Views from the Choir Loft

Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children. Read more.

Repeating Repertoire? • Dr. Tappan

Lucas Tappan · March 26, 2020

“The tunes and ditties of the radio will be meaningless in the magnitude of one’s final moments; only the psalms can bear the weight of the moment.” —Barry Rose

The Institution as Formator (Part II)

Lucas Tappan · March 3, 2020

Once we realize how high that standard for accepting a chorister is, it becomes easier to understand the boy’s rapid musical progress in the choir.

Vaughan Williams’ Sage Advice for Those Appointing Martin Baker’s Successor

Lucas Tappan · February 25, 2020

A comment on the importance of the role of director of music a Westminster Cathedral, following the resignation of Martin Baker, offered by Gregory Treloar.

Incredible Opportunity In Kansas City

Lucas Tappan · February 12, 2020

Educators who seek to shape students in both wisdom and virtue, and who share the belief that music and aesthetics play an integral part in the content of a Catholic liberal arts education should apply.

Westminster Cathedral Choir School: Update

Lucas Tappan · February 7, 2020

Jeff’s recent post made me think that perhaps a recap of all the events so far at Westminster Cathedral would be helpful to readers.

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski

“Sharing Is Caring”

I would like to share a message from a highly respected scholar. (His articles appear in distinguished journals such as Études grégoriennes and Oxford’s Early Music.) He wrote as follows:

The Brébeuf Hymnal is very tastefully done. Your team has exquisite literary and musical taste. I see from my copy of the hymnal that you also set Ex more docti to “Rockingham” (one of my favorite melodies for “When I survey the wondrous cross”). I especially appreciate the background information at the bottom of the page. When I played at the Lutheran church, I would always have a little note about the music, sometimes about a hymn, if the “Hymnal Companion” offered something of interest. The church we attend has battered Worship II hymnals (one per pew), but almost nobody seems to want to sing. I congratulate you on the staggering amount of work it took to produce the Brébeuf hymnal: excellent contents and production.

—Jeff Ostrowski

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD