N A RECENT article, I spoke of the “English” method of hymn-printing, wherein the words are printed completely separate from the musical notes (see example). I made the assertion that—since the lyrics are printed on a different page—it’s impossible to sing the ALTO, TENOR, or BASS parts for a hymn which one has never seen before. I said this can be done only by those who have sung a particular hymn for years. Over the next few weeks, I was contacted by three people1 who informed me I was mistaken. Furthermore, they indicated their willingness to demonstrate my error “in real time” over Zoom.
In the following video, David Poon shows I was dead wrong:
(1 of 2) Jeff’s Analysis • As I mention on the video, I was really amazed by what David Poon was able to do. I’m deeply grateful that he sacrificed his valuable time in order to educate me. Here are some thoughts:
(a) After we hung up the Zoom call, I attempted to do what David did. I was able to do it by memorizing little ‘chunks’ of the text. However, by that point I’d already heard both text and tune numerous times. Moreover, I found it quite annoying and difficult to keep looking back and forth.
(b) Clearly, Mr. Poon is highly skilled. That’s not in dispute. On the other hand, it’s important to remember that “certain people can do certain things.” When it comes to memorization, artists like Glenn Gould, Walter Gieseking, and Josef Hofmann performed stupendous feats. According to Harold C. Schonberg, Josef Hofmann’s memory “was infallible, all the more amazing in that he seldom practiced.” Hofmann gave a series of twenty-one (21) consecutive sold-out concerts in St. Petersburg in 1912. He did not repeat a single piece, playing 255 different works.2
(2 of 2) Jeff’s Analysis • The pivotal question is: what will help elevate the music at Catholic churches? When we’re dealing with volunteers in the United States, is it truly wise to force them to do what David Poon demonstrated in that video? Won’t such a thing demoralize volunteer singers? With my choir in Los Angeles, I spent several rehearsals trying to get them to do what David Poon demonstrates—but I abandoned the project because they began to get confused and discouraged. Indeed, training a choir to sing an SATB hymn really well it is hard enough without additional obstacles.
I really believe the Brébeuf “method” is the most efficient and effective, especially for organists who simultaneously serve as the cantor:
* PDF Download • SAMPLE — Brébeuf Hymnal “Method”
—The Brébeuf CHORAL SUPPLEMENT writes out each verse individually.
—The Brébeuf ORGAN ACCOMPANIMENT volumes write out each verse individually.
Favorite Lenten Hymns:
Source of Stress • I’ve been asked to list some of my favorite hymns for Lent. This is a source of great stress for me, because I’m in love with so many. It’s very difficult to list only a few. The best course of action is to visit the Brébeuf Portal and search for “Passiontide” or “Lent.” In truth, I haven’t done a good job letting people know about the breathtaking treasures that await Catholic musicians at the Brébeuf Portal—and that’s also a source of stress for me.
Some of my favorite Lenten hymns would include:
(1) A Communion Hymn (#737) set to INNSBRUCK, which is traditionally sung during Lent. I’ve spoken about this awesome tune at length, so I won’t repeat everything I already said. One of the places it can be found is in Sebastian Bach’s SAINT MATTHEW PASSION. The Brébeuf Hymnal also marries that tune (#334) with the ancient hymn of our Lord’s Passion by Bishop Fortunatus.
(2) The very ancient Latin hymn: Ex More Docti Mystico. Its seventh verse is particularly powerful, and calls to mind the thrid verse of Jesu Redemptor Omnium. That particular link leads you to the pairing with EISENACH, but the Brébeuf Hymnal marries that resplendent English translation by Father Fitzpatrick to numerous other musical settings as well.
(3) The famous hymn for Lent, Audi Benigne Conditor, is married to numerous tunes by the Brébeuf Hymnal. For instance, page 98 uses KEMPEN, a somber melody by Flor Peeters especially suited to the OFFERTORY during Lent.
(4) The Eucharistic hymn, Ave Vivens Hostia, in the peerless translation by Monsignor Knox, is married to a Lenten hymn (Aus Der Tiefe) on page 144 of the Brébeuf Hymnal.
(5) Choirs love to sing “O Come And Mourn With Me Awhile.” Some people feel texts by Father Frederick William Faber (an Oratorian priest) are overly sentimental—but I feel this one works quite well. That melody (ST CROSS) is used more than once by the Brébeuf Hymnal.
(6) Another excellent hymn is found on page 692: “Ah, Holy Jesus, How Hast Thou Offended?” It comes from Meditationes Divi Augustini and is married to the HERZLIEBSTER JESU melody.
Too Many! • The Brébeuf Catholic Hymnal contains so many additional hymns for Lent and Passiontide—really fantastic ones—which I haven’t listed here. And they work so well with volunteer choirs. Here’s a live recording of my volunteer choir in Los Angeles singing #532, the famous Good Friday hymn:
Conclusion • If we’re honest, we must admit that Catholics in future generations will be confused when they look back upon our current liturgical situation. Confusion reigns, as do many distorted ideas. For example, I personally know faithful Catholics who have a deep love for the Traditional Latin Mass (considered the peerless treasure of the Catholic Church for a millennium). But due of certain church leaders, they’re forced to celebrate Sunday Masses in a gymnasium (!) instead of the beautiful parish church which they paid for with their own money. Who can understand such things? Earlier this morning, a cardinal who’s spent years ruthlessly suppressing the Extraordinary Form tried to downplay the faithful’s hunger for more reverent liturgy, saying they “are, in reality, quite small.” And yet he didn’t mention his tireless efforts to strangle that movement. It’s rather like Hitler declaring: “If I ever get my hands on the guy who invaded Poland, Denmark, Czechoslovakia, and France…” Again I ask: Who can explain such things?
In such a situation, it seems crucial to unite with other choirmasters. That’s why I’m glad David Poon took time out of his schedule to educate me. This isn’t to say that we should abandon all our principles just to “get along.” I remember being asked to do an interview over the telephone. The person conducting the interview began by subtly trying to force me to adopt certain positions she held. For instance, she believed “hymns only belong at the Divine Office” and had “no place” at Mass. When I pointed out that hymns are found in the MISSALE ROMANUM (e.g. Gloria Laus Et Honor, Benedictus Est Domine, both versions of Pange Lingua, etc.) and the GRADUALE ROMANUM (Sacris Solemniis, Verbum Supernum Prodiens, Salutis Humanae Sator, Aeterne Rex Altissime, etc.) she abruptly ended the interview. I could provide other examples, but you get the point. As much as possible, we should go out of our way to show charity to others—especially Catholic choirmasters. David Poon definitely did that (see above). One thing CORPUS CHRISTI WATERSHED has demonstrated is that colleagues can disagree without being disagreeable.
1 I believe two of them are from Canada. One is from Stonyhurst College in Lancashire, England. None were from the United States.
2 Leopold Godowsky, a friend of Hofmann, insisted that his students be prepared to write out each note of pieces they’d memorized. Godowsky himself could do this—and we’re talking about many hundreds of thousands of notes. This stunning story about Ignaz Friedman’s memory is particularly powerful because its narrator is a professional conductor: Georg Schnéevoigt.
