The Recovering Choir Director

At the CMAA’s 2008 Colloquium I received a review CD from Jeff Ostrowski titled “Quis Non Amantem Redamet: Composer’s Edition”. A very extensive array of notes for the CD and the event surrounding it may be found on Jeff’s website, Lalemant Polyphonic, so only a few points will be echoed here.

The bulk of this CD contains recordings from the Nuptial Mass of Jeff Ostrowski and Cynthia Calamug, celebrated on April 14, 2007. According to the liner notes, this was the first Solemn Pontifical Nuptial Mass to be offered in the Traditional Latin Missal since the close of the Second Vatican Council, so it is a recording of considerable historical import.

The execution is understandably raw, given that according to the liner notes, 1) “at least half of the choir had never heard Renaissance polyphony before their participation in this project,” and 2) “the majority of singers…are between 7 and 25 years of age.” Still, there are a number of beautiful moments in this CD.

Of the composite arrangement Missa Quis Non Amantem by Jeff Ostrowski, which borrows from the work of Cristobal de Morales, Hans Leo Hassler, Orlande de Lassus, and Josquin des Prez, the movement that works most (and is executed best) in my mind is the Agnus Dei (Track 11).

Track 13 features an arrangement of the Easter hymn O filii et filiae, whose tempo reminded me of the Ukrainian “Carol of the Bells” - not a bad thing at all considering that the purpose of Christmas is ultimately Easter through the Passion and Death of Our Lord Jesus Christ.

The Gregorian chant on this recording does tend toward a darker, deeper tone more commonly associated in my ear with the chant traditions of the Eastern Church, so it took a bit of time to get used to. However, the chant comes off as mostly clean, with good enunciation, reasonably fine tuning, and a brisk tempo.

There are moments in the CD where the relative inexperience of the assembled voices does show through. These are most evident in tracks 17-23, a collection of polyphonic works by Tomas Luis de Victoria as well as a number of adaptations by Jeff Ostrowski. Tuning does seem a little off at times, and certain consonants are clipped with regularity - the n on “Eleison” being the most notable example. Tallis Scholars this isn’t, but given the makeup of the choir, one ought not to expect something approaching their level of execution. Even I occasionally find some nits to pick about the Scholars’ execution, as snobbish as that may sound.

This CD is not all about music, however. The Prayer before Mass (Track 1) is instructive to listen to; the masterful homily “Love is Not Loved” by Fr. Valentine Young OFM is worthy of the listener’s undivided attention. In fact, the homily alone would be a great reason to acquire this CD. And lastly, the multilayeredness of the Extraordinary Form of the Mass is made exquisitely evident in the final three tracks, where Bishop Gracida’s recitation of the Gloria (25), interlectionary chants (26) and the beginning of the Roman Canon (27) backed by the polyphonic settings of each, is touching.

All in all, for what it is - a time capsule of an historic event, a catechetical tool, and a proof that authentic sacred music can be executed by musical non-specialists if there are enough who care to put the time into it - Quis Non Amantem Redemat is a benchmark, a baseline, and a challenge to church musicians everywhere (and those who would support them) to measure up to, and surpass. All while keeping in mind the proper ars celebrandi upon which good liturgy is so dependent.

This CD may be obtained from Lalemant Polyphonic with a suggested donation of $20. A companion DVD is also scheduled to be made available very soon.