Sacred Music Fall 2016 | Volume 143, Number 3
Editorial Melisma | William Mahrt ...... 3
Articles Shunning the Hermeneutic of Discontinuity and Rupture: Richard Joseph Schuler as Liturgist | Duane L.C.M. Galles ...... 8 Music for the Ordinariates’ Divine Worship: The Missal | Helen Harrison ...... 30
Repertory A Commentary on the Traditional Proper Chants of Holy Thursday | Ted Krasnicki ...... 49
Review Sacred Choral Works by Peter Kwasniewski | Susan Treacy ...... 68
News Southeast Summer Sacred Music Workshop | Maria Rist ...... 74
CMAA Announcements ...... 79 Formed as a continuation of Cæcilia, published by the Society of St. Cæcilia since 1874, and The Catholic Choir- master, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America since its inception in 1964. Office of Publication: 12421 New Point Drive, Richmond, VA 23233. Email: [email protected]; Website: www. musicasacra.com
Editor William Mahrt Managing editor Jennifer Donelson Editor at large Kurt Poterack Ty pesetter Judy Thommesen
Church Music Association of America Officers and board of directors
President William Mahrt Vice- president Horst Buchholz Secretary Mary Jane Ballou Treasurer Adam Wright Chaplain Father Robert Pasley Director of Publications Jeffrey Tucker Directors Jennifer Donelson, David Hughes, Susan Treacy, Edward Schaefer, Jonathan Ryan Directors emeriti Rev. Father Ralph S. March, S.O.Cist. †, Kurt Poterack, Paul F. Salamunovich †, Calvert Shenk †, Very Rev. Monsignor Richard J. Schuler †, Rev. Father Robert Skeris, Scott Turkington General manager Janet Gorbitz
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Sacred Music is published quarterly for $60.00 per year by the Church Music Association of America. P.O. Box 4344, Roswell, NM 88202. Periodicals postage paid at Richmond, VA and at additional mailing offi cies. USPS number 474-960. Postmaster: Send address changes to SACRED MUSIC, P.O. Box 4344, Roswell, NM 88201-9613. Editorial Melisma Beauty at the service of the sacred liturgy
by William Mahrt
he normative liturgy is a sung urgy. When each part is sung in Gregorian liturgy; this was confirmed by chant, or with some parts in polyphonic T the Second Vatican Council music, or even concerted music, the parts when it declared, “Liturgical are differentiated and made to stand out worship is given a more noble form when one in relation to the other, and while each the divine offices are celebrated solemnly in part is beautiful, the complementarity of song, with the assistance of sacred minis- the whole is even more beautiful. ters and the active participation of the peo- Pope Benedict asserted that there was ple.”1 Although today this is sometimes such a value to music, an independent read as meaning that there must just be value, because it can express things that some music, for the fathers of the council words cannot, and he illustrated this with a this could have meant nothing but the Sol- telling example: emn High Mass, all sung. Moreover, this ideal was made more explicit in Musicam We repeat these words every time we re- Sacram, the principal post-conciliar docu- cite the Creed, the Profession of Faith: ment specifically concerning music. While “Et incarnatus est de Spiritu Sancto, ex it provided for the incorporation of sing- Maria Virgine,” “and by the Holy Spir- ing in stages, the purpose of the stages was it was incarnate of the Virgin Mary.” At the final achievement of a completely sung this sentence we kneel, for the veil that Mass.2 concealed God is lifted, as it were, and The reason for the cultivation of a com- his unfathomable and inaccessible mys- pletely sung Mass is the beauty of the lit- tery touches us: God becomes the Em- manuel, “God-with-us”. When we hear the Masses written by the great com- 1Second Vatican Council, Constitution on the posers of sacred music—I am thinking, Sacred Liturgy, Sacrosanctum Concilium (1963), for example, of Mozart’s Coronation ¶113. Mass—we immediately notice how they 2 Sacred Congregation of Rites, Instruction On pause on this phrase in a special way, Music In Th e Liturgy, Musicam Sacram (March as if they were trying to express in the 5, 1967), ¶28. William Mahrt is the president of the CMAA and the editor of Sacred Music.
Sacred Music | Fall 2016 Volume 143, Number 3 3 universal language of music what words show a different style: a moderate degree cannot convey: the great mystery of God of elaboration for processional chants rep- who took flesh, who was made man.3 resenting the rhythmic motion and the solemnity of the procession; a greater degree In some cases, as with the lessons and of elaboration for the meditation chants prayers, the musical setting is very simple, between the lessons. These differences of giving priority to the text. Each lesson is elaboration are a significant element of the sung in a simple chant, while the character beauty of the liturgy. of these simple chants projects the charac- A distinctive characteristic of Grego- ter of the particular lesson. In other cases, rian chant is its use of melismas—extended the music complements another liturgical melodic passages on a single syllable. Each action, and then the setting is more elabo- genre of Gregorian chant has its own char- rate, suiting the particular liturgical action acteristic use of melisma.5 The most exten- and adding to the text a greater solemnity. sive melismas in the standard repertory of Pope John Paul expresses this eloquently: Gregorian proper chants are found in the Alleluias, where after singing the word Indeed, liturgical music must meet the specific prerequisites of the Liturgy: full adherence to the text it presents, syn- chronization with the time and moment A distinctive characteristic in the Liturgy for which it is intended, appropriately reflecting the gestures pro- of Gregorian chant is posed by the rite. The various moments in the Liturgy require a musical expres- its use of melismas— sion of their own. From time to time this must fittingly bring out the nature proper extended melodic passages to a specific rite, now proclaiming God’s marvels, now expressing praise, suppli- on a single syllable. cation or even sorrow for the experience of human suffering which, however, faith opens to the prospect of Christian hope.4 “alleluia” the choir continues with a long Particularly each of the Propers of the Mass melisma on its final syllable. This melisma is called a jubilus, indicating that it is a shout 3Pope Benedict XVI, General Audience, Wednes- for joy. The gradual, which follows the first day, January 2, 2013
4 Volume 143, Number 3 Sacred Music | Fall 2016 lesson also contains some notable melismas. melisma. Likewise there is a difference in Some would say that they distract from the the tone for the Lord’s Prayer between the text, but in fact they make the text more Office and the Mass. The melody for the beautiful and in a way that serves the lit- Mass is quite syllabic but with a distinc- urgy. When such a chant sung beautifully tive melodic contour; its pitches resembling is heard, one can sense a deep quiet in the those of the preface, the most solemn of the congregation, indicating that the effect of prayer tones for the Mass. In the Divine hearing the beauty of the chant has been Office, the Lord’s Prayer is chanted to a ver- recollection, a suitable response to the les- sion of the simple tone for orations,7 a small son and preparation for the next one. The difference, but one that contributes to the GIRM says very little about these chants, differentiation between Office and Mass. but it does say that their purpose of medi- Thus extensive melisma is a characteristic of tation.6 The greater melismatic character of chants for the Mass.8 the Alleluia, the chant after the second les- This was not understood at the time of the son, can be attributed to the fact that, in English Reformation. Perhaps the medieval addition to being a meditation on the second Sarum Rite9 was overly organized, leading reading, it also expresses an ecstatic antici- to the complaint in the preface to the Book pation of the gospel, the culmination of the of Common Prayer (1549) that “There was Liturgy of the Word. Thus music contrib- more business to find out what should be utes something ineffable that is intrinsically read, than to read it when it was found out.”10 musical and yet fundamentally liturgical. Archbishop Cranmer, the moving spirit of In the tradition of Gregorian chant, the firstBook of Common Prayer held a rad- there is a remarkable difference in this ical position: “the song that shall be made regard between the Divine Office and the Mass. Alleluia in the Divine Office is used 7Antiphonale Monasticum (Tournai: Desclée, often as a psalm antiphon; there the word 1934), p. 1236f; the new Antiphonale Monasti- is repeated twice and the setting is mainly cum (Solesmes: Abbaye Saint-Pierre, 2005), I, syllabic; such an antiphon is very familiar p. 533f., has reduced this simply to the simple today, for the psalm antiphon from Lauds of tone for orations; the new Antiphonale Roma- the Easter Vigil in the extraordinary form num (Solesmes: Abbaye Saint-Pierre, 2009), II, has been sung universally as the antiphon to 758f. has done the same. the responsorial psalm in the ordinary form. 8An exception to this is the responsories of In such an antiphon, there is little place for Matins, where they serve the function of med- itation after a lesson, though not quite like that of the Mass; see my “Liturgical Use of Melis- 6Th e General Instruction on the Roman Missal ma,” 9–10, 16–17. is the fairly extensive set of instructions on the 9 celebration of the liturgy, found principally at Th e liturgy of the diocese of Salisbury, which, the beginning of the missal, but also available as by the sixteenth century had been adopted by a separate publication: General Instruction of the most of the dioceses of Southern England. Roman Missal, Liturgy Documentary Series, 2 10Brian Cummings, ed. Th e Book of Common (Washington, D.C.: United States Conference Prayer: Th e Texts of 1549, 1559, and 1662 (Ox- of Catholic Bishops, 2003), ¶61. ford: Oxford University Press, 2011), p. 5.
Sacred Music | Fall 2016 Volume 143, Number 3 5 thereunto would not be full of notes, but, as sung to them, and the responsorial chant near as may be, for every syllable a note, so has become a received part of much par- that it may be sung distinctly and devoutly,” 11 ish liturgy. The realization of the purpose implicitly rejecting the independent value of of the responsorial chant in the GIRM as music in the tradition. The following year meditation, is however, dubious. The brief appeared The Book of Common Prayer Noted antiphons are in the main banal and unin- by John Merbecke,12 a work which main- teresting, scarcely capable of sustaining the tained the principle of a sung liturgy, since high meditation suitable to the liturgy. In it gave a setting for practically every text fact they conform well to Pope Benedict’s in the 1549 book, but it fulfilled literally designation of “utility music”: “A Church Cranmer’s ideal, since not a single syllable which only makes use of ‘utility’ music, has received more than one note. Thus a princi- fallen, in fact, for what is useless.”13 The ple against the intrinsic independent value Gregorian gradual and Alleluia fulfill the of music in the liturgy was established, par- requisite of meditation much better. ticularly against melismatic music, “the song But how do we get there? I do not wish to would not be full of notes.” Since Cranmer disparage the work of those who provide the had dispensed with Mass Propers, however, simplest settings of the texts the liturgy pro- the question of such chants as the gradual or vides them. Psalm-tone propers are a start, the Alleluia was moot. but not the final goal. Likewise, the respon- If we acknowledge Pope Benedict’s sorial psalm has cultivated congregational notion that music can express things that singing, but not the meditation that should words cannot, and if we view the role of be provided to a congregation. My point is music from the vantage point of the her- that our task requires us to hold an ideal in meneutic of continuity, then the indepen- mind and, after simple beginnings, work dent function of music in the liturgy must toward it, however long that process may be be acknowledged. This applies particu- and however far the work may take us. larly to the role of melismatic chant. Con- Take the Alleluia. I submit that the sider the responsorial chant. I once asked melisma is an essential part of the Alle- “what is the purpose of the responsorial luia. But you will say a congregation cannot chant?” The answer: “To give the people sing a Gregorian Alleluia. Not at first, but something to do.” I freely acknowledge that I have some proposals. From the point of this purpose has been successful: congre- view of meditation, the congregation does gations readily repeat the brief antiphons not need to sing the Alleluia.14 Meditation
11Peter Le Huray, Music and the Reformation in 13Joseph Cardinal Ratzinger [Benedict XVI], England, 1549–1660, Studies in Church Music Feast of Faith: Approaches to a Th eology of the Lit- (New York: Oxford University Press, 1967), p. 7. urgy, tr. Graham Harrison (San Francisco: Igna- 12London: Richard Grafton, 1550.
6 Volume 143, Number 3 Sacred Music | Fall 2016 is cultivated better by listening, if the alle- could easily join in that repetition, the choir luia is beautiful. But you might say that the could sing the jubilus and in the repeti- GIRM requires the congregation to sing tion of the Alleluia, the congregation could the Alleluia. I would respond that this is again be incorporated. true for the simple melodies that are prev- Or, if you want to do more, you might alent today, but if the council’s prescription teach the congregation some of the more that Gregorian chant should have principal simple alleluias. For example, the Alle- place in the liturgy and if the Alleluia is the luia: Excita Domine for the Third Sunday epitome of beautiful chant then it must be of Advent has a moderate intonation and a possible to sing it in the liturgy. TheGrego- jubilus of sixteen notes. This alleluia is used rian Missal of 2012 gives all the Gregorian for a number of different texts during the Alleluias, and it was edited for parish use, year, so that there are examples of how the not just monasteries, so it must be possible. verse melody can be set to different texts. Each Sunday, the congregation can sing the repeat of the alleluia plus the jubilus and the verse can be sung to an adapta- Th ose chants with tion of the Gregorian verse melody, or to a psalm tone, though I would recommend extensive melismas, Mass psalm tones rather than office psalm tones,15 and this can be done in English or being the most beautiful, Latin.16 The same Alleluia melody ought to be sung by the congregation for a succession ultimately have a of Sundays, perhaps one per season. To the assertion that congregations cannot sing signifi cant place in the melismas, I cite the example of the Kyrie de Angelis, a highly melismatic chant, perhaps normative liturgy. the most frequently sung Gregorian Kyrie. These suggestions are hypothetical, but what is not hypothetical is that the music Still, if you want to observe the letter of of the Mass should be beautiful, and that the GIRM, I have two suggestions. Con- those chants with extensive melismas, gregations are accustomed to singing short being the most beautiful, ultimately have a melodic elements upon repetition as in the significant place in the normative liturgy. refrains of the responsorial psalm. Each
Alleluia begins with a rather simple into- 15 nation of the word Alleluia before it goes Th ese can be seen setting the verses of each in- troit for the year; they are a little more elaborate on the jubilus; this is intoned by a cantor and for that reason a little more interesting. and repeated by the choir. The congregation 16English verses can be found, for example, in Rev. G.H. Palmer & Francis Burgess, Th e Plainchant gorian Missal (Solesmes: Abbaye Saint-Pierre, Gradual, 2 vols. (Wantage, England: St. Mary’s 2012), pp. 390–443, as well as other chant books Press, 1962, 1963), available online at
Sacred Music | Fall 2016 Volume 143, Number 3 7 Articles Shunning the Hermeneutic of Discontinuity and Rupture: Richard Joseph Schuler as Liturgist The liturgical use developed by Monsignor Schuler, through the lens of the “hermeneutic of renewal,” was as distinctive as it was creative by Duane L. C. M. Galles
early a decade has passed since the death on April 20, 2007 Nof Monsignor Richard Joseph Schuler (1920–2007). He is well known as a musician and the founder in 1955 of the Twin Cities Catholic Cho- rale, which since 1974 has sung an annual season of Masses by the Viennese classi- cal composers, Haydn, Mozart, Beethoven, and Schubert. More recently other works by Cherubini, Gounod, Dvorak, Herzogen- berg, and Rheinberger have been added to the repertory, and the Chorale sings some instrumentalists (whose salaries are paid for thirty Masses during the season from Oc- by a generous group of Friends of the Cho- tober to June. These Masses are sung with rale) and are sung in the context of a sol- the assistance of professional soloists and emn novus ordo Latin Mass at the Church
Duane L. C. M. Galles holds degrees from George Washington (B.A.), William Mitchell College of Law (J.D.), University of Ottawa (Ph.D.), and Saint Paul University, Ottawa. (J.C.D.). He has a distinguished career as an attorney, counselor-at-law and canonist. Mr. Galles was called to the Bar of the Supreme Court of the State of Minnesota in 1977, and the Bar of the Supreme Court of the United States in 1981.
8 Volume 143, Number 3 Sacred Music | Fall 2016 of Saint Agnes in Saint Paul, Minnesota.1 message recalling his “commitment to the The Bedford limestone church was built Church’s rich musical heritage.”2 in 1912 in the South German baroque style, Besides his work as a musician, Monsi- its Zweibelturm or onion-shaped tower ris- gnor Schuler was also a noted musicologist. ing 205 feet from the grade having been He studied at the Eastman School of Music patterned on that of the Abbey Church of and began the research on the music of G. Schlägel, the first baroque church built in M. Nanino,3 a student of Palestrina, that Upper Austria. Its congregation, formed would in time become his doctoral disser- in 1887, was composed of German-speak- tation—thanks to a Fulbright Scholarship, ing immigrants from the German Confed- which in 1954 took him to Rome for a year. eration and Austro-Hungarian Empire. It Later, just as the Second Vatican Coun- was the largest German-speaking Catholic cil had concluded, he organized the Fifth congregation in Minnesota, and the church International Congress of Church Music in was so grand that it was popularly known Chicago and Milwaukee in 1966.4 It was as “the German cathedral.” Monsignor for this labor that in 1970 he was named Schuler had become pastor of Saint Agnes an Honorary Prelate of His Holiness.5 He in 1969 and, owing to its architectural style, then served as a vice-president of the Con- this church building seemed a most apt sociatio Internationalis Musicæ Sacræ, place for the music of the Viennese classi- established on Saint Cecilia’s Day 1963 by cal composers. The Chorale thus embarked chirograph of Pope Paul VI6 to oversee the upon a new chapter in its history with a new repertory. Formerly it had sung a variety of 2“Th e Church Architecture at St Agnes”
Sacred Music | Fall 2016 Volume 143, Number 3 9 “the hermeneutic of renewal.”8 This is an aspect of his life and over half-century of Monsignor Schuler should priestly ministry not often appreciated. But it goes to the heart of his contributions. At be remembered not only as his funeral his nephew, the Rev. Richard Hogan, insisted that Monsignor Schuler a preserver and conserver should be remembered not only as a pre- server and conserver of the treasury of sacred of the treasury of sacred music and of other treasures of the church, but also as a creator and innovator.9 It was music and other treasures 8Pope Benedict XVI, Address to the Roman of the church, but also as a Curia, “Interpreting Vatican II,” Origins, 35 ( January 26, 2006), p. 536. creator and innovator. 9Th e new repertory sung since 1974 by the Twin Cities Catholic Chorale at the Church of Saint Agnes was itself an innovation in the United States, thanks to the new freedom with respect provision of sacred music for the liturgy to sacred polyphony granted by article 116 of the Vatican Council’s constitution on the litur- reformed at the behest of Vatican II. He gy, Sacrosanctum Concilium. Decades earlier, a also was president for some two decades of predecessor of the Church Music Association of the Church Music Association of America America known as the Society of Saint Grego- 7 and editor of its journal, Sacred Music. ry of America had published its “White List” But it is in his role as a liturgist or imple- of church music suitable to be sung at liturgical menter of liturgical and canon law that I functions. Typically at that time in applying a wish to remember him here. It was here particularly dour interpretation of Pius X’s 1903 that he shunned what Pope Benedict XVI motu proprio on sacred music, American bish- would later call “the hermeneutic of discon- ops only permitted music to be sung in church tinuity and rupture” and instead embraced included on the “White List,” and so music not on that list was in eff ect blacklisted and banned 7Richard M. Hogan, “Monsignor Richard J. for use in American Catholic churches. Of the Schuler: A Bigraphical Sketch,” in Robert A. Viennese classical composers, Mozart, Joseph Skeris, ed., Cum Angelis Canere: Essays on Sacred Haydn, and Schubert were included on the list. Music and Pastoral Liturgy in Honour of Richard See Th e White List of the Society of St. Gregory of J. Schuler (Saint Paul, Minn.: Catholic Church America (New York: Society of St. Gregory of Music Associates, 1990), pp. 7–15, copies of America, 1939), p. 72, which expressly declared which may be had for $15.00 postpaid from “their purely liturgical unfi tness according to Festschrift Schuler Committee, 2546 Cedar the principles outlined in the Motu Proprio of Avenue, Minneapolis, MN 55404. A bibliogra- Pius X.” Of their motet music only Mozart’s phy of Monsignor Schuler’s works will be found Ave verum corpus and Miserere, as well as Mi- in his Festschrift, see Harold Hughesdon, “Mon- chael Haydn’s Magnifi cat and Tenebræ factæ sunt signor Richard J. Schuler: A Select Bibliogra- (pp. 45, 49, 54), were included on the White List. phy,” in ibid., pp. 17–21. When some years ago I suggested to the Austri-
10 Volume 143, Number 3 Sacred Music | Fall 2016 precisely as a liturgist and implementer of liturgical and canon law, in blending the nova et vetera, the new with the old, that he was a true creator and innovator. The Th e liturgical use he liturgical use he developed at Saint Agnes was as distinctive as it was creative. At the developed at Saint Agnes same time it followed liturgical and canon law and was firmly rooted in the principles was as distinctive as it of reform set forth by the Second Vatican Council, especially in its Constitution on was creative. the Sacred Liturgy, Sacrosanctum Concilium. The key to the correct understand- ing and implementation of the intentions of Vatican II regarding liturgical reform ing from this narrow economic usage, the is contained in the council’s understand- council expanded the term to include a ing of “patrimony.” The Vatican Coun- church’s or institute’s spiritual and litur- cil used “patrimony” in a new way, which gical heritage. In article 5 of the Vatican highlighted the nova et vetera which is the Council decree on the Eastern churches, church. In the canonical tradition and in the Orientalium Ecclesiarum, it insisted that the civil or Roman law tradition from which it theological and liturgical heritage of the had been drawn, the word “patrimony” has Eastern churches was the patrimony of the a financial meaning. It meant the property universal church.11 In doing so, the coun- and other economic rights and obligations which one had or might have.10 Prescind- in their very essence have a monetary value.” 11In the documents of the Second Vatican Coun- an consul in Saint Paul that Monsignor Schul- cil it seems that, for the most part, the word pat- er was worthy of some offi cial recognition by rimonium is used to mean “spiritual heritage.” the Austrian government for the achievement See, for example, article 23 of Lumen Gentium, of the Chorale, I was told that “Austria could in AAS, 57 (1965), p. 28; A. Flannery, Vatican not confer a decoration on someone merely for Council II: Th e Conciliar and Post Conciliar Doc- playing Mozart.” Austria had never viewed the uments (Northport, N.Y.: 1975), p. 378; articles motu proprio as banning the music of the Vien- 1 and 5 of Orientalium Ecclesiarum, in AAS, 57 nese classical composers and so the innovative (1965), pp. 76,78; Flannery, pp. 440, 443, art. 2 character in America of the Chorale’s post-con- of Perfectæ Caritatis, in AAS, 58 (1966), p. 703; ciliar repertory was entirely unappreciated and Flannery, p. 612, art. 53 of Gaudium et Spes, in overlooked. AAS, 58 (1966), p. 1079; Flannery, p. 958, arts. 10Raoul Naz, “Patrimoine,” Dictionnaire de droit 14 and 15 of Unitatis Redintegratio, in AAS, 57 canonique (Paris: Librairie Letouzey et Ané, (1965), pp. 101, 102; Flannery, pp. 464, 466. 1935–1957), VII, col. 1265; John E.C. Brierly In Philippe Delhaye, Michel Gueret and Paul and Roderick A. Macdonald, eds., Quebec Civ- Tombeur, Concilium Vaticanum II: Concordance, il Law: An Inroduction to Quebec Private Law Index, Listes de fréquence, Tables comparatives (Toronto: Emand Montgomery Publications, (Louvain: Université Catholique de Louvain, 1993), p. 156: “Patrimonial rights are those that 1974), p. 665, the word “thesaurus” is listed as
Sacred Music | Fall 2016 Volume 143, Number 3 11 cil pouring old wine into new wineskins, empty purse and have nothing in it, but he piggybacking on the contemporary surg- still has patrimony, the right to it.13 Thus by ing heritage movement, which only a few expanding the term patrimony to include years earlier had secured promulgation of spiritual and cultural heritage as well as the 1954 Hague Convention to accord pro- financial interests, the council was implic- tection in the international law of war “to itly acknowledging one’s inalienable right the cultural heritage of every people.”12 to one’s spiritual and cultural heritage.14 At the same time even in its traditional The Vatican Council’s call for a reform meaning “patrimony” was an important of the liturgy undoubtedly affected the word here, for it is a juridical term and church’s cultural patrimony. Neverthe- implies rights and duties. One’s patrimony is less, the direct effects of the council’s own the sum of those financial rights and inter- reform prescriptions for the liturgy can be ests to which one can lay claim. As such, overstated. The council had declared both patrimoine consists of the totality of rights in the Constitution on the Sacred Liturgy, and obligations, present and future, attach- Sacrosanctum Concilium, and in the decree ing to a person, regardless of any changes on the eastern churches that the touchstone in the actual composition of the property. for liturgical reform was organic growth.15 It includes the sum total of a person’s rights The same principle is instinct in canon law and obligations, provided that these rights and is enshrined in canon 6(2). Canon 6(1) have a pecuniary value. It includes rights of the 1983 Code of Canon Law abrogated and property and obligations or debts and the 1917 code of canon law and all other every other thing having pecuniary value. law contrary to the law of the new code. All universal transmissions of patrimony 13 take place at death. “Patrimony” is, there- Christian Dadomo and Susan Farran, French fore, indivisible and intransmissible and it Substantive Law: Key Elements (London: Sweet is integral to the life of the person. Every- & Maxwell, 1997), pp. 12–13; Marcel Planiol, Treatise on the Civil Law, 11th ed., 3 vols. (Baton one who has legal personality in the legal Rouge: Louisiana State University, 1939), I: 2, theory of civil law has patrimony. A per- pp. 265–266. son may have very little. He may have an 14Canon 214 sets forth, among the rights and duties of all Christ’s faithful, one’s right to one’s appearing nineteen times in the conciliar docu- own (approved) form of spirituality, and the an- ments, and in each case it has a spiritual or cul- notated Code of Canon Law cites as a source tural, rather than fi nancial, meaning; “Patrimo- for that canon article 5 of Orientalium Eccle- nium” is listed at p. 478 as occurring twenty-one siarum: John Paul II, Codex iuris canonici, auc- times and, in all but one case, refers to a spiritual toritate Ioannis Pauli PP. II promulgatus, fontium or cultural, not a fi nancial, heritage. annotatione et indice analylitico-alphabetico auctus 12UNESCO, “Convention for the Protection (Vatican: Libreria editrice Vaticana, 1989), p. 58. of Cultural Property in the Event of Armed 15Second Vatican Council, Constitution on the Confl ict” (May 14, 1954) in Jiri Toman, Th e Sacred Liturgy, Sacrosanctum Concilium, De- Protection of Cultural Property in the Event of cember 4, 1963, in AAS, 56 (1964), art. 23, p. Armed Confl ict (Aldershot: Ashgate, 1996), pp. 106; Flannery, Documents, 10; Orientalium Ec- 415–441. clesiarum, art. 6, p. 78; Flannery, Documents, 443.
