Views from the Choir Loft

Patrick Torsell

Patrick Torsell is the Director of Music and Organist at Mater Dei Latin Mass Community in Harrisburg, PA, an apostolate of the Priestly Fraternity of St. Peter. He began playing the organ at age 8, and has held organist and choirmaster positions across the nation. Read more.

8 Tips • “Improving Live Stream Audio Quality”

Patrick Torsell · March 29, 2020

Many churches have turned to live streaming during these difficult times. But getting the audio quality right is challenging. Here are some tips!

Youth Choristers – Formation Beyond Singing

Patrick Torsell · February 10, 2020

If we want young people to help restore and promote sacred music, we must get beyond the “what” and the “how” and dig in to the “why.”

The Organ Postlude: Distraction, or Powerful Aid to Devotion?

Patrick Torsell · January 25, 2020

The organ postlude is a powerful way to cultivate dispositions of rejoicing, thanksgiving, and awe before the greatness of God at the conclusion of the Holy Sacrifice of the Mass.

Youth Choristers: Get Them While They’re Young

Patrick Torsell · January 14, 2020

Here’s how our parish is working to fill the ears, hearts, and minds of the youth with truly sacred music from a young age.

Patrick Torsell

Patrick Torsell · January 14, 2020

Patrick Torsell is the Director of Music and Organist at Mater Dei Latin Mass Community in Harrisburg, PA, an apostolate of the Priestly Fraternity of St. Peter. He began playing the organ at age 8, and has held organist and choirmaster positions across the nation.

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“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