocals)

Jeff Ostrowski · January 30, 2024

NLY ONCE did I ever see FATHER VALENTINE YOUNG wearing ‘clerics’ (i.e. a black clerical suit with Roman collar). Normally, he wore his full Franciscan robes. The occasion I speak of is when Father Valentine stopped by our home to say goodbye. The Priestly Fraternity of Saint Peter had transferred him to an Apostolate where the local bishop was giving them trouble. The theory was that Father Valentine would ‘cool’ the situation, owing to his calm demeanor and sanctity. In all the years I knew him, he never once displayed even a hint of arrogance. As he walked out the front door, I observed my dad surreptitiously slip him a wad of cash. (My dad preferred to give alms without fanfare.)

Anastasia Rege • Years later, having observed an article I wrote in the ADOREMUS BULLETIN, Father Valentine wrote me an email (demonstrating his usual self-effacing manner): “Well, Jeff, at least I can say I know famous people.” I was reminded of these words this morning, when I received an amazing message from ANASTASIA REGE, a prominent New York conductor:

Jeff Ostrowski’s infectious passion for music is evident throughout his seminar, Secrets of the Conscientious Choirmaster, which calls us to be “on fire with love” for the music we make with our choirs. The seminar addresses every aspect of directing a church choir including in-depth rehearsal strategies, member retention, building community in your ensemble, repertoire selection, musical phrasing, navigating your role within the parish, communication with your ensemble, and more. Jeff addresses the myriad challenges a choirmaster may face with helpful tips, accessible techniques, and supportive teaching practices. Secrets of the Conscientious Choirmaster, along with the resources available on the Corpus Christi Watershed website, are invaluable to the modern church musician.

I am truly flattered by Anastasia’s words! I cordially invite readers to check out my seminar:

*  Seminar • “Secrets of the Conscientious Choirmaster”

Bach Sanctus (SATB)

As long as I’m “blowing my own horn” … I recently stumbled across an old recording of mine, where I attempt to sing all the vocal parts—even the girls’ parts—of a SANCTUS by Johann Sebastian Bach:

Free rehearsal videos for each individual voice await you at #87349 .

Sadness • Rehearsal videos for each individual voice, along with PDF score, are available free of charge at that “87349” link (above). But most readers will not follow that link—and that causes deep sadness in my soul.

Choral Lacuna

When I was in graduate school studying musicology, the professors seemed obsessed with certain words. One of those words was “dichotomy.” An unspoken rule said that students must include the word “dichotomy” in every paragraph, just as another unspoken rule said all titles must begin with the word towards.1

Another word they were obsessed with was “lacuna.” I’m hesitant to use it—but there really is a lacuna in the world of church music. Specifically, there’s a lacking when it comes to conductors’ abilities to instantly diagnose what must be fixed in a performance. Let me give an example. Below, you will find a recording made at our rehearsal. It’s a “first attempt” at singing the Bach Sanctus mentioned above:

Here’s the direct URL link.

Competent Choral Conductor • That recording has several very nice moments, but there are also flawed sections. The competent choral conductor must be able to instantly “analyze” or “diagnose” or “give a prognosis” for certain errors in a performance. Even better would be if the conductor knows how to “cure” or “remedy” or “fix” the errors. From what I can tell, conservatories do not put enough emphasis on this crucial skill.

P.S.
For the record, Father Valentine Young wore ‘clerics’ when he drove extremely long distances because it wasn’t that easy—for a man his age—to steer a car while dressed in Franciscan robes.

1 For example: Towards a History of the Spanish Villancico or Towards a New Poetics of Musical Influence or Towards a History of Viennese Chamber Music in the Early Classical Period or Towards an Ethnomusicology of Notation or Towards an Identification of Johannes Brahms or Towards an Analysis of the Performativity of Vocal Timbre or Towards an Ecomusicology of the Environmental Imagination or Towards an Ethics of Care in Musicology or (my favorite) Towards a Decolonial Musicology of the Anthropocene.

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

Filed Under: Articles, PDF Download Tagged With: Adoremus Bulletin, Johann Sebastian Bach Choral Sanctus, The Competent Choral Conductor Last Updated: May 1, 2024

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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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“Gerard Manley Hopkins once argued that most people drank more liquids than they really needed and bet that he could go without drinking for a week. He persisted until his tongue was black and he collapsed at drill.”

— A biography of Fr. Gerard M. Hopkins (d. 1889)

Recent Posts

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  • PDF Download • Dom Murray Harmonies

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