12 Volume 143, Number 3 Sacred Music | Fall 2016 Canon 6(2), however, at once adds that to the extent that the canons of the new code reproduce the former law, they are to be Gregorian chant, interpreted in accordance with the canoni- cal tradition.16 In other words, the principle recognized as the of organic growth is basic to the law.17 This was a principle that Monsignor Schuler Roman Church’s own— understood well. It explains how there can be innovation without rupture. The prin- liturgiæ romanæ ciple of change with continuity or organic change would be a major guide in his own proprium— was to be implementation of the council’s reform. At the same time he knew the texts, the given principem locum ipsissima verba, of the council and not just its “spirit” and so he knew that the council’s or lead spot. own prescriptions for reform, as set forth in Sacrosanctum Concilium, were limited. Rites were to be reformed to give them greater clarity (art. 34): Here was the noble simplic- were to be opened up to Christ’s faithful ity which the council urged. The scriptures more copiously (art. 35). Latin was to be retained in the Latin Church (art. 36) and 16Th e same principle, had appeared in canon steps were to be taken so that the faithful 6(2) and 6(3) in the 1917 Code of Canon Law, should be able to sing in Latin those parts which, while abrogating the prior law, includ- of the ordinary of the Mass which pertain ing the decretals enacted by Pope Gregory IX in to them (art. 54). Music was declared to be 1234, stated that canons which restate the old necessary or integral to the solemn liturgy law in its entirety must be interpreted in accor- and the musical tradition of the universal dance with the old law, and canons which agree church was stated to be a treasure of inesti- only in part with the old law must be interpret- mable value (art. 112). Therefore, the trea- ed according to the old law in the part in which sury of sacred music was to be preserved they agree with it. and moreover cultivated summa cura, with 17 Th e same principle is set forth in the Cate- the greatest care, and choirs were to be assi- chism of the Catholic Church (St. Paul, Minn.: Th e due provehantur, assiduously promoted (art. Wanderer Press, 1994), p. 291, which states in 114). Gregorian chant, recognized as the article 1124–1125 of the liturgy, “Th e liturgy is a Roman Church’s own—liturgiæ romanæ constitutive element of the holy and living Tra- dition. For this reason no sacramental rite may proprium— was to be given principem locum be modifi ed or manipulated at the will of the or lead spot (art. 116). Sacred polyphony minister or the community. Even the supreme was declared by no means forbidden, poly- authority in the Church may not change the phonia . . . minime excluduntur (art. 116). liturgy arbitrarily, but only in the obedience of The pipe organ was declared to be the tra- faith and with religious respect for the mystery ditional instrument of the western church, of the liturgy.” and the council uttered a short pæan to the
Sacred Music | Fall 2016 Volume 143, Number 3 13 pipe organ, declaring it was to be magno in the ambit of the western liturgical tradi- honore habeatur, held in great esteem (art. tion. If still celebrated in Latin (cf. c. 928), 120). While ecclesia nullum artis stilum veluti with the propers, including the gradual proprium habuit, the church does not have chanted after the first reading,20 sung in its own style of art, nevertheless, the great Gregorian chant, and the ordinaries sung treasury of art which the Christian faith in either Gregorian chant or sacred polyph- had brought into being over the ages was to ony, and with “classical”21 ceremonies espe- be preserved with every care (art. 123). At the same time art (presumably this includes cially from the solemn Mass tradition and 22 music, which is an art) that was deformed with the assistance of one or more deacons, or harmful to faith was to be banished the reformed rite remained squarely in the from churches (art. 124). Ordinaries were Western tradition and presented no threat to be vigilant lest sacred vessels and pre- to the church’s patrimony of liturgical her- cious works be alienated or dispersed (art. 126). Commissions of sacred art and sacred turgical Movement had hitherto striven for. music were to be established in each diocese 20 18 Sacred Congregation for Divine Worship, and staffed by experts (arts. 46, 126). Ordo Cantus Missæ ( June 24, 1974), “Introduc- Even as the Mass was in fact reformed— tion,” in DOL, art. 5, p. 1346: “Th e gradual re- and many have argued that the missal of sponse is sung after the fi rst reading . . . ” 1969 went beyond the reforms requested by 21 19 Peter J. Elliott, Ceremonies of the Modern Ro- the council —the Mass remained within man Rite: Th e Eucharist and the Liturgy of the Hours: A Manual for Clergy and All Involved in 18SC, articles 34, 35, 36, 46, 112, 114, 116, 120, Liturgical Ministries (San Francisco: Ignatius 123, 124, 126, AAS, pp. 109, 113, 128–132. Elis- Press, 1995), p. xiv. sa Rinere, “Th e Graduale Simplex in the Liturgi- 22Sacred Congregation for Divine Worship, cal Renewal,” Th e Jurist, 58 (1998), 414, suggests General Instruction of the Roman Missal (March that the use of the Graduale Simplex in smaller 27, 1975), article 71, in DOL 208, p. 486, “If churches might have avoided the loss of the tra- there are several persons present who are em- ditional texts of the Mass, Gregorian chant, and powered to exercise the same ministry, there is the use of psalmody, and their substitution by no objection to their being assigned diff erent four hymns which often have little connection parts to perform. For example, one deacon may with the Mass of the day. Recalling the council’s take the sung parts, another assist at the altar.” injunction against the alienation of the church’s For a description of the role of the deacon in artistic treasures, was the Sacred Congrega- the reformed solemn liturgy, see Duane L.C.M. tion for the Clergy, Circular Letter, Opera Ar- Galles, “Deacons and Church Music,” Sacred tis (April 11, 1971), AAS, 63 (1971), 315–317; Music, 121, no. 4 (Winter 1994), 14. Even in the Canon Law Digest, 7 (1975), 821–824. absence of a priest, where the human and ma- 19Alcuin Reid, Th e Organic Development of the terial resources are suffi cient, the church’s trea- Liturgy (Farnborough, England: Saint Michael’s sury of art and music may still be employed in Abbey Press, 2004), p. 293, quotes Louis Bouyer the Sunday liturgy. See Duane L.C.M. Galles, as saying “those who took it upon themselves to “‘Priestless’ Sunday Liturgies and the Church apply the Council’s directives . . . have turned their Musician,” Sacred Music, 127, no. 4 (Winter backs deliberately” on what the leaders of the Li- 2000), 5–10.
14 Volume 143, Number 3 Sacred Music | Fall 2016 itage.23 The council’s frequent call for the It was, however, particularly unfortu- participatio actuosa of the faithful in no way nate for the church’s cultural patrimony required the abandonment of the church’s that the liturgical reforms should come just liturgical and musical and artistic heritage.24 as the Western world had settled comfort- ably into the “modern movement,” which 23Denis Crouan, Th e Liturgy Betrayed (San incarnated an architectural hermeneutic of Francisco: Ignatius Press, 1997), pp. 40–49, ar- discontinuity and rupture. This architec- gues that the changes made by the novus ordo to tural and design movement, which affected the Tridentine rite were actually quite modest. aesthetics in general including language He notes at p. 41 that Psalm 42, Introibo ad al- and translations, deliberately refused what tare Dei, did not form part of the rite of Milan, it viewed as the depleted artistic and archi- Lyons, or Toledo nor of the Premonstratensians tectural symbols of the nineteenth century and in so doing rejected the need for spir- itual and emotional content as implicit or explicit motives of architectural expression. This rejection meant that the common cul- Architectural modernism tural ground that had existed between ear- lier periods gave way to a serious divide that posited that superfl uous has never been overcome. Thus the natural fluidity between past and the future was decoration should be blocked, stifling the creative communica- tion between human beings and their cul- completely eliminated. tural matrix and fragmenting the vision of the world. This, in turn, allowed rigid and fatal dichotomies to emerge with which we struggle today: “modern” versus “tradi- tional,” “rational” versus “emotional,” “cul- nor the Carthusians, nor, during Passiontide, of tural” versus “technical.”25 the Roman rite. Architectural modernism posited that 24Th is term is often translated “active participa- superfluous decoration should be completely tion.” For a good study of the meaning of the eliminated. It believed that function, the term see Colman E. O’Neill, “Th e Th eological prime motivation of design, was the only Meaning of Actuosa Participatio in the Litur- valid element to express. It demanded that gy,” in Johannes Overath, ed., Sacred Music and new construction techniques be used. It Liturgy Reform after Vatican II: Proceedings of the believed that architecture or design should Fifth International Church Music Congress, Chi- cago-Milwaukee, August 21–28, 1966 (Rome: be completely free of historical references Consociatio Internationalis Musicæ Sacræ, 1969), pp. 89–108. Dom Alcuin Reid, Th e Or- 25Stefano Bianco, “Resources for Sustaining ganic Development, p. 53, says of actuosa partici- Cultural Identity,” in Ismail Serageldin et al., patio “when translated ‘actual participation’ it is eds., Historic Cities and Sacred Sites: Cultur- less misleading than the usual English render- al Roots for Urban Futures (Washington: Th e ing ‘active participation.’” World Bank, 2001), p. 19.
Sacred Music | Fall 2016 Volume 143, Number 3 15 its ¶42 adopts the modernist (and reduc- tionist) architectural vision that a church is a “shelter or ‘skin’ for liturgical action.”27 Accordingly, it admonished that because “Th e modernist the liturgy is “the action of a contemporary assembly,28 it has to clothe its basically tra- architectural code of ethics ditional structures with the living flesh and blood of our times and our arts.”29 Attitudes maintained that history 27National Conference of Catholic Bishops was irrelevant.” Committee on the Liturgy, Environment and Art in Catholic Worship [=EACW] (Washing- ton: National Conference of Catholic Bishops, 1978), p. 25. Such a view seems to belie the very notion of sacred place. During the code revision process some consultors complained and that a modern structure should advert of the very notion of “sacred place” in what to no period but its own. Its harbinger was would become title I of part III of book IV Mies van der Rohe’s German Pavilion at the of the 1983 Code; nonnulli dixerunt doctrinam 1929 Barcelona World’s Fair. Its watchword huius schematis cuidam visioni indulgere de op- was Mies van der Rohe’s famous oxymo- positione inter sacrum et profanum, quæ quidem ron weniger ist mehr, less is more. Modern- secundum hodiernos theologos refutanda videtur. ism stood in stark contrast to the historic To these the group replied: Consultores censent preservation movement. In Brent Brolin’s talem animadversionem fundamento carere sive words, “The modernist architectural code in suis praesuppositis doctrinalibus sive ad mer- of ethics maintained that history was irrel- itum schematis quod attinent. Communicationes, evant, that our age was unique and there- 12 (1980), pp. 321–322. fore our architecture must be cut off from 28Given this extra-ordinary statement, which the past.”26 sees the liturgy as “the action of a contemporary It was precisely this architectural mod- assembly” rather than as the action of Christ, it ernism which carried the day with the is hardly surprising that in translating the Ro- man Canon of the Mass its fi rst word—which liturgical design consultants who provided in the original are “Te igitur” and gave rise to advice on the renovation of churches— a centuries old-tradition among illuminators of even historic churches—in the post-concil- manuscripts of seeing the letter “T” as a tree of iar period. In the United States the “bible” the cross to be adorned with an image of the of such persons was a pamphlet published Eternal High Priest—in the English translation by the Bishops’ Committee on the Lit- by the International Committee on English in urgy entitled Environment and Art in Cath- the Liturgy had become, “We come.” olic Worship (EACW). This document in 29Ibid., p. 21. See Denis McNamara, “Liturgi- cal Architecture as Sacramental Experience,” in 26Norman Tyler, Historic Preservation: An Intro- Chicago Studies, 41 (2002), 268–280. It would duction to its History, Principles and Practice (New appear EACW had and continues to have ex- York: W. W. Norton Co., 2000), pp. 134, 139. tra-territorial eff ects. Sidney Rofe, “Vatican II,
16 Volume 143, Number 3 Sacred Music | Fall 2016 like this set the stage for a re-ordering of tary on that law by the Committee for the church fabrics. Liturgy.” It then added that the document There were various opinions about the had been withdrawn and was replaced by canonical worth of EACW. In 1985 in its Built of Living Stones.31 Meanwhile a lead- newsletter the committee stated “EACW ing liturgist and canonist published a canon has the force of particular law in the dioceses law journal article also averring categor- of the United States.” Later, in the same ically that EACW “lacks, and there is no piece, the committee stated that EACW suggestion that it has, juridically binding or and like committee documents “are analo- obligatory force.”32 gous to the ‘instructiones’ issued by the var- Nevertheless, before the status of the ious Roman dicasteries.”30 A decade later document had been clarified, re-orderings it announced on its web site that EACW made under its guidance had led to a great “does not have the force of law in and of destruction of historic buildings. Plan- itself” and that “it is not particular law for ners in North America envied their col- the dioceses of the United States of Amer- leagues in Cologne, Berlin, and Dresden, ica.” Rather, EACW is merely “a commen- who after the wartime destruction could begin again on an architectural tabula rasa. Church Architecture and ‘Reform of the Re- A sturdy political alliance of urban plan- form,” in AD 2000, 15 ( July, 2002), 12
Sacred Music | Fall 2016 Volume 143, Number 3 17 counter the sterility of the modernists and bring historical references back to archi- tecture.33 Fortunately, one sees today the Monsignor Schuler beginning of their influence in Catholic church design.34 understood clearly that Monsignor Schuler understood clearly that EACW and its sister document on EACW and its sister church music were merely committee opin- ions without juridical force. He thus did not document on church music feel bound by their prescriptions. Instead he was guided by the council’s principle of were merely committee organic growth and its ipsissima verba in Sacrosantum Concilium and the rubrics of the opinions without reformed rite. In the first place he under- stood the importance of the solemn liturgy juridical force. and, as the council had noted, music is nec- essary or integral to the solemn liturgy. Monsignor Schuler was also a good col- laborator and had a knack for finding and con and deacon in the Tridentine rite. This using talent. In the use he developed at again implemented the principle of organic Saint Agnes he had the collaboration of a growth. The centerpiece of this collabora- fine master of ceremonies, Harold Hughes- tion would be the refinement of the ceremo- don, who had been a choirboy at Westmin- nies for a weekly Sunday solemn novus ordo ster Cathedral and had grown up with the Latin Mass sung with the propers in Gre- solemn liturgy—including the liturgy of gorian chant and the ordinary of the Mass the hours—and Fortescue’s Ceremonies of sung either in Gregorian chant or sacred the Roman Rite Described. In 1981 Hughes- polyphony.35 Vespers would also be chanted don would be ordained deacon and, as the every Sunday in Latin and Gregorian chant. rubrics point out may be done, he allot- The use devised at Saint Agnes—lamenta- ted the duties of the deacon at the solemn bly not replicated elsewhere at that time— novus ordo Mass to two deacons (one called was admirably suited to implement the the altar deacon and the other the gospel liturgical reforms in accordance with con- deacon, indicating the major function of ciliar principles and prescriptions. each) with the result that the solemn novus In the first place the use of Saint Agnes ordo Latin Mass at Saint Agnes bore great understood the council’s demand that rites visual resemblance to the use of the subdea- 35It should be pointed out that of the weekend Masses of obligation at Saint Agnes only the 33 Tyler, Historic Preservation, 30, 32. ten o’clock solemn high Mass was in Latin. Th e 34See, for example, Duncan G. Stroik, Th e other fi ve (later four) Masses on Saturday eve- Church Building as a Sacred Place: Beauty, Tran- ning or Sunday were celebrated in English. In scendence, and the Eternal (Chicago: Hillenbrand their ceremonies, however, they followed the use Books, 2012). of Saint Agnes and were celebrated ad orientem.
18 Volume 143, Number 3 Sacred Music | Fall 2016 were to be reformed to give them greater sermon, was sung at the sedilia, which clarity and so needless repetitions were to remained in its traditional location and was be avoided and excrescences to be removed. not moved and turned versus populum. The The prayers at the foot of the altar, the last Liturgy of the Eucharist itself, by contrast, gospel, and the Leonine prayers after low was celebrated at the existing high altar Masses were obvious targets for reform. and ad orientem, as permitted by the rubrics At Saint Agnes in harmony with the most of the reformed rite. The Saint Agnes use venerable liturgical tradition the Mass typi- eschewed the versus populum option, and so cally began with the introit, sung in Grego- the high altar was not abandoned at Saint rian chant. Then came the sign of the cross. Agnes. The church had a fine Carrara mar- Then, taking advantage of the freedom ble altar with reredos in mosaic made at the offered by the reformed rite, they opted for Vatican mosaic studios in 1930. This had the shortest of the opening rite options and been paid for with the Liberty bonds to eschewed the Confiteor, knowing that this which the German-speaking parishioners and the psalm 42 of the Tridentine rite had had been forced to subscribe during World originally been pious exercises recited before War I to prove that they were two hun- Mass in the sacristy. This also shortened dred percent American. Its removal would the opening rite and left more time for the have been an act of cultural vandalism and orchestral music. It also avoided a lengthy would have been an act contrary to the penitential rite which some have opined wishes of the donors (cf. canon 1300). For confused some of the faithful and discour- similar reasons Saint Agnes did not aban- aged resort to the sacrament of reconcilia- don the use of Roman style or fiddleback tion. The use of Saint Agnes thus became vestments. Some of these were in its col- Dominus vobiscum. Fratres, agnoscamus . . . . lection and others were acquired—in rich Miserere nostri, Domine, quia peccavimus tibi. silk damask or cut velvet and some with Ostende nobis, Domine, misericordiam tuam. beautiful gold orphreys wrought by the Misereatur . . . In Advent and Lent then fol- skilled hands of Swiss nuns—which had lowed the Asperges (or in paschal time the been discarded by trendier parishes.36 If the Vidi aquam). In the reformed rite this was Gothic style vestments were more suitable made an integral part of the opening rite at Masses with plainchant, the fiddlebacks and not a preparatory rite as in the Triden- were made in a style contemporary to and tine Mass. Deacon Hughesdon noted the so more apt with the music of the Viennese improved possibilities here offered by the classical composers. reformed rite, and, again, it was a chance to After the collect came the three lections, employ some of the best of the treasury of in accordance with the council’s wishes sacred music in the setting for which it was created. Then came the Kyrie, in polyph- 36At my suggestion Mgr. Schuler used the fi ne ony or plainchant, and thereafter the Glo- color photographs by Mr. Joseph Odin of some ria was sung. of these vestments as cover material to volumes The collect followed. This, like the 120–122 (1993–1995) of Sacred Music, and opening rite and the rest of the Liturgy their richness and beauty may be seen and en- of the Word, except for the lessons and joyed there.
