Views from the Choir Loft

Charles Weaver • Article Archive

Charles Weaver is on the faculty of the Juilliard School, and serves as organist and director of music at St. Mary’s Church in Norwalk, Connecticut. His research interests include the history of music theory and the theory of plainchant rhythm. He lives in Connecticut with his wife and four children.—Read full biography (with photographs).

Charles Weaver · May 25, 2021

A Summer Course in Old Notation

Announcing an opportunity for graduate-level summer study in sacred music.

Charles Weaver · March 7, 2021

Two Recent Talks on the Liturgy

Two of our authors offer thoughts about the meaning of the liturgy within the context of our daily lives.

Charles Weaver · February 24, 2021

Solmization from the Inside

What if we take medieval music pedagogy seriously? Do its methods have anything to offer us today?

Charles Weaver · January 31, 2021

A Lesson in Chant from the Late Fr. Foster

My personal encounter with him left a strong impression, which I will share here.

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Charles Weaver · October 10, 2020

“Arranging Polyphony for One Voice” • (Live Rec.)

When faced with restrictions on the size of the choir, history suggests that we can adapt music for smaller groups, including groups with only one singer.

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Charles Weaver · September 2, 2020

(Installment #4) “Catholic Hymnals” • Charles Weaver

On how tunes change over time, with a reflection on the sacred duty of hymn editors.

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Charles Weaver · August 20, 2020

Biography • Charles Weaver

Charles Weaver is on the faculty of the Juilliard School…

Charles Weaver · August 11, 2020

“Plainchant in Two Parts” • (Guest Article by a Julliard Faculty Member)

Polyphonic settings from a thirteenth-century Italian convent teach us how we might add a second part to a piece of plainchant.

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14 June 2021 • “From Rehearsal…”

One of our choristers recorded this audio excerpt from a recent rehearsal we had. I know there are certain people on the internet who claim that “proper voice leading & harmonies died with Bach in 1750AD…anything goes these days.” But I could not disagree more with such an assertion. The proper rules of harmony and counterpoint make incredible music—and I would suggest that tiny excerpt (from our volunteer choir rehearsal) shows this reality.

—Jeff Ostrowski

3 June 2021 • Re: “Mass of the Angels”

In the past, we have provided thirteen organ accompaniments to Mass VIII (a.k.a. “Missa de Angelis”). Some versions of the KYRIALE use the melody from Sanctus VIII for Agnus VIII also. Dr. Peter Wagner’s 1903 edition of the KYRIALE does this, as we mentioned earlier this month. Please sing through Sanctus VIII and then sing O Quam Suavis Est from the feast of Corpus Christi. Do you hear it?

—Jeff Ostrowski

1 June 2021 • Unsure of Author

The editors of this 1667AD Missale Romanum weren’t sure who wrote the VEXILLA REGIS hymn, so they wrote this in the margin. (To be fair, the original text by Bishop Fortunatus was greatly altered under Pope Urban VIII.)

—Jeff Ostrowski

“Church officials frequently asked Tomás Luis de Victoria for his opinion on cathedral appointments because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist, and never accepted any extra pay for being a chapelmaster. Held in great esteem, his contract allowed him frequent travel away from the convent, and he attended Palestrina’s funeral (in Rome) in 1594.”

— ‘Dr. Robert Stevenson, 1961 (mod.)’