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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

Reflections On Playing The Piano At Church

Jeff Ostrowski · January 14, 2013

In my experiences as a Catholic Church musician, the following conversation has often occurred:

    “Jeff, why don’t you ever play the piano at Mass? Why do you play only the pipe organ?”
    “Because the piano is too much of an emotional, sentimental instrument.”
    “But the piano can be very beautiful.”
    “I agree that the piano can be very beautiful, but the correct musical instruments ought to be used in the correct
    places at the correct times.”

    “OK, Jeff, you agree the piano is beautiful. Well, God is beautiful. Why not play piano at Mass? It moves me.”
    “When it comes to the Church’s public worship of Almighty God and the reënactment of the sacrifice of
    Calvary, we have to make sure that the music is of a certain seriousness, loftiness, and dignity.”

    “You probably just don’t like the piano, Jeff.“

In conversations like these, I’ve never had any success convincing people that I love the piano. I keep saying, “I love the piano, but it is not a sacred instrument.” And the other person keeps saying, “You probably don’t like the piano. That’s why you don’t think it belongs in Church.” To “prove” I love the piano, I would like to share with you two recordings I made while still a sophomore in high school (1998). You can tell these are “live” recordings (no editing) because towards the end of the MacDowell, you can hear members of my family talking and then slamming the door.

                          •    
                    Edward MacDowell Etude de Concert    •        Nikolai Medtner Fairy Tale

Pope St. Pius X wrote in an official Church document (1903): “The employment of the piano is forbidden in church, as is also that of noisy or frivolous instruments such as drums, cymbals, bells and the like.” Although the piano is one of the most beautiful instruments, I do agree with Pope Pius X. It is a highly emotional percussive instrument not suited for the public worship of Almighty God. I love the piano, but not in Church.

“Music is to be heard, not seen”

EOPLE who didn’t like children very much used to say, “Children are to be seen not heard.” In other words, children were to keep their mouths shut. In my mind, however, music is to heard not seen. I think watching people make music distracts from the pure joy that comes from listening. I’m sure others will disagree strongly with this opinion of mine. Below are video versions the same two recordings (from above). I simply cannot focus on the music as well when my eyes are “watching” something: do you agree?

      


Incidentally, I also think there are many reasons why the choir or cantor at Mass should not become a “center of attention.” Pius X seems to agree, when he said: “It will also be fitting that singers while singing in church wear the ecclesiastical habit and surplice, and that they be hidden behind gratings when the choir is excessively open to the public gaze.”

Piano Culture

Not only was the piano a huge part of my life for many years, but the whole culture of the “golden age pianists” played a huge role in my life. I drew many sketches of the great pianists, and here are some examples:

When all was said and done, I think I must have drawn about forty (40) great pianists total: Ignaz Friedman, Josef Lhevinne, Leopold Godowski, Wiktor Labunski, and many others. However, my sketches were nothing compared to those of my mother, who has a natural talent for art:

My mother drew that picture of the great Anton Rubinstein in about twenty minutes — what amazing talent!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“The priest coming nearer to the faithful; communicating with them; praying and singing with them and therefore standing at the pulpit; saying the COLLECT, the EPISTLE, and the GOSPEL in their language; the priest singing in the divine traditional melodies—the Kyrie, the Gloria, the Credo—with the faithful: these are so many good reforms that give back to that part of the Mass its true finality.”

— Archbishop Marcel Lefebvre (1965) praising vernacular readings at Mass

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