Sacred Music | Fall 2016 Volume 143, Number 3 19 that scripture be employed more copiously, Hughesdon realized, providing a discrete which were read in English. Typically the bit of choreography, whilst accomplishing first lesson on Sunday was read by a lector all this efficiently during the singing of the clad in cassock and surplice, the second by Credo. Then, where the extraordinary form the altar deacon, and the gospel by the gos- has Dominus vobiscum and a great noth- pel deacon after he had incensed the Book ing, came the bidding prayers, restored in of the Gospels. The use of Saint Agnes also English by the reformed rite and led by the employed the gradual and Alleluia (or tract) gospel deacon. These always conclude with sung in Gregorian chant, in accordance with the rubrics and the council’s express wish that Gregorian chant, recognized as the Roman Church’s own music—liturgiæ romanæ proprium, be given principem locum or lead spot. This also was an implementa- tion of canon 6(2), for very often the gradual and Alleluia found in the reformed gradual correspond to the ones of the Tridentine rite and so provide a practical demonstration of organic growth. Pastorally they blunted the sense of rupture created for some by the use of the responsorial psalm. It also served simply to employ some of the best of the treasury of sacred music in the setting for which it was created. a popular devotional prayer, like the Ave After the gospel read by the deacon Maria, the Salve Regina (or in paschal time came the homily (preached usually from the the Regina cæli). While the council had Saint Agnes’s impressive baroque canopied pointed out the primacy of liturgical prayer, pulpit to emphasize its role in the liturgy) it in no way did away with popular devo- and the Credo. This last was always sung at tions.37 The recitation of popular devotional the solemn Mass and not simply recited, as in Protestant usage. Singing the Credo also 37While in article 10 of Sacrosanctum Concilium served simply to employ some of the best of the Vatican Council called the liturgy the fons et the treasury of sacred music in the setting culmen, “the summit toward which the activity for which it was created. During the Credo of the Church is directed and fount from which in the Saint Agnes use similar to the prac- all her power fl ows,” it also stated in article 12 tice in the Tridentine rite, the deacons rise of that same constitution that “the spiritual life, however, is not limited solely to participation in and fetch the missal and chalice from the the liturgy.” In article 13 it noted that the spir- credence table and bring them to the high itual life of the faithful is also nourished by pi- altar and prepare them for the liturgy of ous practices. In due course the Congregation the Eucharist. This is again an application for Divine Worship and the Discipline of the of canon 6(2) by recalling the Tridentine Sacraments would underscore this aspect of the usage while at the same time, as Deacon Council’s teaching (and vindicate the use of
20 Volume 143, Number 3 Sacred Music | Fall 2016 prayers served to remind the faithful of this, from that at the elevation in the extraordi- while at the same time giving them voice— nary form. much in the way that the Leonine prayers at For the Eucharistic prayer the Roman a low Mass in the old rite had done. Canon was usually employed in the use of Incense—a symbol of prayer—was Saint Agnes. This again was done to avoid always employed at the solemn Mass in the the sense that the reformed rite involved a Saint Agnes use, incensing the altar at the rupture with the prior rite. It was also in opening of the liturgy of the word, at the accordance with Monsignor Schuler’s per- gospel, at the offertory, and at the conse- sonal piety. When he decided to apply cration. At the last occasion the altar dea- for the Fulbright scholarship for study in con assists the celebrant with the chalice Rome, he prayed to the saints listed in the while the other deacon, accompanied by Roman Canon that he be granted this wish. the thurifer and boat bearer, kneels at the Continuing the use the Roman Canon was epistle side of the altar and incenses the thus in part an act of thanksgiving on his consecrated species during the elevation.38 part for prayers answered. Meanwhile two, four, or six torchbear- After the canon, the Pater noster and ers (clad like the other servers in cassock the Agnus Dei are sung.40 After the com- and surplice) had arranged themselves in the sanctuary with their torches after the 40It is an obligation of minor basilicas that the Sanctus.39 This last incensing produces a faithful be able there to sing at least the Pater remarkable tableau, similar, but different, noster in Latin. As I pointed out in “Th e Art of Basilica Making,” Sacred Music, 124, no. 4 Saint Agnes) and publish its Directory on Pop- (Winter 1997), 6, “Basilicas have special du- ular Piety and the Liturgy: Principles and Guide- ties toward the solemn liturgy, the sacrament of lines, Vatican City, December, 2001
Sacred Music | Fall 2016 Volume 143, Number 3 21 munion of the faithful comes the final Vatican Council, the group followed what blessing, the deacon’s exhortation, Ite missa would now be called the extraordinary est, and the procession from the altar. form, the service in the Liber Usualis. How- There is then a fine organ recessional, or in ever, one of the reforms expressly called for Advent and Lent a plainchant work sung by by the Vatican Council had been the resto- the schola. The schola also sings the prop- ration of the hymns of the breviary and the ers at the solemn Mass and during Advent, return to the Early Christian texts replaced Lent, and the summer months, when the or bowdlerized by Pope Urban VIII. Once chorale enjoys a vacation, it sings the Ordi- the Liber Hymnarius42 appeared in 1983, nary of the Mass. The many altar servers it was adopted and the reformed texts and meanwhile process in cassock and surplice music desired by the Vatican Council were into the sacristy, bow to the crucifix there, and then go about their remaining duties. Monsignor Schuler discontinued the older practice of giving a blessing after Mass to Monsignor Schuler the servers. As he pointed out, they had just received a blessing along with the rest of the insisted that in the faithful and the multiplication of blessings would not accord with the spirit of simplic- refl ective calm of vespers ity of the reformed rite. There were other elements developed by many a priestly vocation the use of Saint Agnes. One was the sing- ing since about 1974 of Sunday Vespers. was discovered. Sunday Vespers celebrated with the people in Latin and Gregorian chant had been a key plank in the reform platform of most of the leaders in the Liturgical Movement41 followed and sung, as in the reformed bre- and Monsignor Schuler was very keen to viary, at the head of the psalmody, instead have this service a fixed element of the use of at the end of it in the traditional structure of Saint Agnes. A vespers schola was devel- of vespers.43 This was not simply a musi- oped, led first by Dr. William Pohl, later cal adventure (Monsignor Schuler insisted by David Bevan, and more recently by Paul that in the reflective calm of vespers many a LeVoir, which generously undertook to sing priestly vocation was discovered), and here this service. Absent music for the reformed Liturgy of the Hours published after the 42Liber hymnarius cum invitatoriis et aliquibus re- sponsoriis (Solesmes: Abbey of St. Peter, 1983). 41See, for example, Reid, Organic Development, 43Eric M. Andersen, “History, Reform, and 106. Th is was also the desire of the Second Vat- Continuity in the Hymns of the Roman Brevia- ican Council (Sacrosanctum Concilium, 95–100), ry,” Sacred Music, 136, no. 1 (Spring, 2009), 22, and canon 1174(2) says the lay faithful are “ear- 30. Earlier I made mention of vespers at Saint nestly invited” to take part in the liturgy of the Agnes in my “Virgins and Vespers, Part II,” Sa- hours. cred Music, 125, no. 3 (Fall, 1998), 8.
22 Volume 143, Number 3 Sacred Music | Fall 2016 again the service was organized with the The Liturgical Movement had desired able assistance especially as cérémonier of especially that the temporal cycle of the Deacon Hughesdon, who had mastered the church’s liturgy nourish the faithful, and mysteries of Fortescue decades before when this was a key element of the use of Saint a choirboy at Westminster Cathedral. On Agnes. After the liturgical preparation pro- solemn feasts Vespers would be celebrated vided by Advent with some of the loveliest with the assistance of two deacons vested in chants in the Gregorian repertory, Christ- copes and occasionally the visit of a bishop mas followed and was celebrated most sol- permitted the additional solemnity of Pon- emnly beginning with First Vespers and tifical Vespers. At first Benediction of the the Mass of the Vigil of Christmas. Mid- Blessed Sacrament followed Vespers. But, night Mass was always celebrated solemnly and very often this was Schubert’s Mass in B flat or Mozart’s Coronation Mass with the Mass preceded by a concert of Christ- Th e Liturgical Movement mas carols45 and other festive choral or orchestral music. After the reading from had desired especially that the Roman Martyrology there followed the solemn procession to the crib with one the temporal cycle of the of Saint Agnes’ many altar boys clad as Saint Francis, who had instituted the use church’s liturgy nourish of the crèche to emphasize more the human nature of Christ, bearing the image of the the faithful. Christ child in procession. This opening rite concluded, the Mass proceeded in the usual fashion. But on the feast of Stephen and each of the other days of the Octave as he studied the rubrics more closely, it of Christmas Vespers were chanted and fol- seemed more apt to celebrate Vespers coram lowed by a solemn Mass with Gregorian sanctissimo with Vespers themselves serv- chant. Thus, in the church’s own most per- ing as the “suitable period for readings of fect way the celebration of Christmas was the word of God, songs, prayers,” which is prolonged and the feasts of Christ’s birth called for in the norms for the worship of the Eucharist outside Mass to precede the Publishing Co., 1976), article 89, p. 457. 44 actual blessing with the Sacrament. 45Th ese exemplifi ed the nova et vetera typical of the use of Saint Agnes. Usually the program 44Sacred Congregation for Divine Worship, began with Paul Manz’ Hodie, followed by Gru- “Holy Communion and Worship of the Eucha- ber’s Stille Nacht and several traditional Tyrolese rist Outside Mass,” in Th e Rites of the Catholic carols, Mgr. Schuler’s own very modern Glorious Church as Revised by Decree of the Second Vatican are the Th ings Th at are Said of Th ee, and Schna- Ecumenical Council and Published by Authority bel’s Transeamus ad Bethlehem, during which, fi t- of Pope Paul VI, tr. International Commission tingly, the entrance procession began, the sound on English in the Liturgy (New York: Pueblo echoing the sense.
Sacred Music | Fall 2016 Volume 143, Number 3 23 and of the Motherhood of Mary were litur- the orchestra Mass was some of the grand- gically linked. est in the orchestral repertory, Haydn’s Lord In some ways the Christmas sea- Nelson Mass or Gounod’s Saint Cecilia Mass son concluded only with the celebration or Dvorak’s Mass in D. Many times it was of the patronal feast of Saint Agnes (Jan- also the occasion of a visit by a bishop and uary 21), usually for pastoral reasons cele- so there would be altar deacons, deacons at brated on the Sunday closest to the actual the throne, and extra servers, clad in vimpæ, feast.46 Before the 1917 Code of Canon ready to hold the bishop’s mitre and crosier Law went into effect the parish’s patronal when needed. When possible, Pontifical feast was a holy day of obligation in the Vespers concluded the solemn feast. church’s general calendar and was always Part of the celebration of the parish’s marked with special parish devotions and centenary in 1987 was its splendid redeco- perhaps a procession. Even after it ceased ration after the church’s structural elements to be a day of obligation, the patronal (tit- including electrical, heating, and plumb- ular) feast remains a privileged feast on ing systems and tile roof had been carefully the liturgical calendar fortified with spe- updated. The church is located in the Frog- cial indulgences.47 Typically the music of town part of the City of Saint Paul and is built on a sometime swamp atop an aqui- 46Sacred Congregation of Rites, “General fer which actually helps cool the structure. Norms for the Liturgical Year and the Calen- The site also demands constant attention. dar” (March 21,1969), in DOL 442, article 58, p. The structure had never been properly dec- 1164, states, “For the pastoral advantage of the orated. The exterior cost the working class people, it is permissible to observe on the Sun- parishioners a quarter of a million dollars days in Ordinary Time those celebrations that in 1912 at a time when the average annual fall during the week and have special appeal to income in the United States was about $500 the devotion of the faithful, provided the cele- brations take precedence over these Sundays in and it was only in 1930 that the handsome the Table of Liturgical Days.” Th e pastoral val- high altar with its pedimented reredos of ue of celebrating solemnly the feast of a woman Carara marble and mosaics from the Vat- who suff ered martyrdom rather than surrender ican Studios along with the stained glass her virtue did not escape Monsignor Schuler. windows from the F.J. Mayer Company of 47In the table of precedence among liturgical Munich were added. Now it was finally time days, the solemnity of the title of a church is to add the stucco and marble wainscoting ranked after solemnities of Our Lord, the Bless- which would have completed the interior of ed Virgin Mary, and saints listed in the general a baroque South German church. This now calendar and before feasts of the Lord, Sun- proceeded by the Conrad Schmitt Company days of the Christmas season and Sundays in of New Berlin, Wisconsin, and climaxed ordinary time and feast of the Blessed Virgin Mary and of the saints in the general calendar. church on the feast of its titular and recite there Th e anniversary of the dedication of a church the Pater and Credo and observe the usual con- has similar rank. Sacred Congregation of Rites, ditions may gain a plenary indulgence; see Paul “General Norms for the Liturgical Year and the VI, Apostolic Constitution Indulgentiarum Doc- Calendar” (March 21, 1969), in DOL 442, arti- trina ( January 1, 1967), AAS, 59 (1967) 5–24, cle 59, p. 1165. Th ose who devoutly visit a parish Norms, 15–16, in DOL 386, p. 1008.
24 Volume 143, Number 3 Sacred Music | Fall 2016 liturgically with the dedication or consecra- Palm Sunday marked the beginning of tion of the church by The Most Rev. Robert Holy Week, although Saint Agnes con- Carlson. Bishop Carlson decreed that the tinued to mark Lent’s intensification at anniversary of the dedication be observed the start of Passiontide with the veiling on the Sunday before Ash Wednesday and of statues from the Fifth Sunday of Lent. this anniversary has since been solemnly At Saint Agnes on Palm Sunday the pas- observed. The music mirrors that of Saint sion narrative was traditionally chanted by Agnes day and the beautiful hymn, Urbs three cantors singing the roles of Christ, Ierusalem beata, and the antiphons of Ves- the synagoga, and narrator. Most solemnly pers on the anniversary of the dedication of this brings out the drama of the narrative a church provide a solemn close for the feast in a manner that mere recitation cannot. and a musical last hurrah before the start of Maundy Thursday continues the week’s Lent. solemn observances. The sacred triduum The fasts, alms, and prayers of Lent and is marked with the chanting of Tenebræ— the sober ordinary of Mass XVII are tradi- Matins and Lauds—on the mornings of tionally interrupted by Forty Hours Devo- Holy Thursday, Good Friday, and Holy tions on the weekend ending with Lætare Saturday, and the drama of the events com- Sunday, the fourth Lenten Sunday. Tra- memorated is celebrated with chants which ditionally rose vestments are worn on this rise musically to a crescendo and then pro- Sunday (as on Gaudete Sunday in Advent) vide a psychological release at their consum- and Saint Agnes always adhered to this mation. The Mass on Maundy Thursday is custom at Mass and Vespers and sported always in Latin, and its solemn Gloria pre- a rose antependium on the high altar on ceded by a prolonged ringing of the bells those Sundays as well. This mid-Lenten and solemn sounding of the pipe organ fol- respite with its more intense worship of lowed by their silence signals the begin- the Eucharist outside Mass both served to ning of the solemn days. Only the dull thud deepen devotion to the Blessed Sacrament of the clapper will in the next three days and give a foretaste and preview of Holy draw the attention to the solemn moments Thursday on which the Eucharist was insti- of the services. The chanting of the Pange tuted and which was only a fortnight off. Lingua accompanies the procession of the A polyphonic Mass and solemn Vespers on Blessed Sacrament to the altar of repose at Lætare Sunday concluded Forty Hours.48 the close of the Mass and, denuded of the Sanctissimum, the high altar is then cer- 48Th e norms for “Holy Communion and Wor- emoniously stripped of its accouterments ship of the Eucharist Outside Mass,” in Th e while the psalm Miserere mei is chanted to Rites, article 86, p. 487, provide, “In churches set the stage for Good Friday. These obser- where the Eucharist is regularly reserved, it is vances concluded, the Holy Saturday vigil recommended that solemn exposition of the service with its blessing of the new fire and Blessed Sacrament for an extended period of time should take place once a year, even though this period is not strictly continuous. In this the Sacrament.” Of course, canon 934(1) pro- way the local community may refl ect more pro- vides that the Blessed Sacrament “must be re- foundly upon the mystery and adore Christ in served . . . in every parish church.”
Sacred Music | Fall 2016 Volume 143, Number 3 25 the Easter water preview the great mystery two dozen priests celebrated their Mass of Easter. The sounding of the bells again at of Thanksgiving there—no easy task for the Gloria provide auricular testimony that a newly-ordained priest, since these were the gloom of the past days in now dispelled. typically Solemn High Masses, celebrated With Easter Sunday, Holy Week has its tri- in Latin with polyphonic music. umphant close, and with Paschaltide the Other elements of the use of Saint season of polyphonic Masses again joyfully Agnes could be mentioned as well. All resumes. Low Sunday concludes the octave Souls’ Day was invariably marked solemnly of Easter joy and this was always demon- with Mozart’s Requiem Mass celebrated strated musically by the singing as an offer- solemnly and for pastoral reasons including tory motet the very modern Victimæ paschale the Dies iræ. Saturday morning provided a by Pietro Yon (1886–1943), as a musical counterpoint to the Gregorian sequence heard on Easter Sunday. These polyphonic Masses and, musi- In his three decades cally, the paschal season traditionally at Saint Agnes conclude on Corpus Christi, at Saint Agnes some celebrated on the Sunday after Trinity. The solemn Latin Mass concludes with a Eucha- two dozen priests ristic procession, outdoors, weather permit- ting, with two portable altars set up where celebrated their Mass of the procession halts and Benediction of the Blessed Sacrament is given after the singing Th anksgiving there. of Saint Thomas Aquinas’Tantum ergo and the chanting of his collect, Deus, qui nobis sub sacramento.49 Often it has happened that this or a preceding Sunday had witnessed the Mass of Thanksgiving of a new priest. pleasant musical foil to the ten o’clock sol- In his three decades at Saint Agnes some emn Sunday Mass often celebrated with polyphonic music for the Ordinary of the 49While the Corpus Christi procession has Mass. The eight o’clock Mass on Saturday ceased in most places, the norms of “Holy Com- was also a novus ordo Latin missa in cantu, munion and Worship of the Eucharist Outside but at it the ordinaries as well as the prop- Mass,” in Th e Rites, article 101–102, p. 493, still ers were sung in plainchant, and the peo- provide for it: “When the Eucharist is carried ple would join in singing the ordinaries through the streets in a solemn procession with as well as singing the responses. Typically singing, the Christian people give public wit- during Communion the schola would sing ness of faith and devotion through the sacra- a Latin hymn, often drawn from the Ves- ment . . . Th e annual Procession on the feast of pers office and corresponding to the Mass Corpus Christi, or on an appropriate day near this feast, has a special importance and meaning of the day or the liturgical season, a tactful for the pastoral life of the parish or city. It is bit of pedagogy. therefore desirable to continue this procession.” Another tactful bit of pedagogy and
26 Volume 143, Number 3 Sacred Music | Fall 2016 integral part of the use of Saint Agnes are on Saturdays to announce the observance the bells of Saint Agnes. In the Zweibel- of the resurrection of Christ on Sunday. turm of the church, which was blessed in Mgr. Schuler was very keen on bells which 1912, three bells were installed, each with were very important to the people of the its own name, John, sounding in F sharp, Tyrol, the Austrian province from which weighing 1683 lbs. and named in honor his father’s family had sprung.50 Bells also have a long history in western Christen- dom. The Benedictines with the motto Ora et Labora, “pray and work,” devel- oped the cast bell from the sixth century Th e bells of Saint Agnes onwards, and part of their work ordered to their worship was bell founding. They are part of her musical spread the bell’s use throughout Western Europe. Bells accompanied the singing of and evangelization the Te Deum, the hymn at morning prayer on Sundays when a Gloria is sung at Mass, program. and bells were thought to proclaim God’s word like a preacher. Bells can be eloquent also in their absence. Some churches—like Saint Agnes—still maintain the custom of not sounding their bells from the Glo- of the then-pastor John Solnce, Agnes, ria on Maundy Thursday till the Gloria at sounding in E and weighing 2332 lbs. and the Easter Vigil the more solemnly to mark named in honor of Saint Agnes, the titu- Good Friday. Formerly, the Roman Pon- lar of the parish, and Anthony, sounding tifical included a rite for the “baptism” of in D and weighing 3300 lbs. and named in bells during which, like babies, they were honor of the parish’s Saint Anthony Soci- washed, anointed, and given a name, often ety, its generous donor. In 1990 marking that of their “godfather” or donor, like the forty-fifth anniversary of the ordina- Anthony at Saint Agnes. tion of Mgr. Schuler, a fourth bell, Rich- One should add a word about Marian ard, sounding B and weighing 5665 lbs. devotions at Saint Agnes. Popular devotion and named in honor of the then pastor, was to Our Lady is an important and univer- blessed by the Most Rev. Alphonse Schlad- sal ecclesial phenomenon, founded in the weiler, the sixth pastor of Saint Agnes. faith of the People of God in Christ and The bells of Saint Agnes are part of recognizing the salvific mission that God her musical and evangelization program. entrusted to Mary. Besides the Angelus Ringing not only on the hour and quar- just mentioned, there are the Marian devo- ter hour, the bells also ring at six, twelve, tions of Our Lady of Perpetual Help on and six to call the neighborhood to pray Tuesdays, the recitation of the rosary before the Angelus, to signal the Masses, at three o’clock on Fridays to recall the death of 50Richard J. Schuler, “Church Bells,” Sacred Mu- Christ, and at eight o’clock in the evening sic, 116, no. 3 (Fall 1989), 25–27.
Sacred Music | Fall 2016 Volume 143, Number 3 27 Vespers during October, the month of the loquial usage, but it never occurred to Mgr. rosary, May, Our Lady’s special month, Schuler that such merriment was out of and during Lent, when the joyful, glori- place to conclude a celebration of the Glo- ous, and sorrowful mysteries, respectively, ries of Mary. He was no Puritan! Indeed, are recited. Saturday is liturgically devoted he once remarked to a friend of mine that to Our Lady, remembering her watch while after a considerable study of his family his- Our Lord lay in the tomb, and the Mass of tory he had found no Protestants. Our Lady on Saturday, which varies during This, then, is a short account of the cre- the Advent, Christmas, and Easter seasons, ative liturgical work of Monsignor Schuler contains venerable chants for the propers at Saint Agnes. This creation seems secure like the introits Salve, sancta parens, and even after his demise, and in my opinion Rorate, cæli, familiar to those accustomed it has a canonical “right to life.” In canon to the extraordinary form, which the can- law a custom introduced by a community of tor would typically pair with chants from the faithful has the force of law. The custom the ordinaries of Mass IX or X. At the start cannot be contrary to divine law and must of May there is the crowning with roses of be reasonable and must be introduced by Our Lady’s statue, and more recently, for a community capable of receiving a law. If the feast of Our Lady’s Assumption into legitimately followed then for thirty years, heaven there has been an outdoor proces- customs contrary to or beyond the law gain sion of her statue with hymns after Vespers. the force of law (cc. 23, 16). Canon 515(3), By linking these Marian devotions to the of course, says that a parish enjoys jurid- Eucharist or the Liturgy of the Hours their ical personality. It is, therefore, capable of relationship to the more central Christian receiving a custom.53 Canonists have also worship is evidenced.51 And linking liturgy opined that stable groups smaller than a with life, an ice cream social was added parish are also capable of receiving a cus- as a festive coda to the liturgical celebra- tom.54 And I would opine that the commu- tion. To celebrate properly, or at least ety- mologically, means “to perform publicly,”52 53Merlin Joseph Guilfoyle, Custom: An Historical rather than “to make whoopee,” as in col- Synopsis and Commentary (Washington: Catho- lic University of America, 1937), p. 95. 54Ángel Marzoa, Jorge Miras, and Rafael Rodrí- 51 Paul VI, Apostolic Exhortation, Marialis Cul- guez-Ocaña, eds., Exegetical Commentary on the tus (February 2, 1974), AAS 66 (1974), 113–168, Code of Canon Law (Montreal: Wilson & Laf- in DOL 467, pp. 1204–1227; Congregation for leur, Ltd., 2004), I, p. 410, “Th us the condition Divine Worship, Directory on Popular Piety, ar- of communitas capax legis recipiendæ requires that ticles 183–184. the community introducing a custom be truly 52Harpers’ Latin Dictionary Revised, Enlarged general and that the same social group that in- and in Great Part Rewritten by Chalton T. Lewis troduced the usage be bound by it. . . . In the case and Charles Short (New York: American Book of smaller communities it also seems reasonable Company, 1907), p. 308, defi nes the verb celebro, to speak of a relative capacity, that is, a capacity celebrare as “to go to a place or person in great which maintains the relationship with the type numbers or often, to frequent, to do something of custom that was introduced. If the custom is frequently or in numbers.” introduced in the normative purview proper to
28 Volume 143, Number 3 Sacred Music | Fall 2016 stitutions being joined by the so-called Apostolic Tradition (dated by scholar- ship in the twentieth century as being c. 215 AD, but more recently this is se- riously questioned). Yet this was done with a thoroughly modern idea that the oldest was the best, and the oldest and best could be distilled by the liturgi- cal experts. The products of the Liturgi- cal Movement in the 1960s through the early 1980s can best be described as the products of modernity’s technology and science. The new liturgies, based on the nity which attends the Sunday Latin Mass old, but with plain, direct language, have at Saint Agnes is such a community and in hindsight been seen as flat, lacking in that, having followed this custom, the use transcendence and mystery. of Saint Agnes, now for over thirty years, it enjoys a canonical right to it. Canonically Alongside this, and quite independent of secure at Saint Agnes, it would seem that it, are the Praise and Worship music and the use of Saint Agnes is ready for export. Contemporary Christian Music indus- One harbors the thought that had the use of try, utilizing the forms of music of pop- Saint Agnes been more widely emulated, a ular culture (in this instance mostly soft “Reform of the Reform” would not now be rock). . . . The result, however, is a litur- mooted. gical music war, with the more classical Bryan D. Spinks in his Liturgy in the Age repertoire of Church music regarded as of Reason: Worship and Sacraments in England higher (and a priori ‘better’) art than the and Scotland, 1662–c. 1800 concludes: ephemeral music mimicking of popular secular music.55 The Liturgical Movement of the twen- tieth century gave rise to wholesale li- He sees the contemporary situation as “a turgical revision in the Roman Catholic re-run of the eighteenth century battle over and most Mainline Protestant churches the quality and style of church music” that in the West. Many of those forms had a pitted the Wesleys against the establishment similar catalyst as the High Church and church musicians. Possibly, but those who Nonjururs [of the eighteenth century]— knew artistic modernism, like Monsignor the desire to recover the forms of a gold- Schuler, knew whereof it was made. en patristic age, with the classical rites of St. Basil, St. James, and Apostolic Con-
the community (proportionate and appropriate 55Bryan D. Spinks, Liturgy in the Age of Reason: to it), then the community will be a subject ca- Worship and Sacraments in England and Scotland, pable of introducing a custom.” 1662–c. 1800 (Farnham: Ashgate, 2008), p. 253.
