Views from the Choir Loft

Wilfrid Jones

Wilfrid Jones in a PhD student in the theology faculty of the Albert-Ludwigs University of Freiburg, studying the theology and practice of sacred music. He studied music at New College, Oxford; theology and the University of Birmingham; and education at Hughes Hall and Sidney Sussex Colleges, Cambridge. He teaches at St Bede's Inter-Church School, Cambridge. Read more

Repeating Repertoire? • Wilfrid Jones

Wilfrid Jones · March 31, 2020

Post-Liberal Theology compares a religion to a language. How might that comparison, which could include the concept of a “vocabulary” of liturgical music, inform how we think about repeating repertoire?

“It’s not just the singing of certain notes”

Wilfrid Jones · March 1, 2020

A video and quote from our friends at the Monastère Saint Benoît.

Beyond performing and listening

Wilfrid Jones · February 20, 2020

The way we do music says a lot about how we see ourselves and our relationship to those around us. What does that say about music in the liturgy?

Stepping off the hamster wheel

Wilfrid Jones · January 11, 2020

We can be so caught up in the cycle of planning, delivering and marking lessons, that we never have time to step back and consider the bigger picture in a way that would improve how we do our jobs.

Wilfrid Jones

Wilfrid Jones · January 11, 2013

Having grown up singing in the London Oratory School Schola Cantorum, Wilfrid Jones went on to a choral scholarship at New College, Oxford, where he read music before completing masters degrees in theology at the University of Birmingham and in education at the University of Cambridge, where he sang at Sidney Sussex College. He now […]

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