Wow! eBook
CANTICUM NOVUM: On Liturgy and Sacred Music
Author(s): Aurelio Porfiri (Author)
- Publisher: Chorabooks
- Publication Date: October 31, 2015
- Language: English
- Print length: 101 pages
- ISBN-10: B017G7QYIG
- ISBN-13: 9789881482044
Book Description
When Wladimir Horowitz, at the tender age of ten,
played for Alexander Scriabin, the great composer told his
parents: “Your son will undoubtedly become a pianist; but
make of him a cultured man with knowledge of sculpture,
literature, painting, philosophy, and so forth. Only then will he be a true
musician.” When I think of Aurelio Porfiri, I cannot help but recall these words.
While it is true that I came into contact with him initially owing to our mutual
interest in the modal accompaniment of Gregorian chant, as I came to know him
better I realized that he was a “true musician” according to Scriabin’s definition.
Many of his talents are known to the public, yet some are not; for example, his
skill in video production.
In today’s situation, having multiple talents is almost a prerequisite for a Church
musician. Some might lament this, asking, “Why can’t we return to the days
when one could simply conduct or play organ? Why must today’s Church musician
possess so many skills just to make a living?” I cannot answer that question;
I can only affirm that it is so. Moreover, as Mr. Porfiri has so often reminded us
in his articles, if any progress is to be made in the field of Church music, we must
first obtain a clear view of the current situation, without any distortion or sugar
coating.
In addition to his various pursuits—scholarship, choral arts, and the like—Mr.
Porfiri is an inspiration to many because he is a happy and passionate person.
These characteristics are very rare, I’m afraid to say, when it comes to Church
musicians. He is also a loyal Catholic with a beautiful family who lacks the
“hang-ups” of a previous generation. For example, he appreciates the beauty
of both the Ordinary and Extraordinary forms of the Mass, and does not feel
compelled to denigrate either one.
I must also point out something about Mr. Porfiri which distinguishes him.
It is true that he is published in numerous journals and publications all over
the world, yet he has avoided a common pitfall of being “words only.” Indeed,
anyone who has heard him play, or perused his compositions, or (for example)
witnessed the exquisite choral performances by his college girls—performed
entirely from memory!—will understand that Mr. Porfiri can speak with authenticity
from a practical perspective. Indeed, on our blog, Views from the
Choir Loft, he has sometimes alluded to difficulties he’s had to overcome, and no
Church musician has trouble relating to such episodes…
I appreciate his contributions and hope that readers of this new work will find
his pieces as interesting as I have.
Jeffrey M. Ostrowski
played for Alexander Scriabin, the great composer told his
parents: “Your son will undoubtedly become a pianist; but
make of him a cultured man with knowledge of sculpture,
literature, painting, philosophy, and so forth. Only then will he be a true
musician.” When I think of Aurelio Porfiri, I cannot help but recall these words.
While it is true that I came into contact with him initially owing to our mutual
interest in the modal accompaniment of Gregorian chant, as I came to know him
better I realized that he was a “true musician” according to Scriabin’s definition.
Many of his talents are known to the public, yet some are not; for example, his
skill in video production.
In today’s situation, having multiple talents is almost a prerequisite for a Church
musician. Some might lament this, asking, “Why can’t we return to the days
when one could simply conduct or play organ? Why must today’s Church musician
possess so many skills just to make a living?” I cannot answer that question;
I can only affirm that it is so. Moreover, as Mr. Porfiri has so often reminded us
in his articles, if any progress is to be made in the field of Church music, we must
first obtain a clear view of the current situation, without any distortion or sugar
coating.
In addition to his various pursuits—scholarship, choral arts, and the like—Mr.
Porfiri is an inspiration to many because he is a happy and passionate person.
These characteristics are very rare, I’m afraid to say, when it comes to Church
musicians. He is also a loyal Catholic with a beautiful family who lacks the
“hang-ups” of a previous generation. For example, he appreciates the beauty
of both the Ordinary and Extraordinary forms of the Mass, and does not feel
compelled to denigrate either one.
I must also point out something about Mr. Porfiri which distinguishes him.
It is true that he is published in numerous journals and publications all over
the world, yet he has avoided a common pitfall of being “words only.” Indeed,
anyone who has heard him play, or perused his compositions, or (for example)
witnessed the exquisite choral performances by his college girls—performed
entirely from memory!—will understand that Mr. Porfiri can speak with authenticity
from a practical perspective. Indeed, on our blog, Views from the
Choir Loft, he has sometimes alluded to difficulties he’s had to overcome, and no
Church musician has trouble relating to such episodes…
I appreciate his contributions and hope that readers of this new work will find
his pieces as interesting as I have.
Jeffrey M. Ostrowski