Sacred Music | Fall 2016 Volume 143, Number 3 29 Music for the Ordinariates’ Divine Worship: The Missal The Ordinariate brings to the church rich musical traditions, an English spirituality, and its own form of parish life
by Dr. Helen Harrison
hose who have come to the manum as The Anglican Use Gradual.4 Oth- Catholic Church from Angli- ers, particularly the North Americans, have T canism bring with them a wide come to the Ordinariate after using a form spectrum of liturgical experi- of worship that contained appreciably-sized ences. Before modern English entered the extracts from the Book of Common Prayer. Anglican liturgy in the 1960s, the High Many of the Ordinariate members in En- Church or Anglo-Catholic Anglicans1 gland had been using a liturgy more or less tended to use the English Missal or similar mirroring the Roman Missal of 2010. books.2 These followed the Roman Rite in- When putting together the liturgical cluding all of the Proper of the Mass which texts for the Ordinariate Mass, the inter- was usually sung from The English Gradu- dicasterial commission, Anglicanæ Traditio- al,3 a book that has since been revised in nes, probably had four sources to consider.5 accordance with the current Graduale Ro- These were the Use of Sarum (the dominant pre-Reformation English use), the Mass as
1 Th e term Anglo-Catholic is used to mean many 4C David Burt, ed., Th e Anglican Use Gradual things. Here I will use it to refer to those who, (Mansfi eld, Mass.: Partridge Hill Press, 2006). in the fi rst sixty years of the twentieth century, Th is is being adapted for Ordinariate use. used the English Missal to make their worship 5For the background see Andrew Burnham, (and theology) as near to that of the Roman rite “Th e Contribution of English Liturgical Pat- as was possible. rimony to Continuing Renewal in the Roman 2 Th e English Missal for the Laity, (London: W Rite,” Th e Sacred Liturgy. Source and Summit of Knott, 1958). Other editions were in 1912, the Life and Mission of the Church, ed. Alcuin 1933 and 2001. Other missals were Th e Angli- Reid (San Francisco: Ignatius Press, 2014), pp. can Missal from 1921, and Th e American Missal 315–333. See also Steven J. Lopes, “A Missal for from 1931. the Ordinariates: Th e Work of the Anglicanæ 3Francis Burgess (ed.) Th e English Gradual, Part Traditiones Interdicasterial Commission,” Anti- II, Th e Proper for the Liturgical Year (London: phon: A Journal for Liturgical Renewal, 19, no. 2 Plainchant Publications Committee, n.d.) (2015), 116–131.
Dr. Helen Harrison remembers Anglo-Catholic worship of the 1960s. She came to the Catholic Church in 1988 and has joined the Ordinariate group in South Australia.
30 Volume 143, Number 3 Sacred Music | Fall 2016 used by the Anglo-Catholics during the and “Comfortable Words” are there. first half of the twentieth century, the Book The style of English is described as of Common Prayer of 1662 and the mod- “Prayer Book English.”9 The Eucharis- ern Roman Mass.6 It was essential that this tic Prayer is derived from the Sarum Use Anglican Use, this third form of the Roman which predates the Missale Romanum of rite, should differ from the other two forms.7 Pius V. The similarity of the Sarum, Mis- This probably ruled out the use of the Roman sale Romanum, and Ordinariate Eucha- Missal of 2010. Because of the principle of ristic Prayers underlines the fact that one organic development, no new rite could be should not speak of the Sarum Rite but manufactured.8 Given that the Sarum Mass rather, the Sarum Use (of the Roman Rite). was extremely long and complicated, the old Concluding the prayers at the foot of Anglo-Catholic Mass was modified in var- the altar is the so-called Collect for Purity ious ways to become the Ordinariate Mass which comes from the Sarum Mass: (see table p. 31). Anglicanæ Traditiones decided to pro- Almighty God, unto whom all hearts duce just one form of Mass but with several be open, all desires known, and from options to cater for the varying backgrounds whom no secrets are hid: Cleanse the of those who would use the missal. It is pos- thoughts of our hearts by the inspiration sible to have a Mass very much like the cur- of thy Holy Spirit, that we may perfect- rent Extraordinary Form Mass by choosing ly love thee, and worthily magnify thy the penitential rite it uses along with holy Name. the older form of the offertory. For those attached to the Book of Common Prayer, The Ordinariate missal also includes two the Cranmerian confession and absolution of Cranmer’s prayers from the 1549 Prayer Book—the “prayer of humble access” (We 6Sarum is pronounced so that its fi rst syllable do not presume . . . ) for use immediately rhymes with “hair.” Sarum comes from the old before “Behold the Lamb of God . . . ” and name for Salisbury. For an excellent essay on the a prayer of thanksgiving after communion. Sarum Use see J Robert Wright, “Th e Sarum There are some concessions to recent Use”
Sacred Music | Fall 2016 Volume 143, Number 3 31 Th e Sources of Parts of the Ordinariate Mass
Item in Ordinariate Missal Where Else Found
Veni Creator during sacristy prayers Sa Penitential rite A: Asperges/Vidi aquam Sa; EF; AC; RM
Penitential rite B: Prayers at foot of altar in ~Sa; EF; AC but none of these included which congregation may join congregation Collect for Purity Sa; 1549; 1662; AC Introit with = and Gloria Patri Sa; EF; AC; ~RM Kyrie Sa; EF; 1549; 1662; AC; RM (sometimes) Gloria Sa; EF; 1549; 1662 (later in rite); AC; RM Gradual or Sa; EF; AC; Is allowed in RM Responsorial Psalm RM Alleluia or Tract sourced from Graduale or Sa; EF; AC; Is allowed in RM Alleluia or Lenten acclamation from Lectionary RM Sequences for Easter, Pentecost Sa; EF; AC; RM (Sa has its own for Easter and for Pentecost.) Sequence for Corpus Christi (not compulsory) Sa (later missals); EF; AC; Is optional in RM
Sequence Stabat Mater EF; AC; RM the Dies Iræ Sa; EF; AC; RM Creed Sa; EF; 1549; 1662; AC; RM Intercessory prayers using a fixed text Sa Processional; 1549; 1662; AC Offertory Chant Sa; EF; AC; RM (RM is implied but not printed in the missal) Offertory as in EF or EF; AC Offertory as in RM RM Prayer Book option for Penitential rite: 1549; 1662; AC (sometimes) Sanctus (see comments elsewhere) Sa; EF; 1549; 1662; AC; RM Benedictus Sa; EF; 1549; AC; RM Roman Canon Sa; EF; AC (used by some); RM (one option) Agnus Dei Sa; EF; 1549; 1662; AC; RM Prayer of Humble Access 1549; 1662; AC Communion Antiphon Sa; EF; AC; RM Prayer of Thanksgiving 1549; 1662; AC
In the table above, Sa = Use of Sarum; EF = Extraordinary Form of Roman Mass; 1549 = First Prayer Book of Edward VI; 1662 = Book of Common Prayer used from 1662 onwards; AC = Anglo-Catholic practices ca. 1960s as recalled by the writer; RM = 3rd edition of the Roman Missal (2010); ~ indicates “approximately.”
32 Volume 143, Number 3 Sacred Music | Fall 2016 Coverdale Psalter instead of that from this with writing some meaningful response for lectionary, if desired. The acclamations just a few words. As Gabriel Steinschulte, used in the current Ordinary Form Mass the director of the Schola Cantorum Colo- are there, too, except that the third one is niensis, has observed: much longer: O Saviour of the world, who by thy Cross and precious Blood has redeemed us: Whereas Gradual and Alleluia chants save us and help us, we humbly beseech thee, O inspired by the Holy Spirit had resound- Lord. The Roman Canon is the only Eucha- ed between the readings since the days ristic prayer allowed on Sundays. The “Hip- of the early Church, what is heard now polytan” Eucharistic prayer may be used on are compositions on a par with ringtones weekdays or at Masses with children. and radio jingles. 11
Looking Backwards In the Ordinariate the gradual and alleluia In some ways the Ordinariate liturgy seems (or tract) are the preferred option although to be taking a step backwards from some the responsorial psalm is permitted. Alter- of the more radical changes introduced into nating between these two options is not post-conciliar Roman missals. The return allowed. of various gestures suggests that the missal For the Easter Vigil, the Roman Mis- understands worship is not just a cerebral sal’s brief acclamations Springs of water and activity but must involve the whole person. You have put of Christ, always a challenge The Creed has the kneeling at “Et incarna- to composers, have gone. The repeated “I tus est” restored and the people’s signs of do” has given way to the Apostles’ Creed. the cross have been returned in the Gloria, The Easter and Pentecost sequences have Creed and Benedictus. The genuflection is returned to their old form of alleluia, back in such places as the gospel of Christ- verse, then sequence concluding with its mas Day and the Alleluia of Pentecost and own alleluia.12 The removal of freely-com- there is a bow at the “Holy, holy, holy” in posed intercessions means that congrega- the Te Deum. The priest turnsad orientem tions need never be troubled by some of at the altar and the people kneel to receive the political statements occasionally heard Holy Communion.
The pre-Lent Sundays of Septuages- 11 ima, Sexagesima, and Quinquagesima have Gabriel M Steinschulte “Liturgical Music and the New Evangelisation,” Th e Sacred Liturgy. returned. Source and Summit of the Life and Mission of the The responsorial psalm has always been Church, ed. Alcuin Reid (San Francisco: Ignati- a challenge to composers who are faced us Press, 2014), p. 51. 12Th e issue of the placement of the Sequence Holy See and the Dioceses of the Bishops’ Con- in the Missal of Paul VI is addressed in a short ferences of Botswana, Ghana, Kenya, Lesotho, article by Jeff rey Ostrowski, “When Is the Se- Nigeria, South Africa, Swaziland, Zimbabwe, quence Sung? Before the Alleluia?” Views from and of those countries where the Bishops have the Choir Loft, January 2, 2014
Sacred Music | Fall 2016 Volume 143, Number 3 33 in the prayers of the Ordinary Form Mass. documents is seen in the rubric preceding There is no place for a commentator. The each of the five sequences printed in the option for congregational participation in missal. Liturgiam authenticam at ¶ 60 does the Psalm 43 and Confiteor at the begin- not permit paraphrases being substituted ning of Mass, while not permitted in the for liturgical texts. Divine Worship: The Mis- past, has proved popular in Australia for sal allows hymn versions of the sequences several reasons.13 In the Australian booklets and so Ordinariate congregations can sing for the Interim Order of Mass it was placed Come thou Holy Paraclete/Come thou Holy at the beginning of Mass rather than being Spirit, Come to Webbe’s tune in place of assigned to an appendix. Parish groups Veni Sancte Spiritus and the hymn versions have been using this option while waiting of Lauda Sion. Only the Easter and Pente- to discover the official text and melody for cost sequences are obligatory. the Asperges and while waiting to be able to The Ordinariate missal requires that at acquire the various colored copes needed to a sung mass there should be a sung introit, accompany the holy-water rite. gradual, alleluia/tract, offertory and com- During the stripping of the altar on munion. The Ordinary of the Mass is also Maundy Thursday we find a return of the to be sung and incense used. Ideally there former practice of singing or saying psalm are deacon and subdeacon too, the latter 22 with the usual antiphon. On Good Fri- being an instituted acolyte if no deacon or day we find again “Let us bow the knee. priest is available. Arise” and it is suggested that it is also The introit, gradual etc. which Bishop used at the Easter Vigil. In the Easter Vigil Lopes calls the “minor propers” are partly Exsultet, the bees which flew away from the those of the Graduale Romanum of 1974 1970 Roman Missal have returned home (henceforth GR) and partly those of the again. English Gradual. The modern Roman Lec- tionary’s nomenclature for most of the Sun- Legislation days is completely replaced. Within the With no directory concerning music at Ordinariate there has been a distaste for the this stage, all legislation comes from three name “Sundays in Ordinary Time” as some sources. They are the introduction to the mis- people have taken “ordinary” to mean not sal (or rubrical directory), the rubrics else- “non-extraordinary” but rather “trite.” This where within the missal and, except where has led to “Sundays after Epiphany” and the missal’s introduction says otherwise, the “Sundays after Trinity.” (The English Uses GIRM. Where there are queries, the ordi- and much of Northern Europe had Sundays naries (who are directly answerable to the after Trinity, not Sundays after Pentecost.) Congregation for the Doctrine of the Faith) Divine Worship has retained the three-year are permitted to make some judgments. One cycle of readings. The minor propers for the example of the missal overriding the church Sundays after Epiphany come from GR which is possible because the numbering 13Th e psalm numbering is that of the Coverdale of the lectionary’s second to sixth Sundays Psalter which uses the Hebrew rather than the matches the numbering of the Sundays after Vulgate numbering. Epiphany. The three pre-Lent Sundays use
34 Volume 143, Number 3 Sacred Music | Fall 2016 the minor propers from the English/Amer- exactly as they are found in the missal. ican missals yet retain the “ordinary time” The prayers at the foot of the altar (Ps. readings from the lectionary. The missal 43 and the Confiteor) are omitted when the speaks of “Trinitytide” for Sundays after Asperges or Vidi aquam is sung. When either Trinity. To be able to use the name ‘nth of these options is used the third form of Sunday after Trinity’ the missal has had the penitential rite, the Cranmerian confes- to abandon GR and revert to the one-year sion and absolution with the “comfortable cycle of the older missals. This leaves the words,” is omitted. Sundays from the twenty-third after Trin- The Fraction begins with the singing of ity onwards sharing the same minor prop- Christ Our Passover and continues during ers, although the prayers for these Sundays the Agnus Dei. The Agnus Dei is modified, do differ. Because of the abandoning of as it used to be, in Masses for the dead. Fol- GR here it is not possible to include its lowing communion there is silence then a Year B communion antiphons allocated to psalm or hymn may be sung. The Te Deum the “Bread of Life” Sundays (18B to 21B). may be sung on days of special thanksgiv- The use of the GR propers rather than the ing and follows the post-communion prayer. Ordinariate ones, while allowed, is discour- Priest and people together sing the Nicene aged yet there is no restriction regarding Creed. Only Credo I was sung in the Sarum the translation that is to be used for sing- Use. Merbecke, when writing his music for ing. This then does allow the singing from the Ordinary of the Mass according to his the Latin or recent modern English collec- instructions of one note per syllable, chose tions of propers. The complicated method of to adapt Credo I. Probably for singing the selection of the missal’s minor propers and Creed, all the variety needed could come the problems arising from the dual system from Merbecke, possibly Credo I also, and of naming of Sundays between missal and the well-known Credo III.15 lectionary are enough to deter most who would want to introduce other translations. The Problem of the Sanctus Those who have chanters with considerable In the First Prayer Book of Edward VI, of ability would find the easiest way forward 1549, the Sanctus ended with “Osanna in after Trinity Sunday would be to use the the highest” and was followed by “Blessed Trinitytide propers of the Plainchant Grad- is he that cometh in the name of the Lorde: ual.14 The Latin chants of GR could also be Glory to thee, O Lorde in the highest.” used but only after consulting the indexes Merbecke, in his Booke of Common Praier and singing those for a Sunday that does 15 not match that of the lectionary. Hopefully For an accompaniment for an English version the forthcoming revision of Burt’s gradual of Credo I see J. H. Arnold, Plainsong Accom- will provide in one book, all of the chants paniment, (London: Oxford University Press, 1927). Th is has been available for download- ing on the website of Corpus Christi Water- 14Th e Plainchant Gradual, Part II, 2nd edition, ed. shed
Sacred Music | Fall 2016 Volume 143, Number 3 35 Noted of 1550, did set these words yet in his Reformation has left its mark on Catholic Requiem Mass (not so-called) towards the theology, worship, and pastoral practice.”17 end of that same book. He used “Osanna He goes on to say “There is much in this in the highest” to conclude both the Sanc- tradition that remains to be recovered: the tus and the Benedictus. The more Protes- zeal for sacred beauty, parochial experience tant 1552 Book of Common Prayer omitted of the Divine Office, a robust devotional the Benedictus (which implied belief in life, a developed biblical piety, the vast trea- the Real Presence) and finished the Sanc- sure of sacred music.” tus with a sort of coda modified from the By looking now at some of the items 1549 Benedictus: “Glory be to thee, O in the missal we can begin to understand Lord most high.” The 1662 Prayer Book what Anglicanæ Traditiones regarded as the copied the 1552 text. The 1928 proposed liturgical patrimony. For several of these Prayer Book retained the 1552 ending to elements from the missal there is existing the Sanctus but included the Benedictus music and other options will be suggested. in an appendix. Many musical settings of the Sanctus that were written after 1928 A Brief Musical Tour through the Missal then included Benedictus as well as Sanc- The introit does not accompany the entrance tus. In a way, one can see that “Glory be procession as in the modern Roman rite to thee, O Lord Most High” has become but comes at the beginning of Mass, after part of the Anglican tradition, even though the penitential rite (if that happens at the it is a very poor translation of “Hosanna beginning.) Following the conclusion of the in excelsis.” The introduction to the missal introductory prayers, the introit begins as forbids substituting any elements from the the priest ascends the steps to the altar. If Roman Mass in place of the Ordinariate there has been the Asperges, the introit and text. This would suggest that “Hosanna in Kyrie must be long enough to cover the excelsis” and “Hosanna in the highest” are change of vestments as well as the censing proscribed unless permission to use them is of the altar. If there is no incense, there given by the ordinary! can be some awkward waiting while the One may ask: What is meant by the introit is sung although during that time liturgical patrimony? Bishop Lopes indi- the priest can go to the altar and read the cates that the ratio used by the commission introit from the missal, or listen in silence understood Anglican liturgical patrimony to the singing. Long versions of the introit as “that which has nourished the Catholic are not suitable in these situations. It is easy faith throughout the history of the Angli- enough to extend the introit when necessary can tradition and prompted aspirations by adopting the Sarum practice of repeat- towards ecclesial unity.”16 Archbishop Di ing the antiphon between the verse and the Noia is more specific when he appears to Gloria Patri, thus giving three hearings of include the pre-Reformation tradition. “The the antiphon. English tradition both before and after the 17Archbishop J. Augustine Di Noia, O.P., “Di- 16See the fi rst objective in Lopes, Missal for the vine Worship and the Liturgical Vitality of the Ordinariates, 120. Church,” Antiphon, 19, no. 2 (2015), 114.
36 Volume 143, Number 3 Sacred Music | Fall 2016 While the responsorial psalm from the ing is far from ideal. It suggests that during lectionary is permitted, using it puts a heavy this season those who do not normally sing workload on those responsible for preparing the responsorial psalm may choose to do so music. The response translation is neither or may sing the psalm without a response that of the English nor of the American/ using the Coverdale translation. This would Australian lectionaries but is what can be enable either plainsong or Anglican chant described as a more elegant form of the to be sung. There is another approach and English version. The psalm itself uses the that is to retain the usual alleluia melody RSV-CE translation. There is then, no for use between the second reading and the printed repertoire for this music and sing- gospel but to have another alleluia melody ing the lectionary texts requires composing sung between the first two readings. This and duplicating music every week. It is far would provide the much-needed variety. easier to ignore the psalm and opt for the One possible example is seen in Figure 2 missal’s printed, and presumably preferred, (see below). text for the gradual. It comes from the Graduale Simplex and During Eastertide the gradual and is nothing more than the Easter dismissal Alleluia must be split to fit in between the melody. It can be coupled with a tone eight three readings. Those using the English chant. Graduale Simplex uses this alleluia at Gradual or Anglican Use Gradual will be the Easter Vigil, in place of the traditional singing the Alleluia as given in Figure 1 Gregorian melody. (see below). In Advent the response and verses of The rubrical directory rightly recog- Rorate cæli may be sung in place of the introit nizes that singing this alleluia both for the on the fourth Sunday and indeed on any of Gradual and again after the second read- the Sundays of Advent. This is found with
Figure 1
Figure 2
Sacred Music | Fall 2016 Volume 143, Number 3 37 its English text in The New English Hym- few cultural changes. Holy Thursday Night nal18 (Henceforth NEH) at #501. It would respects the diverse backgrounds of congre- be a pity to ignore the Gaudete introit for the gations by providing two places for the Ubi third Sunday of Advent, for it would make caritas. It is given as one of the antiphons little sense to have rose-pink vestments during the foot-washing. It is also one of while ignoring the idea of rejoicing. It seems two alternatives for the offertory (the other that the missal considers it is desirable to being the traditional offertory taken from have the Rorate cæli established in the Ordi- Ps 118:16,17). Apart from its place in The nariate repertoire. One possible solution is Anglican Use Gradual, the music for this text to sing it to accompany the entrance proces- can be found in The Plainchant Gradual.19 sion. One or more verses could be selected There is some flexibility concerning the according to the length of the aisle. This music to be sung during the veneration on Good Friday. Three items are named: the antiphon We worship thy holy Cross with one verse of Ps 67; the reproaches; the hymn Crux fidelis, and “other suitable chants, according to local custom.” The chant for Th e commission decided to the Ecce lignum crucis comes in two versions. Either it is basically a two-note chant with a adopt the modern Roman fall of a minor third or it is the ornate chant very much like that used in the traditional Holy Week rite but with Roman chant books. There is nothing in between; no “simplified” version of the tra- a few cultural changes. ditional chant as can be found in books for the modern Roman Rite. The Exsultet of the Easter Vigil comes in a translation found in The Anglican Mis- sal not in The English Missal. The music is will avoid a silent entrance procession on provided in modern notation in the mis- those Sundays of Advent when the organ is sal along with the direction: “The text of not used as a solo instrument. Similarly, the the Proclamation here given may only be Lent Prose Attende Domine could be used in replaced with that of the Roman Missal.” this manner. The missal indicates it may be All nine readings (seven from the Old used during the distribution of the ashes on Testament plus Epistle and Gospel) are Ash Wednesday, in procession before the to be read wherever this can be done. The introit or elsewhere during the Mass on any psalms are listed by verse numbers. These of the Sundays of Lent. are derived from the approved lectionary. It The commission decided to adopt the is necessary to modify the verse number- modern Roman Holy Week rite but with a ing if the Coverdale psalms are used. For
18Th e New English Hymnal (Norwich: Th e Can- 19Plainchant Gradual, I:95. See the resource sec- terbury Press, 1986). tion on the web page
38 Volume 143, Number 3 Sacred Music | Fall 2016 each psalm or canticle, the response may The quere sange Te Deum with the or- be omitted. In very small congregations the gans goynge, with the belles ryngnge, easiest way to sing the psalms and canticles the most parte alle (London), and that is to omit the response and use Gregorian same nyght had thee (most) parte of psalm tones, or simplified versions of these. London Te Deum, with bone-fyers in The entire congregation could join in if the every strete in London.21 chants and pointing are provided. The litany’s wording is an accurate trans- Divine Worship: The Missalprovides for lation of the Latin with “Holy Michael” the singing of a Te Deum on occasions of etc. instead of “Saint Michael” etc. The lat- ter version is allowed. The Alleluia’s return at the Easter Vigil involves the singing of the traditional chant in the usual manner with the pitch rising It was a practice in at each repeat of the Alleluia. The psalm verses are all to be sung. There is no provi- England, as late as in sion made for a simpler chant. The Vidi aquam “or another appropriate the reign of Elizabeth I, hymn” is sung at the Easter Vigil. Observant musicians will have noticed that congrega- for the crowds to go to St. tions are capable of learning the traditional chant for the Asperges but seem to make lit- Paul’s cathedral to sing a tle effort to join the choir in the singing of the Vidi aquam. There is good reason then, Te Deum after an event if congregational singing is desired, to set the Vidi aquam text to a simple chant, per- of national importance. haps like the mode eight one used by Fr. Samuel Weber in his Proper of the Mass.20 The Easter sequence is also to be sung at the Mass of the Easter Octave. It was a practice in England, as late as in thanksgiving, before the blessing at Mass. the reign of Elizabeth I, for crowds to go to The text is in an appendix but without St. Paul’s cathedral to sing a Te Deum after music. Music for the Te Deum is available an event of national importance such as a in choral settings. A Manual of Plainsong royal birth or a victory at sea. In 1553 when has three chant settings of the text, the first Mary was proclaimed queen there was a called “The Authentic or Ambrosian Mel- procession of noblemen to St. Pauls where: ody,” which also appears with accompani- ment in a publication from SPCK.22 Some 20Fr Samuel Weber O.S.B., Proper of the Mass. 21 Entrance, Off ertory and Communion Antiphons J. G. Nicols, Chronicle of the Grey Friars of Lon- for Sundays and Solemnities (San Francisco: Ig- don (London: Th e Camden Society, 1852), p. 80. natius Press, 2014), p. 972. 22John Dykes Bower and Gerald Knight, A
Sacred Music | Fall 2016 Volume 143, Number 3 39 editors have set the text to psalm tones. J. These were celebrated not at the high altar H. Arnold apologizes for doing this in his but often at a Lady chapel altar or nave introduction to An Easy Modal Te Deum.23 altar that was accessible to the congre- This is a useful work that can be sung with gation. The latter Mass was supported by or without accompaniment and includes guilds, wealthy benefactors, and bequests. some optional four-part sections which can Eamon Duffy explains that many believed also be sung simply using only the soprano that five Masses of the Five Wounds would part to form a descant over the tone. The transfer a soul from Purgatory to Heaven.26 various Anglican psalters provide Anglican While we may not often choose to celebrate chant settings for the Te Deum as does The this Mass, the devotion to the name of Jesus Hymnal 1940 (henceforth H40).24 could well be fostered. The so-called “Rosy The Votive Masses in the missal Sequence” from the Sarum gradual is found include one surprise. As expected there are in NEH #291 where it can also be sung to Masses of Mary but as in the Sarum Mis- the plainsong hymn tune Jesu dulcis memoria. sal, they are set out precisely according to It makes a useful communion hymn. Other the church’s year: Advent to Christmas, hymns that could be helpful include At the Christmas to Candlemas, Candlemas to name of Jesus and even St. Patrick’s Breast- Passiontide, Easter to Pentecost and Pen- plate. In the general hymn sections in NEH tecost to Advent. The Mass that may seem there are more useful “Jesus” hymns includ- a surprise is the Votive Mass of the Five ing the seventeenth-century hymn Jesu, Wounds. In the pre-Reformation English grant me this, I pray, and from the twelfth church there was a daily Lady Mass and century, Jesu, the very thought of thee and O often a weekly or even daily Jesus Mass.25 Jesu, King most wonderful. There is a curi- ous Sarum sequence for the Feast of the Manual of Plainsong for Divine Service, ed. H. Holy Name. It begins Alma chorus Domini B. Briggs and W. H. Frere based on the edition or Now let our voices rehearse our Lord’s dear by J. H. Arnold adapted for the Revised Psalter titles in order. About fifty titles follow. More (Great Britain: Novello,1969); J. H. Arnold, Te practical is the use of the Litany of the Holy Deum. Th e Ambrosian Melody Solemn Tone with Name during Benediction, and for offertory an organ accompaniment (London: SPCK, n.d.) or communion motets, various settings of O 23 Published by Oxford University Press in the bone Jesu and L. J. White’s O Holy Jesu (The series Oxford Church Music. prayer of St Richard of Chichester).27 24Th e Hymnal of the Protestant Episcopal Church in the United States of America 1940. With sup- plemental liturgical index and collection of service Christi.” Th is missal can be downloaded in vari- music 1961 (New York: Th e Church Pension ous formats. Th e Google Book version has only Fund, 1961). See ¶¶ 613–622. the Temporale, the fi rst part. Th e votive masses are not included in that section. 25See Francis Henry Dickson, Missale ad usum 26 insignis et præclara ecclesia Sarum Labore ac studio Eamon Duff y, Th e Stripping of the Altars. Tradi- Francisci Henrici Dickson (1861), col 751*. Here tional Religion in England c. 1400–c. 1580, (New the Mass is called “Missa de Nomine Jesu” but Haven: Yale Unversity Press, 1992), p. 293. it begins “Incipit Offi cium [Sarum for Introit] 27White’s O Holy Jesu is for SS and organ and missæ de quinque vulneribus domini nostri Jesu published by OUP.
