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Including an “added bonus” I discovered while researching Julius Bas (an Italian musicologist and organist).
If we truly believe what we say we believe, how can we allow goofy, off-Broadway, secular, casual music at Mass?
To recruit, teach, inspire, and retain volunteer choir members is no easy task!
The current situation is heartbreaking.
As late as 1924, Dom Mocquereau mentioned Dom Desrocquettes “whose beautiful and discreet accompaniments I hear every day at Solesmes.”
Today we release polyphony by two composers: William Byrd and William Fritz.
My choir will definitely be using these settings. They’re something many have begged for!
Plainsong sung poorly—in a sluggish, lifeless manner—can leave a bad taste in people’s mouths.
Conscientious choirmasters know it’s crucial to get “as much bang for your buck” as possible.
Fulton J. Sheen considered Monsignor Knox’s English translation of the Bible to be the greatest ever created.
“If you begin by telling a man that in a word like 𝐷𝑒𝑢𝑠 the first syllable corresponds to the weak beat, the second to the strong beat of a modern bar, the only thing accomplished will be to bewilder him thoroughly.” —Father Bewerunge
Let me explain why this 1961 Spanish Missal is so important.
By March 1596 Marenzio had arrived in Poland. In October of that year, he directed a Mass he’d written in the form of an “echo.”
The word “Alleluia” changes to: “Praise be to Thee, O Lord, King of eternal glory.”
This treatise (324 pages) is a “must read” for anyone who cares about liturgical music in the Catholic Church.
