Views from the Choir Loft

1998 Rejected Sacramentary

Is the 1998 ICEL Missal Translation Worth Another Look?

Fr. David Friel · June 21, 2015 ·

When reading certain publications, one gets the sense that every Catholic in the world is up-in-arms about the present translation.

Top Ten “Oops” Quotes On Sacred Music

Jeff Ostrowski · January 13, 2014 ·

“… we would be faced with the necessity of providing different sets of missals for different strata of intelligence.” — Msgr. Francis P. Schmitt (1963)

Which Translations Do You Prefer? Literal Or Poetic?

Jeff Ostrowski · January 7, 2014 ·

I never thought I’d say this … but I agree with Paul Inwood.

“For the kingdom, the power and the glory are yours”

Jeff Ostrowski · November 6, 2013 ·

A mystery! The 1970s ICEL seems not to have included these words, even though they were in the official Latin …

Anticipation of Richard . . .

Jeff Ostrowski · August 17, 2013 ·

One of our contributors, Richard Clark, plans to write about the 1998 ICEL translation . . .

Could Pope St. Pius X Sing?

“On 12 March 1908, the complete publication of the Roman Gradual was issued by the Vatican Press. On that very day, Dom Pothier solemnly presented the first copy to the Holy Father. A witness of the audience says that Pius X wished to be the first to see the new book; he opened it at random, at page 128 of the supplement pro aliquibus locis—it was the Introit of the new Feast of Our Lady of Lourdes. The Pope sang it with perfect taste to the last note.” (Catholic Choirmaster, February 1915)

—Jeff Ostrowski

Julius Bas Accompaniment

A very prolific harmonizer of Gregorian chant in the early 20th century was Mr. Julius Bas. He often uses a very strange technique, wherein he employs rests to eliminate the Alto, Tenor, and Bass voices. Consider what he did with “Lumen ad revelationem” here:

* JPEG • Lumen ad revelationem

It seems quite lazy, and I’ve never seen anyone else use such a technique, although Dr. Peter Wagner often switched to parallel octaves when he ran out of ideas… (Yuck!)

—Jeff Ostrowski

Hitting wrong notes

Fr. Valentine Young, OFM, used to say: “The organist can play 1,000 correct notes and one wrong note—and the only thing people will care about is the wrong note.” Last Sunday I hit some wrong notes, and felt bad. Then I remembered a story about Rudolf Serkin and started to chuckle. Charles Rosen (or was it Leon Fleisher?) told the story of Serkin playing a Beethoven Sonata in front of a large audience. The theme is all in octaves; but Serkin hit some wrong notes, and played parallel 7ths instead. This so unnerved him that every time the theme returned, he played the entire thing in parallel 7ths! We must remember that even the greatest hit wrong notes. Alfred Cortot, Vladimir Horowitz, Wilhelm Backhaus, Edwin Fischer, Sviatoslav Richter, Egon Petri—they all hit wrong notes, which we can hear on recordings. (Josef Hofmann was an exception, but he was super-human so he doesn’t count!)

—Jeff Ostrowski