40 Volume 143, Number 3 Sacred Music | Fall 2016 Devotion to Mary was very popular in church was built on the rocky mount, and England. Several votive antiphons were later a Celtic monastery. Edward the Con- sung, not at the Lady Mass but later in the fessor built a chapel there and handed it day. Ordinariate congregations could well over to Benedictines of Mont-St-Michel in make an effort to learn the four Marian anti- France. Miracles were reported there and phons. It is current papal practice to sing the pilgrimages became popular in pre-Refor- antiphon proper to the season, straight after mation times. The feast of St. Michael in the the blessing at Mass and before the statue of mountain tomb (in monte tumba) was kept Mary. While this practice could be copied it would skew the balance of the celebration if the Last Gospel were also used after Mass. The real place for the antiphon would be at the conclusion of Evensong. Marian hymns are found in all hymnals Marian hymns are found which claim to be Catholic. Some are like tinsel on the Christmas Tree—pretty but in all hymnals which not of great weight. Others really do offer good Catholic theology. Three to consider claim to be Catholic. are versions of the office hymnAve maris stella, and for the Immaculate Conception, Holy Light on Earth’s Horizon, and Dante’s Virgin yet a Mother/Gentle Virgin Mother which is ideal for Mary the Mother of God. This hymn remains copyright-protected on October 16 and was important enough both in the Knox and Petti versions. The to be given a troped sequence in the Sarum French carol tune used for Now the Green Missal. From a respond for Matins of that Blade Riseth, (NOËL NOUVELET) is an day, Archangelo Michaelis, the Tudor com- excellent match for these words. As in the poser John Taverner took his cantus firmus case of the Holy Name, the Litany of Our for his six-voiced large-scale setting Missa Lady could well be used at Benediction to O Michael.28 The usual feast of September foster devotion to Mary. 29 was also kept throughout England. In There is a votive Mass of the Angels but the Ordinariate calendar, as in the current St. Michael seems to have been overlooked Roman calendar, St. Michael is a feast and since the Reformation. Church dedications and surviving iconography give some idea 28 of his earlier importance. St. Michael fea- Th e title O Michael may come from “Vos. O Michael” in the Sarum sequence for September tured prominently in the Sarum liturgy. The 29. (Do ye, O Michael, prince of heaven . . . and apparition of St. Michael on St. Michael’s Gabriel . . . and Raphael . . . bear us in Paradise Mount in Cornwall occurred in 495 AD, to rest.) Denis Stevens suspects that it stood five years after the first apparition on Monte for O[ctober feast of St] Michael. See Denis Gargano and a century before St. Augus- Stevens, Tudor Church Music (London: Faber, tine of Canterbury arrived in England. A 1961), p. 32.
Sacred Music | Fall 2016 Volume 143, Number 3 41 so is now displaced when September 29 of them musical, that can underline the falls on Sunday. Those wanting to retain a heritage of the pre-Reformation English little of this history and the devotion of the Church. In many cases they involve the English people to St. Michael could have a use of English chant which is an important sung Mass on September 29 and on Sun- part of the heritage of the Ordinariate, or at days at about this time could sing hymns least of that part of it which comes from the about St. Michael and the angels. Athel- Anglo-Catholicism of pre-Conciliar days. stan Riley’s translation, Christ the fair glory A major feature of the old liturgy at of the holy angels, is useful,29 as is the office Salisbury cathedral was the lengthy proces- hymn Tibi Christe, splendor Patris (Thee, O sion before Sunday Mass began. It involved Christ, the Father’s splendor).30 the sprinkling of altars with holy water. By opting for use of the Asperges/Vidi aquam on Finding the Ordinariate’s Musical Sundays there can be a conscious link with Heritage: the past. The great length of most Tudor pre-Ref- 1. Pre-Reformation Music ormation mass settings makes them unsuit- In his introduction to The Use of Salisbury. able for use within the modern liturgy. There The Ordinary of the Mass, Nick Sandon men- are a few exceptions such as the Masses of tions that there was a strong movement William Byrd. A competent choir could among English Catholics for the restoration sing music from Byrd’s Gradualia. of the Use of Salisbury as the basic rite of The collection of Sarum sequences has the English Roman Catholic Church, but not been taken up into the Ordinariate lit- after much controversy it was decided that urgy (apart from those already in the Roman Roman customs would prevail. He laments liturgy).32 The late László Dobszay lamented that “both the English and the Roman the loss of some of the many sequences at the churches have for superficial and transient time of the Council of Trent. advantages abandoned modes of worship whose profound content and time-honoured Fortunately the “Tridentine” Missal pre- and intricate ceremony readily inspired a served the Sequences of Easter, Pente- sense of devotion in the participant just as cost, Corpus Christi, and of the Requiem they demanded it of him.”31 Mass, yet a set of beautiful and doctrin- As we have seen those who put together the Ordinariate Use found that returning 32For the sequences in English and with plain- to the Use of Sarum was impractical. There song notation see Hymn-Melodies for the Whole are, however, several little things, many Year from the Sarum Antiphonal and Other An- cient English Sources together with Sequences for the Principal Seasons & Festivals (London: Th e 29See NEH #190. Plainsong and Mediæval Music Society,1920). 30 English Hymnal #241. More sequences, but without music, are found 31Th e Use of Salisbury. Th e Ordinary of the Mass, in Charles Buchanan Pearson, Sequences from the LCM1, ed. Nick Sandon, (Devon: Antico Edi- Sarum Missal with English Translations (Lon- tion, 1984), p. vi. Th is is now available through don: 1871). Th is is now available as a Google RSCM Publications. Book.
42 Volume 143, Number 3 Sacred Music | Fall 2016 ally rich Sequences for solemnities of days, or to have the procession at the end of equal importance (Nativity, Epiphany, Evensong. These practices could be revived. Ascension, Marian feasts) was rejected.33 Sandon’s The Use of Salisbury contains nine tropes for the Kyries. While English The Ordinariate missal has also chosen to translations can be found in the various ignore these other sequences. Sarum had English translations of the Sarum Mis- for example, Fulgens præclara on Easter Day sal, they are not translations for singing. with Victimae paschali not appearing until It is unlikely that troped Kyries would be the Friday of Easter Week. Fulgens præclara acceptable in place of the Kyrie at Mass yet is mirrored in the thirteen-verse hymn there could be an occasional use of some of Light’s glittering morn bedecks the sky which these as an offertory motet. was translated by J. M. Neale and can be The Sarum office hymns are a treasure sung (in part!) to the well-known tune Lasst to be retained. Many of them can be found 34 uns erfreuen. in NEH and H40. The Wantage collection NEH has the Advent sequence Salus of Sarum tunes and the Winfred Doug- aeterna at #502, the Christmas sequence las hymnal have already been mentioned. Lætabundus at #505, and at #522 Jerusalem It is a worthwhile exercise to learn to sing et Sion filiæ for a dedication festival. That for the plainsong tunes traditionally associ- All Saints is #523, Sponsa Christi. Many of ated with these hymns. The organ reper- these could be used as motets. toire contains many plainsong tunes based The processional hymn Salva festa dies had one chant but several sets of words for on them, enabling the organist to assist in the various feast days. Today we have the the recalling of these melodies. uplifting tune by Ralph Vaughan Williams The “Great O” antiphons on the Magni- which can be used as a processional hymn. ficat began a day earlier in the English Uses The Sarum processions took place before and the last of the collection for Decem- Mass. Anglican practice has been to begin ber 23, was “O Virgin of virgins, how shall Mass with a procession on the major feast this be.” The Ordinariate Missal has opted instead for the Roman practice beginning 33László Dobszay, Th e Bugnini-Liturgy and the with O Sapientia on December 17. These Reform of the Reform, Musicæ Sacræ Meletem- antiphons are also used in their full form as ata, 5 (Front Royal, Va.: Catholic Church Music the pre-gospel acclamations on those days. Associates ed. on behalf of the Church Music The music is found both in NEH and inThe Association of America 2003), pp. 162–163. Monastic Diurnal Noted.35 Th is is available through the web page
Sacred Music | Fall 2016 Volume 143, Number 3 43 Sarum Missal is the Sanctus.36 In spite of retained. It is best sung in four-part har- this, it would be useful to have de Angelis mony but where resources are very limited it in each parish’s repertoire so that this can can be sung in unison with organ accompa- be music shared at Masses when non-Ordi- niment. The Ordinariate favors the Cover- nariate people attend. dale Psalter for which this style of chanting The Ordinariate’s Easter Dismissal is was written. that of the Roman Missal. In the Sarum There is not space here to discuss the Missal we find the following dismissal offices. Besides the well-known Morn- for the vigils of Easter and Pentecost. It is ing and Evening Prayer there were also the almost identical to the melody of the Eas- monastic offices used in the Anglican reli- ter Vigil’s alleluia in the Roman rite. It has gious communities. no alleluias attached to it and so could be Numerous Mass Ordinary settings used from after the Easter Octave until (“Communion Services”) from the first half the Sunday before Pentecost. This is sim- of the twentieth century can be given a new ply another Sarum borrowing for those who lease of life in the Ordinariate. The proposed feel inclined to use it.37 Prayer Book of 1928 brought back the Bene- dictus and tended to separate the Kyrie from the Decalogue. This means that most of the useful Mass settings postdate 1928. The collection of English-language motets is also impressive. Some of the earli- Finding the Ordinariate’s Musical est have texts generally based on the liturgy Heritage: or scriptures and so conform to the require- ments of Sacrosanctum Concilium ¶121.38 2. Post-Reformation Music Later “anthems” should be selected according The two most important innovations from to their suitability for the desired occasion. this period are Anglican chant and the two Anglican offices of Matins and Evensong. Finding the Ordinariate’s Musical There is also an extensive hymn repertoire Heritage: including translations of ancient Latin and Greek hymns. 3. The Revival of Plainchant Anglican chant is a treasure to be In the wake of the Oxford Movement there was much interest shown in plainsong, although its introduction had begun earlier. 36See Sandon, Use of Salisbury, I, 76 and also W. J. H. Arnold mentions Richard Redhead, H. Frere, Graduale Sarisburiense: A Reproduction in Facsimile of a Manuscript of the Th irteenth Cen- organist of what became the Church of All tury, (London: Plainsong and Mediæval Mu- Saints’, Margaret Street, publishing in the sic Society, 1894, reprint, Farnborough: Gregg Press, 1966) plate 15+ from the fi nal group of 38See, for example, A Sixteenth-Century Anthem plates in the book. Book, 4th edition (London: Oxford University 37Frere, Graduale, 19+. Press, 1973).
44 Volume 143, Number 3 Sacred Music | Fall 2016 1840s his Laudes Diurnæ.39 Francis Burgess, who was Musical Direc- The Anglican plainsong collections tor of the Gregorian Association from 1910 include psalters, mass ordinaries and prop- to 1948, edited a collection of twenty-seven ers, antiphonals, books of fauxbourdons for very small booklets in a series called Litur- canticles and psalm tones, office hymns, gical Choir Books. These include Vespers of Holy Week music, and more. Most of this the Blessed Sacrament, of the Dead, and of is still of use with the Ordinariate because, the Blessed Virgin Mary. There are also the as Bishop Steven Lopes points out “Texts rites for Candlemas, Ash Wednesday, Palm of the chants (Introit, Gradual, Alleluia, Sunday, Maundy Thursday, and Good Fri- Offertory, Communion) are taken from the day (including the entire St. John Passion existing translations of the Graduale Roma- with Victoria’s polyphonic crowd parts). num, as common to The English Missal, These use modern notation and include The Anglican Missal, and The Anglican Use accompaniments. The copies found in choir Gradual.”40 libraries are generally in a poor state because Most notable amongst the contributors the covers used even thinner paper than the to the English-text plainsong arrangements contents. Not all are useful but with some were J. H. Arnold who was the plainsong musical editing and re-publishing as a sin- editor of the English Hymnal (1933) and gle volume they could provide an important author of the invaluable Plainsong Accom- resource for choirs. paniment,41 Charles Winfred Douglas who Anglo-Catholics used to live in a cul- edited H40 and produced the St. Dunstan ture of obedience to the church and to her Kyriale and also the St. Dunstan Hymnal and individual priests. These people are unlikely the Monastic Diurnal Noted, G. H. Palmer now to be looking for options to avoid who produced The Plainchant Gradual, the using the sung Proper of the Mass. If there Sisters of the Convent of S. Mary the Vir- are any who have no desire to sing chant, gin at Wantage who printed that Plainchant they could make use of the statement in the Gradual of G. H. Palmer and many other rubrical directory of the missal: “In addi- books using “square note” notation, and the tion to, or in place of, the Introit, Offer- Plainsong and Mediæval Music Society. tory, and Communion, an appropriate hymn may also be sung.” Some of us would regard 39 Richard Redhead, Laudes Diurnæ: Th e Psalter this as an unfortunate statement. It would and Canticles Set and Pointed to Gregorian Tones, allow five hymns at Mass: at the entrance, with a Preface on Antiphonal Chanting by Rev. the offertory, during communion, at the end Frederick Oakeley (London: J. Toovey, 1943).
Sacred Music | Fall 2016 Volume 143, Number 3 45 the solemn form of the psalm tones, as found learnt the melodies by singing them with in The English Gradual, the simple form could English words they could introduce the be managed more easily by the congregation Latin at their own convenience. for the remaining parts of the propers. The long-term goal for singing the Ordi- nary of the Mass in Latin could be Missa de The Use of Latin Angelis for feast days and Christmastide and For about forty-five years after the Second Eastertide, and Orbis Factor for the Sundays Vatican Council, there was not much Latin throughout the year. For Advent and Lent being sung in Catholic churches in the the usual Roman Mass XVII with its mode English-speaking countries. The absence six Kyrie would be useful or even merely its of Latin in the Ordinariate tradition lasted Kyrie with an English-chant Sanctus and much longer, more like 450 years. It is Agnus Dei. important to reintroduce Latin but this must happen gradually. The hatred once directed against those who tried to use Latin in the Anglican church is no longer there, for major Angli- Th e hatred once directed can choirs have been producing recordings of Latin choral music for many years. Even against those who tried to so, many who have recently arrived in the Catholic Church have no knowledge of use Latin in the Anglican Latin at all. GIRM at ¶41 asks for all to know how to church is no longer there. sing in Latin the Creed and the Lord’s Prayer while Musicam Sacram at ¶47 wants all to be able to sing in Latin “those parts of the Ordi- nary of the Mass which pertain to them.” If Ordinariate groups need assistance Hymns and Hymnals in learning Latin pronunciation and the Normally one, two, or three hymns would very basic musical repertoire, local Latin be enough for Mass. The Ordinariate tra- Mass choirs or cathedral choirs are likely dition includes singing the offices and to be willing to assist. Probably learning so office hymns for all seasons and spe- the Sursum corda, Our Father and Credo cial feast days are needed. Longer proces- III would be a first step, and after that the sional hymns are needed, too. While there Missa de Angelis. Few Ordinariate mem- is a movement towards separating Gradual bers would know the Marian antiphons. It from Hymnal in modern Roman music col- may be wise to present them with musical lections, former Anglican congregations are notation accompanied by both English and happy to sing the sequences, and the proses Latin words.43 When congregations have (Rorate cæli and Attende Domine), provided that they have the music in front of them. A 43Winfred Douglas has good English-language hymnal must then have some of these items settings in Th e Monastic Diurnal Noted. as well as hymns.
46 Volume 143, Number 3 Sacred Music | Fall 2016 In England and Australia, the English He urged the members to find that balance Hymnal, and since 1986, NEH were used by between distinctiveness and identity. Does most Anglicans who considered themselves this mean that for some hymns the Roman to be Anglo-Catholics. The North Ameri- variant is preferable? cans used H40 which, although well-sup- Two tunes illustrate this point. Because plied with office hymns, lacks some of the of the late date of its composition, Adoro te chants found in NEH. While some of the devote (NEH #308) does not appear in the recent traditional Roman hymnals could Wantage collection of Sarum melodies.45 provide a good basis for an Ordinariate hym- Winfred Douglas calls the tune “Bendic- nal, none is adequate in its present form.44 A revision of NEH will be called the Revised English Hymnal and is due for release in June 2017. Some congregations will want to con- tinue to use weekly hymn sheets while they Some of the recent wait to see what this hymnal contains. The melodies in the Sarum books often traditional Roman differ from those in the older Roman books. Does the Ordinariate say “Our patrimony hymnals could provide comes from the Sarum Use” and reject the melodies generally found in modern Cath- a good basis for an olic hymnals and known by those Ordinari- ate members who have been in the Catholic Ordinariate hymnal, Church for a long time? Is there room for compromise? Should the Ordinariate heed none is adequate in its the words of Cardinal Nichols of Westmin- ster when he spoke during the visit of the present form. three Ordinaries to London early in 2015:
It is something of a balancing act, be- tween, on the one hand, showing the tine 13TH Cent.”46 Douglas uses the Roman deep desire of Pope Benedict to appreci- variant which is not that used in NEH. ate the distinctiveness of many aspects of More complicated is Pange Lingua. This is the Anglican patrimony, which are con- 45 sistent and expressive of Catholic faith, Hymn Melodies for the Whole Year from the Sa- rum Antiphoner and other English Sources, (Wan- and yet, on the other hand, to show how tage: Saint Mary’s Press) 1952, 1970. Th e Wan- it is very much an organic part of the vis- tage press also published this in 1918, together ible Catholic [Church] centered around with sequences, for the Plainsong and Mediæval the Holy Father.” Music Society. 46Th e Saint Dunstan Hymnal: Plainsong Hymns 44Th ree useful hymnals, in alphabetical order, are with Accompaniments, ed. Sisters of Saint Mary, Th e Adoremus Hymnal, the Lumen Christi Hym- Kenosha, Wisconsin (New York: H. W. Gray nal, and the Pope Francis Hymnal. 1968), ¶ 92.
Sacred Music | Fall 2016 Volume 143, Number 3 47 in the Sarum collection (#36 in the Wan- country once called Mary’s Dowry. Much of tage collection). The Sarum melody is found this culture disappeared from Catholicism in NEH #268. Most Catholics are familiar when the Reformation brought about the with the version used in the older Vatican demise of the Sarum Use. The Ordinariate editions. Recent chant books, such as Antiph- also brings to the church its post-Reforma- onale Romanum II,47 take into account recent tion tradition, its English spirituality, and research. At p. 414 it uses yet another version, its own form of parish life. one with a quilisma in the first line, but it There are probably still some Anglicans provides the better known melody at p. 773. who want to come to the Catholic Church There is a need for a locally-produced but whose arrival is delayed by family hos- Ordinariate Book of Chant for those mem- tility or, in the case of clergy, by financial bers of the congregation who would not be hardship until they are of pensionable age. confused by having yet another book in their hands. This should contain those melodies for people’s chants that are printed in the mis- Th ere is a need for sal, a setting of the Te Deum and, for those who use them, the Asperges and Vidi Aquam. a locally-produced Some parishes may like to include the can- ticles and verses and responses for Evening Ordinariate Book of Prayer and the Marian antiphons. A separate Holy Week booklet may also be helpful. Chant. Ordinariate parishes extend across exten- sive geographical areas making it impossible to have meetings of musicians. If a choir in the Ordinariate or in the wider Catholic com- It is unlikely that there will be other large munity were to produce a CD of the missal’s groups who will make the journey now. In music for Holy Week, this would be of great North America, where congregations have assistance to some of the smaller parishes. come from the so-called Anglican Use, the Ordinariate is flourishing, while in some The Future other places tiny fledgling congregations Although the Ordinariates have been erected are working with patience to achieve those principally to facilitate the movement of standards of liturgy that they desire. Anglicans into the Catholic Church, this is When the Roman Missal was first pub- not their only function. They are also there lished in English, the chants to accompany to bring into the Catholic Church the trea- it did not exist and some musical disasters sures of English liturgy, treasures from that followed. Ordinariate congregations are better catered for because their chants pre- ceded their missal. The challenges abound 47Antiphonale Romanum, II. Ad Vesperas in Do- when searching for the best music possible. minicis et Festis (Solesmes: Abbaye Saint-Pierre, The rewards will be great both for the Ordi- 2009); also found in Liber Hymnarius, Antipho- nale Romanum, Tomus Alter (Solesmes: Abbaye nariate and ultimately, for the wider Catho- Saint-Pierre, 1983), pp. 110, 112 lic Church.
48 Volume 143, Number 3 Sacred Music | Fall 2016 Repertory A Commentary on the Traditional Proper Chants of Holy Thursday An historical context and discussion of the theology of the texts and their musical treatment by Ted Krasnicki
he Holy Thursday Mass of the traditional temporale has any shared prop- T Last Supper, in cœna Domini, ers. The only unique chant is the commu- is one of the most solemn oc- nion antiphon Dominus Jesus (example 4) casions in the liturgical year having been which centers on the specific gospel theme observed since ancient Christian times, as of this observance. In this essay, I would already attested to at the Council of Car- like to examine why and under what cir- thage (397).1 What is quite unusual for such cumstances these four traditional Grego- a major solemn festival is that, with the ex- rian propers, particularly the shared ones, ception of one, all its traditional or pre-1974 were assigned to this great festival. First, Gregorian propers—the introit Nos Autem I will elucidate the historical context that (example 1), the gradual Christus Factus est framed the theology behind the assignment (example 2), and the offertoryDextera Do- of the texts. Then, I will examine the mu- mine (example 3) are shared with other ob- sical expertise that the Franks gave to each servances.2 No other major festival in the one of them, discussing how the melodies support the prevalent theology of the Last 1Cf. Louis Duchesne, Christian Worship: Its Or- Supper. Particular attention will be paid to igin and Evolution (London: SPCK, 1908), pp. 247–8. Kirby, O. Cist., Th e Proper Chants of the Paschal 2Th is essay partly compliments Dom Kirby’s Triduum In the Graduale Romanum: A Study In study on the Holy Th ursday propers in the mod- Liturgical Th eology, (Ph.D. Dissertation, Oxford ern 1974 Roman Gradual, which diff er signifi - Foundation House, 2002), pp. 152–212
Ted Krasnicki received his Ph.D. from the Université de Montréal and studied Gregorian chant under the late Père Clément Morin. His musical services for the Latin Mass extend from Montre- al to Northern Vermont.
Sacred Music | Fall 2016 Volume 143, Number 3 49 the theological suitability of the propers for and had no synaxis, although possibly being this ancient observance which continue to preceded by a ceremony reconciling peni- be used today in the usus antiquor.3 tents instead.7 It also included a ceremony for the blessing of the oils before commu- The Roman Context nion. This Mass was attended by the Roman The Masses on Holy Thursday have an tituli who went back to their dioceses with 4 unusual past because many important cen- the blessed oils to celebrate their Masses of tres of Christianity separated the synaxis the Last Supper later in the day, also with- from the Eucharist proper on this occasion, out a synaxis. They would start at the offer- a very ancient practice that goes back to at tory right after the gifts had been placed on least St. Justin martyr in the mid second the altar, and just before the Sursum corda.8 century.5 The existence of a Holy Thurs- Dom Gregory Dix thought that the Holy day Eucharist without a synaxis, or liturgy Thursday Masses in Rome did not have a of the word, has been attested to in Arme- synaxis for so long because this Mass was nian documents of fifth-century Jerusa- considered to be the “typical” Eucharist, lem where an evening oblation takes place in the chapel of Golgotha at the Church of having “a lingering tradition of what con- 9 the Holy Sepulchre, the traditional location stituted the rite of the Eucharist proper.” of Jesus’ crucifixion.6 In the eighth century, In contrast, St. Augustine in the fourth there was still only one papal Mass on this century mentioned the existence of a dou- day and it was at the Lateran around noon ble Eucharist on that day, in the morning and in the evening.10 Furthermore, there 3Th e ceremony of the washing of the feet had is evidence that at least some Holy Thurs- been performed over the centuries outside of day Masses in the churches around the out- Mass until the reforms for Holy Week in 1955. skirts of Rome had had a synaxis for some Because the chants in this ceremony were orig- time. The Capuan lectionary from the mid inally not assigned to this Holy Th ursday Mass, they are not being examined here. sixth century, for instance, has different 4My discussion in this section casts doubt on 7 Adrien Nocent’s assertion that “In the Roman See Philip J. Goddard, Festa Paschalia (Leomin- Church down to the seventh century, Holy ster: Gracewig Publishing, 2011), pp. 135–136. Th ursday was simply the day for the reconcili- 8Cf. Goddard, Festa Paschalia, 100. ation of penitents; there was no trace of a com- 9Dix, Shape, 441; considering that Good Friday memoration of the Last Supper”; see Adrien had the converse, a synaxis but no sacrifi ce, both Nocent, Th e Liturgical Year, vol. 3, Th e Paschal were type liturgies in a sense complementing Triduum, Th e Easter Season, tr. Matthew O’Con- each other to commemorate the one sacrifi ce of nell (Collegeville: Th e Liturgical Press, 1977), p. Christ on the Cross. 30. 10Augustine, Epistola, LIV, 7(9) (Patrologia Lati- 5 Cf. Dom Gregory Dix, Th e Shape of the Liturgy na 33, 204); for an English translation see Th e (London: Dacre Press, 1945), p. 36. Works of Saint Augustine: A Translation for the 6Cf. Th omas J. Talley, Th e Origins Of the Litur- 21st Century, Part 2, Volume 1, Letters 1–99, tr. gical Year (Collegeville: Th e Liturgical Press, Roland J. Teske, (Hyde Park, N.Y.: New City 1991), pp. 44–46. Press, 2001), p. 214.
50 Volume 143, Number 3 Sacred Music | Fall 2016 readings for a morning and evening Mass.11 be related to there having been no Masses Roman churches began adopting this prac- on first five Thursdays in Lent until Greg- tice sometime during the eighth century,12 ory II (715–731) introduced them.18 In but it was not uniform. Ordines Romani XVI view of the chronological organization of and XVII, written for a monastic commu- the first recension of Gregory’s biography nity in the late eighth century, for instance, in the Liber Pontificalis that lists his intro- still did not have a synaxis for the Holy duction of these Masses immediately after Thursday Mass.13 On the other hand, the the Frankish victory over the Moors in earliest known Roman lectionary from the 721, McKinnon estimates this to be around early eighth century,14 the Comes of Wurz- 722.19 The consensus of most chant histori- burg, already specifies an epistle for Holy ans is that these propers were mainly bor- Thursday.15 rowed from the post-Pentecostal Sundays, The properization of the Holy Thurs- and I agree since only the Thursdays in day Papal Mass could not occur until it Lent have mostly shared propers. It is quite had received a synaxis.16 The task of assign- plausible that Gregory II also extended his ing chant propers for this important occa- reform of the Lenten Thursdays to intro- sion would have likely fallen to the Roman duce the synaxis for the Holy Thursday eve- Schola Cantorum who resided at the Lat- ning Mass along with its proper chants. eran. A description of a Papal Mass by However, I would not dismiss the possibil- a Frankish observer in Rome during the ity that this was done a bit later during the first half of the eighth century mentions time of Gregory III (731–741), the imme- parts of a fore-Mass, suggesting a recently diate successor to Gregory II. Pope Greg- introduced synaxis.17 Its introduction may ory III was also liturgically minded, who, according to Gevaert, may have ordered a 11 Goddard, Festa Paschalia, 133. compilation of Mass chants, a precursor to 12Ibid., 135. our Roman Gradual.20 More importantly, 13Ibid., 137. 14Cf. Eric Palazzo, A History of Liturgical Books: chalia, 137; this is Andrieu’s dating for this Ordo from the Beginning to the Th irteenth Century, tr. in Palazzo, History, 179. Madelaine Beaumont (Collegeville: Th e Litur- 18“Hic quadragesimali tempore ut quintas ferias gical Press, 1998), pp. 99–100. (ieiunium atque) missarum cælebritus fi eret in 15Germain Morin, “Le plus ancien Comes ou ecclesias, quod non agebatur, instituit,” Louis lectionnaire de l’église romaine,” Revue Bénédic- Duchesne, Le Liber Pontifi calis: Texte, Introduc- tine, 27 (1910), 54. tion et Commentaire (Paris: Ernest Th orin, 1886), 16I borrow the term “properization” from James Tome 1, p. 402; the dates given for this and all McKinnon for whom it means “. . . the pro- other popes in this essay are of their papacy. cess by which a body of proper liturgical chant 19James McKinnon, Th e Advent Project: Th e comes into being”; James McKinnon, “Prope- Later-Seventh-Century Creation of the Roman risation: Th e Roman Mass,” in Cantus Planus, Mass Proper (Berkeley: University of California Papers Read at the Fifth Meeting, Eger, Hungary, Press, 2000), p. 133. September, 1993 (Budapest, 1994), p. 15. 20François-Auguste Gevaert, Les Origines du 17Ordo XXIII as cited in Goddard, Festa Pas- Chant Liturgique de l’Église Latine (Gand:
Sacred Music | Fall 2016 Volume 143, Number 3 51 he founded a congregation of monks adja- cent to the Lateran.21 These monks used the Lateran Basilica day and night for their Divine Office and so would have an influ- ence on the papal liturgy there. Some of these monks would have come from monas- teries outside of Rome that did have a syn- axis on Holy Thursday and so would have impressed the need for one at the papal liturgy.22 It goes without saying that the major dif- would have been readily adopted by the ficulty in addressing the origin of the Holy Franks. The second factor is that this selec- Thursday proper chants is the lack of doc- tion of proper chants for Holy Thursday can umented sources from the relevant period. already be found in the late eighth century We know that midway in the eighth cen- Frankish antiphoner of Mont-Blandin, as tury there began a melding of Roman well as in most of the other manuscripts of and Frankish chant traditions. The chant Hesbert’s Sextuplex.23 Their widespread use sources we have, however, are all Frankish by this time implies their early adoption by compilations that date from the late eighth the Franks, suggesting that they adopted century at the earliest. We have few ways the original Roman texts. of determining which chant texts are origi- I begin my historical examination of nally Roman and which are Frankish inclu- these individual Gregorian propers by not- sions. But in terms of likelihood, there are ing that the introit and gradual for Holy two factors to consider. The first is that Thursday are also found on the feasts of Charlemagne was unambiguous in having the Cross. These are the Invention (Find- the Frankish empire adopt the Roman lit- ing) of the Cross (May 3) and the Exalta- urgy if for no other reason than as a tool tion of the Cross (September 14), both of in unifying his kingdom. Setting aside the which had already been commemorated issue of chant melodies, the proper chant at Rome since the seventh century.24 Both texts of Holy Thursday would have been also had already had their individual Mass well established at Rome by this time and text set by the end of the seventh century.25
Librairie Génerale de Ad. Hoste, Éditeur, 23Cf. Dom René-Jean Hésbert, ed., Antiphonale 1890), p. 42. Missarum Sextuplex (Brussels: Vromant, 1935; 21Cf. McKinnon, Advent Project, 83, 373. reprint, Rome: Herder, 1967), p. 92. 24 22Th e Evening Holy Th ursday Mass at Rome ac- Whereas the Feast of the Invention of the quiring a synaxis in the eighth century answers Cross commemorated the fi nding of the Holy McKinnon’s puzzle of why “the surprising ten- Cross in Jerusalem by St. Helena, the Feast of dency of this solemn occasion to borrow chants, the Exaltation of the Cross commemorated its is surely an indication of a very late adoption of recovery and return to Jerusalem in 629, after it its Mass Proper (something I remain unable to had fallen into the hands of the Persians. explain),” ibid., 366. 25Louis van Tongeren, Exaltation of the Cross:
52 Volume 143, Number 3 Sacred Music | Fall 2016 Because the earliest mention in the Roman of Pope Sergius I (687–701).30 This time lectionaries of the latter feast refers to the period fits in with McKinnon’s dating of readings of the former feast, Louis Van the non-psalmic chants as well as with his Tongeren thinks that the former is the older well-argued contention that both the tem- feast at Rome.26 Furthermore, the texts of porale and sanctorale would have been com- the introit and gradual are non-psalmic pleted during Sergius’ time.31 That would being taken from the New Testament and strongly suggest that the borrowing was with considerable textual adjustment, two indeed the other way around, that is to say, key features which for McKinnon are indi- that the Holy Thursday introit and gradual cations of their relatively late date of com- in the temporale were borrowed from the position by the Roman Schola Cantorum, feasts of the Cross in the sanctorale. which he convincingly estimates to be in It is noteworthy that the introit Nos the later part of the seventh century.27 autem (Example 1) is also shared with the Complicating this picture, though, is Tuesday Mass of Holy Week in the tem- that only the later manuscripts of Hes- porale as found in the earliest Graduals of bert’s sextuplex have these two chants for Hesbert’s Sextuplex. Although it has often the feasts of the Cross. The earlier ones do been argued that Holy Thursday bor- not have these feasts. The prevailing view rowed its introit from this Tuesday because has been that the feasts of the Cross bor- the latter is the older usage, that the gos- rowed them from Holy Thursday. This may pel for that Tuesday is younger than the be suggested by their late arrival into the one for Holy Thursday suggests differently. Frankish empire. But the practice at Rome During the seventh century, the Tuesday tells a different story. Indeed, Tongeren has in Holy Week still had the Gospel of St. recently revisited this issue in some detail.28 John 13: 1–32, which included the washing He points out that, because at Rome the of the disciples’ feet.32 When Holy Thurs- feasts of the Cross are older than the intro- day acquired a synaxis roughly a hundred duction of a synaxis for Holy Thursday, years later, there was an overlap of gospels “Maundy Thursday could well be indebted during Holy Week. Eventually by the year to the feasts of the Cross.”29 I agree, and 800, the old Tuesday Johannine gospel had would further add that the first reference to been replaced with the Passion according a liturgical celebration of the feast of Exal- to St. Mark to remove the duplication.33 It tation of Cross in the West can be found in was likely at this point that an introit was the Liber Pontificalisunder the pontificate assigned that alluded to the Passion narra- tive on this Tuesday. Like Holy Thursday, Toward the Origins of the Feast of the Cross and the preceding Tuesday also borrowed its the Meaning of the Cross in Early Medieval Litur- gy (Leuven: Peeters, 2000), pp. 160–1. 30Duchesne, Liber Pontifi calis, 374 (note 29 on 26Cf. ibid., 4. p. 378). 27McKinnon, Advent Project, 362ff . 31McKinnon, Advent Project, 12. 28Tongeren, Exaltation, 158. 32Goddard, Festa Paschalia, 101. 29Ibid., 161. 33Ibid.
Sacred Music | Fall 2016 Volume 143, Number 3 53 introit from the feasts of the Cross because ish musical artists during the ninth cen- of its Pauline text on the glory of the Cross. tury would have readily seen the association Holy Thursday had borrowed this introit of the Cross of Christ with St. Sylvester earlier because of its important relation to thereby using the melody of Christus fac- the epistle, as we will see presently. The tus est as a reminder of this. I suspect this usage of this introit for the feasts of the was the way these musical artists also paid Cross in the sanctorale, in other words, pre- their tribute to an important saint for them dates its usage in the temporale. because he was the one who had estab- The melody of the gradualChristus fac- lished a school of chant at Rome according tus est (Example 2) is also shared with the to countless legends.35 I believe the Franks gradual Ecce sacerdos Magnus for the feast of would have re-worked the Roman melodies St. Sylvester as well as with Exiit for the they inherited for the more important festi- Feast of St. John Apostle and Evangelist. vals first. Because of the remarkable use of I have serious doubts about the widespread melody on the words of Christus factus est, view that the melody of Christus factus est as we will see presently, I believe that grad- is a contrafactum of Ecce sacerdos. Holy ual Exiit for the Feast of St. John Apos- Thursday would have been more import- tle and Evangelist is also a contrafactum. ant for the Franks than the feast of St. Syl- The text ofExiit is centonized from the vester and so would have been given more gospel in which Jesus asks Peter to follow attention. As mentioned, its use on Holy him; using the melody of Christus factus est Thursday occurs in all six manuscripts of is a reminder that Peter also followed Jesus Hesbert’s Sextuplex attesting to its wide- to the Cross, albeit being crucified upside spread and, by implication, early use while down. Nor does the melody of Christus fac- it is missing for St. Sylvester in the Gradual tus est seem to be taken from the Divine of Rheinau. Rather, I believe that Ecce sac- Office as some would suggest.36 In the erdos is a contrafactum of Christus factus est. Divine Office, this pericope occurs consis- There is certainly an allegorical connection of the sacerdos magnus in the former with and the Formation of Gregorian Chant: Al- Christ as high priest at the Last Supper, but legory and Symbolism,” in Chant and Culture: the historical implications of the feast of St. Proceedings of the Conference of the Gregorian Sylvester suggest a stronger converse alle- Institute of Canada, August 8, 2013 (Lions Bay, gorical connection. It was during the pon- B.C.: Th e Institute of Mediaeval Music, 2014), tificate of Pope St. Sylvester (313–335) that pp. 41–47. St. Helena found the True Cross, and the 35Th e legend persists even today: for instance, Holy Cross Basilica was built in Rome to the online Britannica Encyclopaedia entry un- house its relics. As I have explained else- der “schola cantorum (medieval)” continues to where, allegory and symbolism in the arts, speak of Pope St. Sylvester as establishing the including music, were important means schola cantorum in Rome
54 Volume 143, Number 3 Sacred Music | Fall 2016 tently from at least the late ninth century of Edessa of leprosy which has a relation to onwards as an Antiphon verse for Lauds on Dextera Domini.41 That is to say, the gos- Holy Saturday but with a completely differ- pel for the third Sunday after the Epiphany ent melody in Mode 2.37 speaks of Jesus curing a leper. Jesus cured The offertory Dextera Domine (Example the leper by raising his hand, perhaps his 3) is also shared with other dates: the third right hand, to perform the miracle. It was Sunday after the Epiphany and the Tuesday another epiphany of his divine nature. In of the third week in Lent.38 Naming the this original assignment, we can hear the source for this offertory is more problematic, voice of the leper who went to the temple but it is not a crucial issue as we will see. Its to thank and praise God for his cure using psalmic text suggests that it is the oldest of the words of this psalm, offering himself as all the Holy Thursday propers. For the feasts a sacrifice in thanksgiving. The text of this of the Cross in Hesbert’s sextuplex it is only offertory speaks about God’s exaltation of found in the Antiphonary of Corbie (ninth its speaker (et exaltavit me) which allegori- century) for the finding of the Cross. The cally can also refer to Christ on the Cross. ninth–tenth century Missal of Leofric has Since the epistle for Holy Thursday also its incipit for the feasts of the Cross also.39 speaks about God exalting Christ on the That would suggest it was a later Frank- Cross (et exaltavit eum), it was natural for ish replacement of the more common offer- the Romans to have borrowed this offer- tory Protege for these feasts. The offertory tory for this festival. But there were other In omnem terram, originally assigned by the considerations as we will see later. Franks for Ss. Simon and Jude in the sanc- I should note that tracts were not torale, is its contrafactum using most of the assigned for the Thursdays in Lent nor for same melody.40 The melody was likely used Holy Thursday. In all likelihood, tracts are allegorically because of the ancient legend musical re-workings of a more ancient psal- surrounding St. Jude’s curing King Abgar mic chants that had been assigned for par- ticular observances.42 There would have 37One of the earliest known instances can be been no ancient chants to source from for 43 found on folio 85r of the Antiphoner (c. 890) tracts on these Lenten Thursdays. Nor from Albi, Bibliothèque municipale Rochegude, would there have been an ancient chant 44, but it is un-neumed. Th e earliest known to source from for a tract on Holy Thurs- neumed instance can be found at folio 30 of day with its long tradition of having had no Sankt Gallen, Stiftsbibliothek, 391. Subsequent synaxis, and the feasts of the cross have fes- diastematic manuscripts generally accord with tive Alleluias instead of tracts. Tracts, even the adiastematic notation of Sankt Gallen 391. 38It already appears in the Old Gelasian Sacra- 41Th e legend is found in the third-century Syr- mentary; Cf. Liber Sacramentorum Romanae Ec- iac account, Th e Teaching Of Addai the Apostle clesiae, ed. H. A. Wilson (Oxford: At the Clar-
Sacred Music | Fall 2016 Volume 143, Number 3 55 if somewhat formulaic and readily adapted Cross, as St. Paul alludes to in the epistle: to other texts, were apparently not consid- quotienscumque enim manducabitis panem ered important enough at this time to be hunc et calicem bibetis mortem Domini adnun- assigned to these observances. tiatis donec veniat.46 Christ’s Last Supper One has to wonder at this point why and his death on the Cross, in other words, the chant propers of Holy Thursday were form one sacrifice.47 mainly borrowed rather than unique com- Furthermore, despite the apparent positions for such an important observance. variance of the chronology of this event Typical opinions on this are that the Roman between the synoptic gospels and that of St. Schola Cantorum had to assign them very John, the Last Supper, since earliest times, hurriedly, or well past their period of great was thought to have been held on Thursday, musical creativity or, as McKinnon has sug- the evening before the legal Jewish Passover gested, the Schola Cantorum had reached its and the evening before the sacrificial lambs limit for memorising any more melodies in the church year.44 Although all these three 46“For as often as you shall eat this bread and were perhaps factors by the year 720, I am drink the chalice, you shall show the death of the more inclined to think that suitable chants Lord, until he comes,” epistle for Holy Th ursday, had already existed that readily fit well 1 Cor. 11:26. with the theological understanding of Holy 47Pitre (Eucharist, 147–195) off ers an extensive Thursday at that time. Because communion explanation for this one sacrifi ce. Jesus did not chants for major festivals centre on the gos- fi nish the Passover meal at the Last Supper by pel, and because of the unique theme of the drinking the fourth cup of wine, the Hallel cup Holy Thursday gospel, its communion chant that followed the singing of Hallel psalm 117 could not be borrowed, so the Schola Can- (118), as was required by the Jewish Passover meal liturgy (pp. 156–160). He refused to drink torum created a new one for this occasion, this “fruit of the vine” again until his dying mo- while the others could be suitably borrowed. ments on the Cross when he said “It is fi nished,” Be this as it may, this selection of proper thereby completing the Passover meal and “pass- texts for Holy Thursday reflects a tradi- ing-over” or making his passage to his Father in tional understanding of the Last Supper Glory (pp. 161–165). In this new Passover, the as a sacrifice. Bread and wine had indeed Last Supper was extended to include his death been offered to God on the Sabbath as the on the Cross, so that these two events are part unbloody sacrifice in temple since the time of the one single sacrifi ce; as he concludes: “In of Melchizedech.45 But at the Last Sup- sum, by refusing to drink the fi nal Passover cup per, the bread and wine became sacrificial until his dying moments, Jesus gathered up ev- mainly through their connection with the erything that would happen to him between Holy Th ursday and Good Friday—his betrayal, his supper, his agony, his passion his death—and 44 McKinnon, Th e Advent Project, 373. united it to the new Passover that would be cel- 45Th is was known in the Old Testament as the ebrated “in memory” of him. As the memorial bread and wine of the Presence or Face of God; of his new Passover, the Eucharist therefore not cf. Brant Pitre, Jesus and the Jewish Roots of the only makes present the actions of Jesus of the Eucharist (New York: Doubleday, 2011), pp. Upper Room; it also makes present the sacrifi ce 118–125. of Jesus on Calvary” (p. 170).
56 Volume 143, Number 3 Sacred Music | Fall 2016 were slaughtered for the Jewish Passover. As called the Paschal Vigil “the mother of all St. Clement of Alexandria in the late sec- holy vigils,” as it lasted well into the night.52 ond century explained, this New Passover In seventh-century Rome we find that with of the eternal covenant was not celebrated all the readings, sometimes twenty-four of with a lamb from the temple, but with the them in both Latin and Greek with its tracts bread and wine which became the Body and collects, along with the baptisms, the and Blood of the true Paschal victim.48 The vigil also lasted well into the night.53 During only sacrificial Lamb present on that Thurs- the ensuing centuries, however, there was a day evening, as McGuckian has noted, was tendency to advance the first Paschal Mass Jesus himself.49 The Paschal Lamb shared at of the vigil because of the great burden of the Last Supper would only be slain on the following the strict Lenten fasting rules Cross the following afternoon at the same for the reception of Holy Communion that time the lambs were being slaughtered in entailed eating no food all day Saturday the Jewish temple; no lambs were allowed until the first Paschal Mass.54 Because the to be slaughtered later in the evening of that first Mass of Pasch became so advanced, Friday, the beginning of the Jewish sabbath. the intervening time from the Good Friday It was through his cross that Christ became liturgy could no longer symbolise the three the New Passover, the Paschal Victim. As days and nights that Matthew spoke about Justin Martyr noted, Jewish Passover lambs when comparing Christ’s entombment to are roasted in the form of a cross.50 The pro- Jonas’ time spent in the belly of a whale.55 lepsis or anticipation of the sacrifice on the Rather, the Romans, during the eighth cen- Cross underlies the meaning of the Last tury, began looking at the office of Tene- Supper. But there was still more at work bræ following the Mass of the Last Supper here. as the beginning of Christ’s entombment.56 The idea of the sacrifice on the Cross in Amalarius in the early ninth century also this Mass was further strengthened by vir- raised this issue for the Franks: “In the Tri- tue of its timing in relation to the first Mass duum, the Lord rested in the tomb . . . For of Pasch. In the early church, the Paschal three continuous days . . . we celebrate his vigil lasted till dawn when the first Pas- three days’ burial.”57 Likewise, Durandus chal Mass was celebrated.51 St. Augustine cisco: Ignatius Press, 2012), p. 466. 48As found in a fragment from the lost work 52St. Augustine, Sermon 219, Patrologia Latina, "On the Passover”; see Rev. Alexander Roberts 38, col. 1088. and James Donaldson, trs. & eds., Ante-Nicene 53 Christian Library: Translations of the Writings of Monti, Sense of the Sacred, 466. the Fathers Down to A.D. 325 (Edinburgh: T. & 54Cf. Ambroise Verheul, “Le mystère du samedi T. Clark, 1872), Vol. XXIV, pp. 167–8. saint,” in Questions Liturgiques, 65 (1984), 23–24. 49Michael McGuckian, S.J., Th e Holy Sacrifi ce of 55Matt. 12:40. the Mass (Leominster: Gracewig, 2005), p. 50. 56See Roman Ordo 13a and Roman Ordo 23, both 50Pitre, Eucharist, 64. thought to be from the early eighth century; cf. 51James Monti, A Sense of the Sacred: Roman Monti, Sense of the Sacred, 358. Catholic Worship in the Middle Ages (San Fran- 57Amalarius of Metz, Liber Offi cialis, bk. I, ch 12,
Sacred Music | Fall 2016 Volume 143, Number 3 57 noted that these three days celebrate the they are found in these Frankish graduals, funeral rites of Christ. 58 By the late ninth although, in the long arduous task of the century, the vigil was already starting before reform, the major feasts would have been eventide.59 The Good Friday liturgy, of addressed first so as to celebrate them with course, recalled his death on the Cross, but an appropriate musical solemnity as soon it no longer symbolised the beginning of the as possible. The reasons for such a major three days. Because, as I have pointed out, reform may stem from the artistic animos- the Last Supper was part of the same sacri- ity between the singers at Metz and those of fice on the Cross, the evening Mass of Holy Rome, despite Charlemagne’s programme Thursday could commemorate his death of Romanizing the Frankish liturgy.60 I also on the Cross as well. This re-organizing of suspect that the more Byzantine sound- liturgical allegory was a kind of liturgical ing melodies of the Romans would have prolepsis that was common until our modern sounded alien to the Franks, not to mention era which tends to have a higher concern for that during the seventh, eighth, and ninth archaeological accuracy than for allegorical centuries, we had the Byzantine popes in meaning. With this strong emphasis on the Rome who would have shared Byzantine Cross, the Romans accordingly borrowed musical tastes. By the late eighth century, the introit, gradual, and offertory for this when Roman chant came to the Franks, festival. Rome was still well populated with Greek speakers both as a result of the Christian The Frankish Context refugees who had fled the Islamic invasion After Roman chants reached the Franks in of Syria, at that time part of the Byzan- the late eighth century, however, a consid- tine Empire. Gevaert was one of the first erable reform of the melodies starting tak- to point out the importance of the Byzan- ing place. The result, what we now refer to tine Pope Sergius I in the founding of the as Gregorian chant, can be found in the Roman Schola Cantorum.61 I suspect most earliest neumed Graduals of St. Gallen and of the Frankish musical reform of Byzan- Laon from the late ninth and early tenth tine-sounding Roman chant was accom- centuries. With a dearth of historical man- plished during the turbulent reign of Louis uscripts, I cannot discuss here what Snow the Bald, Charlemagne’s son, a turbulence has called the central question of Grego- that made possible an opening for a more rian chant, viz., how Gregorian chant dif- liberal incorporation of Gallican melodies fers from Roman chant. However, I believe and musical tastes. that the Franks systematically reformed the Roman melodies generally in the order that 60For instance, in Life of the Emperor Charles the Great written by a monk at St Gall in 884, we nos 32–33. read how the Greeks and Romans at Rome con- 58Durandus, Rationale, bk. 6, chap.72, no. 2. spired out of envy against the Franks to corrupt 59Monti, Sense of the Sacred, 466; it is likely for their chant at the time of Charlemagne; Strunk, this same hardship of fasting that there was a Oliver, Source Readings in Music History (New corresponding tendency to advance the Mass of York: Norton, 1998), p. 182. the Last Supper to the morning. 61Gevaert, Origines, 38ff .
58 Volume 143, Number 3 Sacred Music | Fall 2016 The point I wish to draw from this brief Introit: The introitNos Autem63 (Exam- historical account is that, while keeping the ple 1) has a highly centonized text from Roman texts intact, the Franks reworked St. Paul’s letter to the Galatians disposing the Roman melodies, and that those for them to contemplate the sacred mystery of Holy Thursday were re-worked with the the glorious Cross.64 It was borrowed for theology of this festival in mind rather than Holy Thursday to complement the epistle the theology of the feasts of the Cross. The which, as we saw, alludes to the sacrificial exception would seem to be the offertory, nature of the event in the cenacle. Daniel Dextera Domine which, occurring earlier Saulnier has noted that at the end of the in the temporale, would have been adapted tenth century many non-structural mi’s in for that festival first, as we will see. This mode 4 were being raised to fa.65 This was musical reform also included the use of likely the result of having an alien Byz- allegory and symbolism which the Caro- antine modal framework, the oktoechos, lingian Renascence embraced in the visual imposed onto the tonal sensibilities of the and musical arts.62 Keeping this in mind, I Franks. We moderns share this sense of shall now discuss the Gregorian melodies tonal incompleteness in a leading tone, ren- for each of these proper chants. dering it somewhat unstable because of the very strong attraction from the semi-tone immediately above it, in this case the fa.66 This has resulted in some modal ambiguity for this mode. Dom Desrocquettes is partly correct in his assessment of mode 4 that the
63“We however ought to glory in the cross of our Lord Jesus Christ; in whom is our salvation, our life, and our resurrection; through him we are saved and set free. ℣. May God grant us his mercy and his blessing; may the light of his face shine on us and bring mercy on us.” 64Th e earliest Frankish manuscripts, for in- stance the Mont-Blandin Gradual of c. 800 A.D. as found in Hesbert’s Sextuplex, have Cantate Domino as the psalm verse instead of Deus misereatur; I have not yet found Cantate Domino used in any adiastematic neumed man- uscripts. 65Dom Daniel Saulnier, Th e Gregorian Modes, Example 1: Nos Autem tr. Edward Schaefer (Solesmes: Abbaye Saint- Pierre, 2002), p. 70. 66Th e Graduale Novum tries to correct for these 62For a discussion of allegory and symbolism in later emendations; Graduale Novum: Editio Ma- Carolingian arts, see my “Carolingian Cultural gis Critica Iuxta SC 117, Tomus I (Regensburg: Renascence.” Conbrio Verlagsgesellschaft, 2011), p. 28.
Sacred Music | Fall 2016 Volume 143, Number 3 59 mi is not the tonic, but only in regards to ter.71 The melody now revolves around the the tenth century and later “altered” chant psalmic tenor of mode 4, la, and continues manuscripts.67 In view of this, I have used to do this until “nostra.” The melody on the Fr. Saulnier’s “restored” version of Nos phrase “in cruce” itself suddenly becomes Autem for my Example 1.68 syllabic in contrast with the preceding. “In This introit begins with the ancient cruce” begins the artist’s plan to highlight intonation of the minor third re-fa, but then the entire clause up to “resurrectio nostra.” immediately proclaims that it is a deuterus This is the core passage of the entire peri- composition through the frequent repeti- cope, succinctly expressing the theme of tion of the semitone mi-fa, not uncommon redemption obtained through Christ’s sac- with mode 4 introits. On the first phrase rifice on the Cross. We can note that the ending with “oportet,” the melody is calm melody on the phrase “in cruce . . . Christi” and graceful and neumatic within a limited is very similar to the melody on the next phrase “in quo est . . . nostra,” the latter hav- ambitus. This is an example of why Dom ing more notes because of its additional syl- Desrocquettes and others call mode 4 the lables. The use of a similar melody on these contemplative mode suitable for an unob- two phrases ties their meaning even closer structed meditation of the text.69 The Gre- together than the text does: our Lord Jesus gorian musical artist, as musical composer, Christ is our life and resurrection. In each of begins the melody with a simple medita- these two phrases two words, “nostri” (our) tion on the words of St. Paul. It is a med- and “vita” (life), receive special emphasis itation on the Cross as an instrument of through a musical outburst with the highest salvation using a joyful melody that befits notes in the antiphon, generally not typical St. Paul’s soteriological view of the Cross. of mode 4. They both have the exact same On the word “oportet,” for instance, there melody. Taken together, they are thematic is a strong intimation of joy using a slightly of the entire pericope, by summarizing the modified form of the motive of Rejoicing: ultimate purpose of Christ’s sacrifice on the fa-la-sol-fa-la.70 Cross. He is our Lord offering his sacrificial But this is not a mere no-frills meditation act of love for the benefit of our eternal life. on the text. Beginning on the next phrase Using the same motive on both words, the “in cruce” the melody becomes distinctively artist is linking them together contextually different with a change of hexachord that to become a kind of musical gloss. Finally, correspondingly changes its tonal charac- on “per quem salvati,” the chant returns to its initial hexachord and briefly resumes its 67Dom J. H. Desrocquettes, O.S.B., Gregorian Musical Values (Cincinnati: Ralph Jusko Publi- cations, 1963), p. 65. 71Although the theory of hexachords was de- veloped by Guido d’Arezzo for didactic reasons 68Saulnier, Gregorian Modes, 175. in the eleventh century, it is based on two con- 69 Desrocquettes, Gregorian Musical Values, 65. junct tetrachords that underlie the oktoechos, so 70For a discussion of this and other symbolic its analytical use benefi ts the understanding of motives, see my “Carolingian Cultural Rena- the tonal structure of chant, especially for the scence,” 55–58. mutatio of the melody.
60 Volume 143, Number 3 Sacred Music | Fall 2016 re-fa meditative melodic framework. sung prayer of thanksgiving for Christ’s sac- But the contemplative artist is not fin- rificial offering of himself on the Cross and, ished with his musical theology. On the on Holy Thursday, for the Eucharist as a rep- final phrase “liberati sumus,” we have resentation of that Sacrifice, “thus expressing essentially the same melody as previously the oneness there is between the Sacrifice on on “resurrectio nostra.” Melody is again the cross and that of the altar.”74 Added to used to associate different ideas in the text this Biblical text taken from St. Paul to the with each other; in this case we are being Philippians are two words in the beginning reminded that our resurrection is our liber- sentence “pro nobis” (for us), which helps to ation (from death). However, their cadences put the pericope into its theological context. are different. In the former, there is a strong As Saulnier has said: cadence on re, the final of mode 1; on the latter, there is a typical mode-4 formulaic C’est la méditation du compositeur, et cadence on mi. This is an example of the aussi la pensée de l’Église: un appro- occasional modal ambiguity of mode 4 I fondissement sur cette lecture, une orien- mentioned earlier. tation. Le compositeur de la mélodie est It is interesting that the accented sylla- aussi, dans une certaine mesure, le com- ble of every polysyllabic word in this anti- positeur du texte. Il intervient sur le texte phon is correspondingly accented musically, inspiré, du moins à une certaine époque. either through a greater melismatic orna- [It is the meditation of the composer, and mentation of that syllable or, as on “nos- also the thought of the church: a deep- tri” and “vita,” through placing noticeably ening of the reading, a spelling out. The higher notes on their accented syllables. composer of the melody is also, to a cer- The melody, in other words, conforms to tain degree, the composer of the text. He the verbal rhythm of the words. The excep- has a hand in the inspired text, at least at tion is “cruce,” but here one would naturally a certain point in time.]75 accent the first syllable without melodic intervention.72 The Franks gave this gradual text its Gregorian melody in accordance with the Gradual. The Romans also borrowed the Church’s inner sentiment of joy that sur- gradual Christus factus est73 (Example 2) from rounds the Cross as an instrument of sal- the feasts of the Cross as a musical refection on vation. For instance, we find the joyful and the sacrificial nature of the Eucharist following the Pauline epistle for Holy Thursday. It is a 74Abbot Prosper Guéranger, O.S.B., Th e Litur- gical Year: Passiontide and Holy Week, tr. Dom 72Einsieldeln 121 (188) actually has an accent Laurence Shepherd, O.S.B. (London: Burns, mark on the neume of this fi rst syllable. Oates, & Washbourne, 1910; reprint, Fitzwil- 73“Christ became obedient unto death for us, a liam, N.H.: Loreto Publications, 2000), p. 378. death, moreover on the cross. ℣. For which God 75Daniel Saulnier, Session Intermonastique De exalted him, and gave him the name which is Chant Grégorien: I- Au commencement était above all other names” (translation from the la parole, (Ligugé, 1-6 septembre 2003), p. 11 Gregorian Missal, 282–283).
Sacred Music | Fall 2016 Volume 143, Number 3 61 comforting Chaírete motive fa-sol-la-sol-la The beginning of this gradual is rem- on the first few notes of the melisma on the iniscent of the beginning of the peaceful last syllable of “crucis.”76 We also find again Requiem introit that, although it is used on the motive that asks us to rejoice, fa-la-sol-la, the occasion of death, is a prayer for the on the last notes of the melisma on “illum” peaceful rest of the soul. The peaceful mel- transposed a fifth higher. Using these joyful ody is in keeping with the text, and we can motives, the musical artist is bringing us to find several other melodic fragments of the the joyous message of God’s Love that the Requiem introit in this gradual. Because Cross symbolizes. The rather joyful melody of its constant need throughout the litur- of this gradual also fits well into this day gical year, the Requiem introit would have when the church is fairly festive in thank- been composed first, and have been well ing the Lord for instituting this great Sac- known. The text, whose usage during rament at his Last Supper through which the funeral procession of the body to the he is physically present to His faithful until church, already appears in the supplement the end of time. to the eighth century Hadrianum compiled by Benedict of Aniane (not Alcuin as is commonly thought) who borrowed it from Visigoth sources.77 Although there are a fair number of tritus chants that begin this way, the musical artist here may have had in his mind to connect the Requiem introit from the Mass for the dead with the death of the Prince of Peace. Several words in the antiphon are important for the artist: “nobis,” “obediens,” “autem,” and “crucis.” He highlights these musically using melismas that incorporate some madrigalism.78
77Cf. Frederick S, Paxton, Christianizing Death: Th e Creation of a Ritual Process in Early Medieval Europe (Ithaca: Cornell University Press, 1990), pp.132, 136n, 141, 179. Example 2: Christus factus est 78For a discussion of madrigalism in Gregorian chant, see Clement Morin and Robert Fowells, 76For a brief discussion of this Chaírete motive, “Gregorian Musical Words,” in Choral Essays: A see my “Carolingian Cultural Renascence,” 55– Tribute To Roger Wagner (San Carlos: Th omas 56. House Publication, 1993), pp. 123–127.
62 Volume 143, Number 3 Sacred Music | Fall 2016 Offertory: The text of the offertoryDex- towards heaven.82 Holy Thursday in partic- tera Domini79 (Example 3) centres on the ular celebrates this Eucharistic miracle; as a idea of the Lord’s right hand, “Dextera miracle, it is a mystery and for this reason Domini,” which is the Biblical expression the Last Supper is appropriately called the for the great power of God, particularly in “Mystical Supper” in Byzantium. The insti- the context of God’s grace.80 In the earli- tution of the Eucharist for the redemption est graduals, this offertory first appears on of mankind at the Last Supper is one of the the third (occasionally second) Sunday after greatest of Jesus’ miracles, if not the great- Epiphany and is a meditation on its gospel est, because bread and wine become God in which Jesus cures a leper. This miracle, himself. It is a great theophany through the like all his miracles, is the work of divine work of “the right hand of the Lord.” Theo- grace81 and reveals his divinity. It is another logically, then, this offertory text is per- epiphany or theophany. This offertory was fectly fitted for this festival. eventually re-used on those additional Sun- days after the Epiphany which a late date of Easter would require, but in all cases, their gospels speak of God’s grace in the con- text of using his power to perform physical miracles or miracles that transform peo- ple’s hearts and minds into his likeness. Of course, this miraculous power can also be discerned at every Eucharist in which the bread and wine, prepared while an offertory chant is sung, are transformed into Jesus’ very Body and Blood. This sacrament con- fers God’s grace of eternal life, or, simply put, it is the new manna for the new exodus Example 3: Dextera Domini
79“Th e right hand of the Lord has done a vir- tuous thing, the right hand of the Lord has In addition to the direct textual con- exalted me. I shall not die, but live; and I shall nection with the word “exaltation” in the declare the works of the Lord” (Psalm 117: 16, epistle, the Romans had other liturgical 17; translation from Th e Gregorian Missal, 440.) considerations when choosing this offertory 80Th e right hand of the Lord often appears in text for Holy Thursday. First, Psalm 117, early Christian art to symbolise the work of from which this offertory is taken, is also God’s grace especially through the sacraments; the last Hallel psalm sung during a Jewish see Herbert Th urston, S.J., Lent and Holy Week: Passover meal which Jesus and his apostles Chapters on Catholic Observance and Ritual would have likely sung in the Cenacle. After (London: Longmans, Green, 1914), p. 290. it is sung, the fourth or final prescribed cup 81Th at is to say, by virtue of his great love and of wine, called the Hallel cup or the cup mercy toward mankind, God gratuitously gives mankind supernatural gifts. 82Cf. Pitre, Eucharist, 92 et seq.
Sacred Music | Fall 2016 Volume 143, Number 3 63 of praise, is drunk in order to complete the Johner was uncertain who the speaker Passover meal liturgy.83 But Jesus did not of the text is in the context of Holy Thurs- drink this final cup until his dying moments day, whether it is Jesus or the church.85 on the Cross to complete the new Passover.84 Certainly, if the speaker of the words is The Jewish Passover celebrates God’s work Jesus himself, then he is using these words of delivering his people from captivity in to praise the Father who has shown his Egypt, but in the new Passover, the Savior strength by raising him from the dead and Jesus Christ delivers his own faithful people exalting him above every other name. The from exile in this world of sin, for which he Eucharist and the Cross being united as instituted the gift of the Eucharist. Second, a single sacrifice, we can hear Jesus sing- there is an association between God’s power ing: “I shall not die but live.” Christ is pre- and the gift of life through the Cross. God figured in the psalms and through this did not let Jesus perish on the Cross. Nor will psalmic text Jesus speaks of his death and he allow his faithful people to perish. Jesus glorious resurrection.86 On the other hand, sacrificed his life for his people, a perpetual the speaker is praising God for the gift of sacrifice that is re-enacted sacramentally at life in the context of this Mass while the every Eucharist. Third, the theme of God’s offerings are being prepared on the altar. great power is put in the context of trans- It is also, then, a praise for the life giv- forming the bread and wine at the offertory ing Bread and the Chalice of salvation. into the very Body and Blood of Jesus, a mir- The church sings these words as a prayer acle of life that indeed occurs at every Mass of thanksgiving for the miracle that God but which is being commemorated specifi- is about to accomplish on the altar and cally at this Mass on Holy Thursday. Fourth, so we sing: “I shall declare the works of it is the priest at the altar who performs the the Lord.” The Holy Spirit has made the sacrifice and confers the sacrament. On psalms fecund with allegorical meaning Holy Thursday, the apostles became priests so both these interpretations complement when they were given the special power to each other. Whereas at this Mass Christ invoke the Holy Spirit to miraculously trans- thanks his Father for protecting him from form the offerings of bread and wine into the eternal death, the church gives thanks for Body and Blood of God’s Son for which they the miracle of the Eucharist that is made can respond: “the right hand of the Lord has possible by the living Christ. exalted me.” Dextera, then, was an excellent This offertory chant is a praise of God’s choice to sing for Holy Thursday, especially loving miracles that at times uses dra- while the oblations are being prepared at the matic melodies. In choosing this text for altar. Just as its original use showed Jesus’ love for the leper, its use on Holy Thursday 85Dom Dominic Johner, Th e Chants of the Vat- extends that message of love to the Eucha- ican Gradual, tr. Monks of St. John’s Abbey rist through which the faithful can partake (Collegeville: St. John’s Abbey Press, 1940), pp. in eternal life. 165–5. 86Th is text is also used, appropriately, with the 83 Pitre, Eucharist, 147–195. risen Christ as speaker in the fi rst Alleluia for 84See footnote 47 above. the fourth Sunday after Pascha.
64 Volume 143, Number 3 Sacred Music | Fall 2016 Holy Thursday, the church had in mind the bled himself because of his love for them, life-giving miracle of the Eucharist which just as he had condescended to becoming a the powerful right hand of God produces, man because of his love for all people. He which, paradoxically, is that very powerful then sacrificed himself on the Cross in an right hand of Jesus that was nailed on the act not only of ultimate humility but of ulti- Cross. The church through this offertory mate love for his people. For St. John, it is offers a prayer of thanksgiving for a great important for everyone to understand that gift of love made possible by Jesus’ sacri- God is Love. fice on the Cross and sealed through his Resurrection.
Communion. The communion antiphon, Dominus Jesus,87 (Example 4) has a highly adjusted text which paraphrases into a com- pact form the passages from John’s gospel narrative of the washing of the feet which occurred on the evening of the Paschal Sup- per. The gospel begins with St. John giving his prologue that Jesus loved his own until the very end. Love is certainly the founda- tion of the sacrifice on the Cross and there- fore of the Eucharist. The example that Jesus sets through the foot washing of the apos- tles has been given various interpretations Example 4: Dominus Jesus over the centuries, but since early times it has been understood as an example of the Redeemer’s humility which the faithful The incipit introduces two leitmotifs must follow. As St. Augustine commented, that are to be found throughout this anti- “as [man] was lost by imitating the pride phon. The first is on the last two syllables of the deceiver, let him now, when found, of Dominus: fa-mi-re-mi-fa, and is reminis- imitate the Redeemer’s humility.”88 But cent of the incipit of the introit. The sec- humility and love are also deeply related. ond is on “Iesus” which is borrowed from a By washing the apostles’ feet, Jesus hum- common psalm tone intonation whose cor- responding reciting note or tenor is fa. This 87“Th e Lord Jesus, after supper with his disci- second leitmotif begins on the word “Iesus” ples, washed their feet and said to them: ‘Do you and is repeated four times sequentially with realise what I have done for you, I who am your some embellishment of the tenor each time Lord and Teacher? I have given you an exam- to avoid monotony. Each major idea in the ple so that you may do as I have done for you.’” text receives this leitmotif and is delimited (translation from Th e Gregorian Missal, 290.) by a fall to the tonic/final, there . This suits 88St. Augustine, Tractate on John, #55. the simple informative nature of the opening
Sacred Music | Fall 2016 Volume 143, Number 3 65 sentence; but we are, in fact, being prepared here the voice of a great teacher who loves for the solemn words of Jesus that are about his apostles. It is an important word for the to follow. Gregorian artist. Moreover, this large fall Being accustomed to hearing a repeated of a fourth to the semi-cadence on mi begs psalm tone melody and expecting it to con- for a tonal resolution on the semitone above tinue, we are instead given a contrasting it, the fa, which has a strong attraction for melody for the spoken words of Jesus. In it. By leaving us suspended on the mi, it what has been a generally neumatic chant accords with the interrogative grammar so far, all of a sudden, on “Scietis,” the mel- of that word. The resolution tofa finally ody turns melismatic reaching the highest obtains on the word “vobis” to prepare us note in the piece, the la, which is the con- next for his answer. ventional upper limit of mode two. With To understand his answer, I should first the fall to the semi-cadence on the mi, the point out that the phrasing of the words in tonal character of the chant changes, pro- modern chant books is sometimes differ- ducing a glaring contrast to the narrator’s ent from the way the Gregorian musical melodies. Being melismatic, it also consid- artists saw it in Carolingian times. In Car- erably alters the rhythm in the flow of the olingian miniscule, there are generally no text. This contrast is an example of madri- divisions using punctuation marks to guide galism which is here used to characterise the sense of the text as there are in our the voice of Christ.89 Jesus’ voice certainly modern example.90 Apart from what one stands out making for a kind of musical was expected to know about the parsing of drama in which his voice is distinguished the text, it was the melody and its rhythm from that of the narrator while also giv- that made the divisions for the singers. If ing his voice a solemn character. We hear we go by the melody, the question Jesus asks is “Do you realise what I have done 89Clement Morin, P.S.S., and Robert Fowells, for you?” The melody on the next phrase, “Th e Gregorian Language: Servus Dei,” in Cum Angelis Canere: Essays on Sacred Music and Pasto- 90For a brief discussion on punctuation in early ral Liturgy in honour of Richard J. Schuler (Saint Mediæval times, see Saenger, Paul, Space between Paul: Catholic Church Music Associates, 1990), Words: Th e Origins of Silent Reading (Stanford: p. 125. Stanford University Press, 1997), pp. 73–75.
66 Volume 143, Number 3 Sacred Music | Fall 2016 “ego Dominus et Magister,” returns to the Christus factus est complements the epistle first lietmotif that has so far been used by by highlighting the sacrificial nature of the narrator to convey information. So his the Eucharist in virtue of Christ’s sacri- answer is: “I your Lord and Teacher have fice on the Cross. Using the vivid exam- given you an example that you should also ple of foot-washing to portray humility, do to yourselves.” That is to say, the mod- the gospel (John 13:1–15) commands the ern question mark should be after vobis, faithful, to love and serve one another. The and not after Magister, according to the offertory Dextera Domini speaks of God’s melody. The answer continues with the power over death making every Eucha- phrase “exemplum dedi vobis,” for which a rist a miraculous and loving gift of life new melody is introduced. The last phrase for his people, as it did in resurrecting his of this antiphon completes his answer by Son. Durandus later observed that these explaining that his example of foot wash- proper texts in fact recall the very mystery ing is a mandate. It begins on do and uses of redemption.92 In addition to the Cross, the further embellished psalm tone leitmo- the Eucharist, the death of Christ, the tif for conveying that information, in this washing of the feet, and the Resurrection case to explain that his example signifies are all commemorated at this Mass in the the importance of practicing charity. His introit, the epistle, the gradual, the gospel, words end with a pleasant, slightly ornate, and the offertory respectively. Indeed, the cadence. As McKinnon has pointed out, communion Dominus Jesus is cast within on a purely aesthetic ground alone one does this mystery of Redemption in the frame- not have to be a believer to be touched by work of God’s Love and mercy, that is, his both the text and melody of this exquisite Grace, reminding those partaking in the composition.91 gift of the Bread of Life that his sacrifice on the Cross is founded on God’s Love for Conclusion his people, and that the people in turn are The post-Vatican-II reformers may have to love their neighbours with humility. But had good reasons to change some of these above all, their melodies reflect theactio of traditional propers for Holy Thursday, but the sacrifice on the Cross on this solemn we have also seen many of the ways that the occasion. traditional propers have been serving the church well for thirteen centuries. Essen- tially, the traditional proper texts for the Holy Thursday Massin cœna Domine show a unity of narrative according to the the- ology of the Eucharist of thirteen centu- ries ago, and is still valid today. The introit Nos autem introduces the theme of the life giving Cross which the epistle (1 Cor. 2:23–26) ties to the Eucharist. The gradual 92William Durandus of Mende, Rationale, bk. 6, 91McKinnon, Advent Project, 339. chap. 75, no. 7.
Sacred Music | Fall 2016 Volume 143, Number 3 67 Review
Sacred Choral Works by Peter Kwasniewski. Corpus Christi, Texas: Corpus Christi Watershed, 2014v. 263 pp. $19.95 (paperback), $24.95 (spiral bound), $14.95 (for 10 or more copies). Set of three compact discs recorded by Matthew J. Curtis. $10.85 per disc
his retrospective anthology by Peter style of the Renaissance, but the Gloria, Kwasniewski is a treasure trove con- Sanctus, and Agnus Dei feature a predom- Ttaining sacred choral music in a va- inantly homophonic texture and are set in a riety of musical styles and genres, of levels of more modern harmonic idiom. difficulty, and of liturgical uses. The music The Missa Brevis à 3 is just three short spans a quarter of a century of dedicated movements (Kyrie, Sanctus, Agnus) set for work by this gifted polymath. Although TTB. Again the setting references the style Dr. Kwasniewski is a professor of theology of Palestrina. Following the Missa Brevis and philosophy at Wyoming Catholic Col- settings of the Kyrie and Agnus Dei. Kyrie lege, he is also a prolific writer of prose, of (I), à 3 is for TTB; Kyrie (II) is for SATB. poetry, and—last, but not least—of music, This Kyrie is interesting in that there is a especially sacred music. metrical pattern of triple-quadruple-triple Choir directors will find much useful that is consistently followed until the final music within these covers. The anthology is Kyrie, which expands to five measures of divided into two large sections: Service Music 4/4 until the final cadence. Kyrie (III) is & Pieces for General Use and Pieces for Liturgi- likewise for SATB, and is extremely sim- cal Seasons. I will survey the sections and their ple, with a homorhythmic texture livened subdivisions to give an idea of the scope and up at cadences by some short melismas, multifarious uses for Kwasniewski’s sacred mostly in the alto voice. The three settings music. of the Agnus Dei are all in more or less the same style.
Service Music & Pieces for General Use Acclamations and Doxologies Fittingly enough, the compositions in the Ordinary of the Mass “Acclamations and Doxologies” section are The anthology opens with theMissa Spe all quite short. There are four Alleluia set- Salvi, composed in 1995. The Kyrie of this tings and four settings of Lenten Gospel SATB setting is composed in the imitative Acclamations, three of which feature alter-
Susan Treacy is professor of music at Ave Maria University in Florida.
68 Volume 143, Number 3 Sacred Music | Fall 2016 native harmonizations. The three-voice set- tings are particularly useful as they can be sung by either SAB or TBB. This section finishes with threeGloria Patri settings.
Motets for General Use This section contains somewhat longer works, such as two settings of Ad Impe- trandam Gratiam Spiritus Sancti, a beautiful Latin prayer (by Dr. Kwasniewski) to the Holy Spirit. The second setting is slightly longer, and includes two different Amens. The first is set for six-voicedivisi texture, while the second is non-divisi, for four voices. The text ofChristus mecum is from the Hymnus ad Temoriam of Saint Patrick, better known as “Saint Patrick’s Breast- plate.” This setting of the Latin text is com- leaps from a very low to a very high regis- posed with an advanced choir in mind, and ter. Miserere à 3 (SAB) is a setting of several at some points the four voice parts expand to verses of Psalm 50, with Verse 1 serving as a five.Christus vincit is a setting of the Laudes refrain, which is sung at the beginning and Regiæ, composed by Dr. Kwasniewski for the end of the motet, and also in between the Wyoming Catholic College Choir to verses 2–3 and 4–5. Each pair of verses pres- sing on the Feast of Christ the King, 2008. ents the even-numbered verse as psalm tone The texture is mostly homophonic, with (I.f) and the odd-numbered verse as a poly- occasional small melismatic flourishes, and phonic setting. Tu es Christus—a setting of the motet features modal mixtures between a prayer attributed to Saint Augustine—is F major and minor. The traditional Gre- another motet that pays homage to Bruck- gorian chant makes a brief appearance in ner. This reverential prayer takes the form this motet when the cantor chants “Exaudi, of a statement, “You are the Christ,” fol- Christe,” and then “Ecclesiæ sanctæ Dei, lowed by nineteen attributes of Our Lord, supra regnorum fines nectenti animas: salus each one a separate line, and each one set as perpetua!” a separate phrase. A long setting of the De profun- dis follows; one hears echoes of Byrd and Eucharistic Motets Bruckner, and it sometimes breaks into a O Salutaris Hostia (Latin) is set as a sim- seven-part divisi. Next there are two set- ple, triple-meter metrical hymn, in block tings of Jesu dulcis memoria. The second set- chords; O Salutaris Hostia (English) is an ting appears to differ from the first only in English version of the above hymn. More an the first two phrases.Laudate Dominum anthem than a motet, Our Daily Bread is a (I) and (II) are quite Bruckneresque, with strophic setting of a Eucharistic devotional some of his signature style traits, including poem by Adelaide Anne Procter (1825–64),
Sacred Music | Fall 2016 Volume 143, Number 3 69 an English convert to the Catholic Faith. 3/2, and 3/4, respectively, with the sixth It is an interesting hybrid style: chorale-like being a setting for TTB. because strophic and homophonic, but the word setting is more drawn-out and medita- Marian Motets and Hymns tive, not strictly metrical. In fact, the meter Hail Mary is a setting, not of the traditional of the poem is 66.66.D, but Kwasniewski prayer, but of an original prayer by the com- musically observes the enjambment in lines poser. This anthem was composed in 1990 2–3 by composing through them. More- and is more contrapuntal in style than some over, the first and last lines of each strophe of the works in this anthology. In O claris- are the same through all four stanzas, so the sima Mater Kwasniewski sets a radiant text composer begins each stanza with a uni- of Saint Hildegard of Bingen (1098–1179). son “Give us our daily Bread.” Each stanza Composed in 2013, this motet also features ends with the line: “To be our daily Bread.” an contrapuntal texture and in its style pays Kwasniewski sets this last line polyphoni- tribute to William Byrd. cally and repeats the text “our daily Bread.” The Marian hymn,Thee, O Mary, will This is just one example of how the com- I praise, is in the swinging, triple-me- poser creatively infuses musical variety into ter style of an eighteenth-century English a straightforward, metrical Victorian poem. hymn, although its 77.77D meter does not Salve, Salus mundi! is a beautiful, almost fit any well-known hymn tunes. The text mystical setting of a text from the Car- is an English translation of a Marian text melite Rite of Mass. The text is a metri- by the seventeenth-century mystic Angelus cal acclamation with the unusual meter of Silesius (Johannes Scheffler). Kwasniews- 6.6 5.4 5.4, and the composer sets it in a ki’s setting is in B-flat major, which would non-metrical, meditative way. The musical make it too high for congregational sing- style is, again, homophonic with short dec- ing, but transposed down to, say, G major, orative melismas in the various voices, and it would indeed make a fine addition to it also features mixed meters. the repertoire of congregational Marian Dr. Kwasniewski has included six set- hymns. tings of Tantum ergo in his anthology. The first three settings are in straightforward Hymns quadruple meter. Tantum ergo (I) is unex- These strophic hymn settings are in the pected in several ways, however. The text Victorian tradition, but many of them are is metrical, but the musical setting vacil- not really congregational hymns. There is lates between metrical and non-metrical. not enough melodic repetition within stan- The hymn begins and ends in A minor, zas, plus the melodic range is too wide in but the key signature changes to two flats. several of them, so the average congrega- This B-flat section modulates to A-flat, and tion might not be able to learn them eas- the section ends in F major. The key signa- ily. Nevertheless, they are certainly apt for ture changes, at the second half of the final choral use. Moreover, of the ten hymns, six phrase, back to A minor, it ends in A-flat. of them have lyrics by Dr. Kwasniewski, Only the “Amen” returns to A minor. The who shows a gift for poetry among his last three settings of Tantum ergo are in 6/4, many talents.
70 Volume 143, Number 3 Sacred Music | Fall 2016 The three stanzas ofCome, Breath of There are three stanzas, with stanza two Holiness do have a melody that could be differing from the first and third, each of sung by a congregation, but it has a refrain which has a refrain: that is more like a choral piece than a hymn, in that the melody becomes a little “The time has come of promise more extended and less predictable, which And of prophecy fulfilled: might throw off a congregation. Thus, this Rise up, take sword and shovel, would make a suitable choral anthem, say, Let all rise up and build!” for Pentecost or a Votive Mass of the Holy Spirit. This hymn-like anthem does not strike me as The Lord’s My Shepherdis a setting of liturgical music, but it would make an inter- the well-known metrical translation of esting addition to a concert of sacred music. Psalm 22 (23).1 Whereas the other hymns in this section generally follow the tradi- Pieces for Liturgical Seasons tion of two-measure phrases, in order to articulate the meter of the hymn, Kwas- Christmas niewski seems purposely to distort the The opening selection in this section is a C.M. (with a six-measure Refrain) of the truly beautiful and unique arrangement of original metrical psalm in order to effect a a famous carol, The Coventry Carol. After more through-composed style with longer the opening refrain, and before each stanza phrases. Even the lyrics alone, as printed, Kwasniewski has inserted the Latin phrase, are configured in a non-traditional way, i.e., Vita mutatur, non tollitur (“Life is changed, not as quatrains. not destroyed,” taken from the Preface of The meter of Dr. Kwasniewski’s lyrics to the Mass for the Dead). The final phrase, Savior, While My Heart is Tender is almost Orate pro nobis, is also not from the origi- 8.7.8.7 D, a popular meter for hymns, like nal carol text. Orate… is sung by the altos the early American hymn tune Nettle- and tenors, while the sopranos and basses ton. I say “almost” because the composer sing “Amen.” has inserted a measure of duple meter at the David’s Town, a very charming and end of the first two phrases, which surprises easy strophic carol with a homorhythmic the listener’s (and singer’s) expectations. texture, has an octave range, from C4-C5. Not only the melody, but also the harmony, The lyrics are by Wyoming Catholic Col- of this hymn are redolent of those vigor- lege professor Jeremy Holmes, mentioned ous southern American Protestant hymns. above. Part of the subtle charm of this carol The harmony is much more diatonic than is that the musical meters are mixed—4/4, Kwasniewski’s other hymns, and features 2/4, 3/4, 4/4. Dormi Jesu is an anonymous far fewer chromatic surprises. thirteenth-century poem that Dr. Kwas- Surgamus et Ædificemushas a Latin title, niewski has added to Cecil Frances Alex- but Jeremy Holmes’s lyrics are in English. ander’s immortal Christmas hymn, “Once in royal David’s city.” The melodic rhythm 1Scottish Metrical Psalter of 1650; Lyrics by in this carol is very close to that of the Pol- Francis Rous, et al. ish carol “Infant Lowly, Infant Holy.”
Sacred Music | Fall 2016 Volume 143, Number 3 71 Kwasniewski’s arrangement of Silent Holy Thursday Night features many instances of inner A striking inclusion in this section is Dr. voices singing the rhythm of a dot- Kwasniewski’s settings of the mandatum ted-quarter, eighth note, quarter note pat- antiphons for SATB a cappella, composed tern, which is reminiscent of a rocking in 2010 and dedicated to Arvo Pärt, “on cradle. In stanza two, at the lyrics, “Glo- the occasion of his seventy-fifth birthday ries stream from heaven afar, Heav’nly with profound gratitude for the gift of his hosts sing Alleluia,” a very high, two-voice music.” “Performance Notes” are included, descant expands the texture to six voices. in which the composer indicates which sec- ‘Twas in the Moon of Wintertime (The Huron tions may be omitted during a liturgical Carol) is not just a straightforward setting performance. He also mentions the possi- of this adaptation of a French melody. For bility of a concert performance, at which example, stanza two is set as an unaccom- the complete antiphons would be sung, in panied duet between soprano and alto. numerical order. The English translations Stanza three has the melody in the tenor are from the Palmer and Burgess Plainchant part, with the alto joining in later while Gradual. the bass hums long notes that beautifully support the solo voices. Good Friday For Good Friday the composer has included Palm Sunday three settings of the reproaches, although This section contains just three items. There Setting I is available in two versions: are two settings of the psalm response for English/Greek and Latin/English/Greek. Passion (Palm) Sunday. The first begins In Setting I there are echoes of both Vic- with the words “My God, my God,” sung toria and Bruckner. Setting II is perhaps by soprano and alto in unison, but the alto the most interesting of the three settings. It immediately descends—causing a dis- begins with a “drone” in the bass part and sonance of a minor second—while the has a Byzantine flavor. Reproaches, Set- soprano remains on C. Tenor and bass enter ting II (Refrain B) (Greek & Latin) returns four beats later and also create a momen- to the style of Setting I. Any of these set- tary dissonance. “Why have you” follows tings of the reproaches would be a worthy a similar pattern of duet entrances, and addition to an ordinary-form Good Friday “abandoned me” is sung by all four voices liturgy. in homophonic texture. The second psalm response is musically more condensed and Eastertide more dissonant, which effectively amplifies Vidi aquam begins with the chant intona- the poignancy of Christ’s anguished quota- tion and continues with an SATB setting tion from Psalm 21 (22). in a style that I would call Cecilian. The The tract with psalm tone for Palm Sun- texture is largely homophonic and the dia- day is a Latin version of psalm response I tonic harmonies help to make this within above. The facing page has the Mode-two the range of most parish choirs. Add to psalm-tone version of the tract, taken from this the quadruple meter, and the effect is the Liber usualis. marchlike.
72 Volume 143, Number 3 Sacred Music | Fall 2016 Dr. Kwasniewski writes of his Three Mass for the Dead Easter Motets that they “feature texts well There is one final section, which consists of a suited to the inward, mystery-filled joy of single brief setting for TTB of the introit of the Paschal season.” The first,Venit Iesus, is the Requiem Mass. The anthology’s table of a setting of John 20:26 and 29, where Jesus contents directs the reader to other works in appears to His disciples through closed the anthology suitable for a Requiem Mass, doors. Simon Iohannis is an extended set- ting of John 21:15–17, in which Our Lord as it also does for music suitable for Lent tests Saint Peter’s love and devotion. The and Christ the King Sunday, and additional text of Venite populi is given as an “Ancient works for other liturgical occasions. Gallican Chant,” and it comes from Dom Peter Kwasniewski’s Sacred Choral Works Prosper Guéranger’s monumental Litur- exhibits a wide range of excellent music, gical Year. All three of these motets are from very easy to very challenging. Would extended settings featuring great variety of it be worthwhile for a parish music direc- musical expression and are best suited for tor to invest in this collection for use by the an advanced choir. They will greatly enrich any Eastertide liturgy; additionally, Venite parish choir? The answer is “yes,” thanks to Populi would serve well for Christ the King the wonderful resources that are available to Sunday. singers to learn their music. When Corpus Christi Watershed published Sacred Choral Works, a set of accompanying CDs was also Pentecost and Votive Masses of the Holy published. These three discs include most Spirit of the music in the anthology and are per- Non vos relinquam is a four-voice setting of formed (multi-track) by Matthew J. Curtis, the Magnificat antiphon for First Vespers whose vocal tone, intonation, and musicality of Pentecost. This motet’s predominantly homophonic texture is varied and orna- are prodigious. The enterprising Mr. Cur- mented by the presence of short melismas, tis also maintains his own business, Choral particularly in the soprano and tenor voices, Tracks
Sacred Music | Fall 2016 Volume 143, Number 3 73 News
Sacred Music Southeast by Maria Rist
n a region where only two to three per- by choosing a weekend, which happened cent of the population is Catholic, the to include both our name days, July 22 (St. Ichurch’s sacred music tradition is now Mary Magdalene) and July 23 (St. Bridget). supported by a new Southeastern Sacred Pope Francis later elevated the memorial Music Chapter of the CMAA and a series of St. Mary Magdalene to a second class of summer workshops. This summer, the feast in line with the Apostles, giving cause second annual Southeast Summer Sacred for celebration. I called an initial plan- Music Workshop was hosted by my par- ning meeting with Bridget Scott; Mary C. ish, the Basilica of Sts. Peter and Paul in Weaver, director of the Pope Benedict XVI Chattanooga, on July 22–23, with 115 par- Schola in Knoxville; the basilica’s organist, ticipants from seven states. This year’s one- Andrea Tierney; and the basilica’s rector, and-a-half-day conference followed last Fr. David Carter. All the remaining plan- summer’s successful Saturday workshop ning and preparation was done from our hosted by CMAA’s Bridget Scott and Fr. separate locations, with email and phone Charles Byrd at Our Lady of the Moun- conferences. CMAA’s General Manager, tains in Jasper, Georgia. Bridget and I were Janet Gorbitz, was our key consultant. She both formed by past workshops in Auburn, guided and assisted us from start to finish Alabama hosted by Scott Turkington, Jef- on agenda, advertising, pricing, food ser- frey Tucker, and Arlene Oost-Zinner, as vice, and book sales. Mrs. Gorbitz also well as the CMAA’s summer Colloquium. We were aware of a handful of parishes in our area who integrate sacred music into their liturgies. Recognizing the potential effectiveness of a sacred music workshop, several of us decided to join forces this year to present some possibilities to many par- ishes in our region and creating a support network for collaboration. Workshop planning began in January
Maria Rist is the Sacred Music Coordinator for the Basilica of Saints Peter and Paul in Chattanoo- ga, Tennessee, where she directs the Gloria Dei and Jubilate Deo Youth Scholæ.
74 Volume 143, Number 3 Sacred Music | Fall 2016 advanced mens’ chant schola. Bridget Scott would lead sessions on polyphony, Ward method solfege, and traditional Catholic funeral music. Mary Garner, director of the Knox Latin Mass Schola, would co-host a joint session on repertory and resources for choirs. Organ students Ericka McCarty and Joseph D’Amico played during the recital and the closing Mass. Andrew Leung, who had co-hosted the 2015 workshop in Jasper, was unable to attend but graciously assisted us with planning and with promotion volunteered starting templates for tracking through his blog on Corpus Christi Water- registration, housing, and budget, which shed. Fr. David Carter, the Basilica’s rector proved very helpful. Mary Weaver estab- and an excellent singer, would lead us from lished an infrastructure for workshop pro- beginning to end by delivering talks and motion and registration. She developed our homilies, moderating the musicians’ Q&A new chapter website, online registration, panel, teaching a breakout session for clergy email list, and Facebook page, and she pro- on the pastoral and practical skills neces- duced our workshop book very similar to sary to implement sacred music in parishes, the book she creates for the CMAA Collo- and reverently celebrating the solemn sung quium each year. Vespers and closing Mass. There were ten Our vision was “an invitation to choirs presenters/performers in all. and musicians of all levels, as well as clergy, The workshop schedule was jam-packed to experience and learn the sacred music tra- from start to finish. During the welcome dition of the Catholic Church.” To appeal and check-in period, guests were offered to church musicians of different levels of a guided tour of the Basilica, and confes- experience and interest, the planning team sions were available in the church. Father decided to offer a complete track in Gre- Carter opened with an inspiring talk on the gorian chant aimed at beginners, as well “Revolution of Obedience”—obedience to as breakouts for polyphony, organists, and the church’s directives for the liturgy, rein- music directors. We were grateful to recruit forced by the Second Vatican Council. Par- Dr. Jennifer Donelson as our primary chant ticipants then chose one of the two-hour instructor and speaker. Dr. Donelson had sessions on chant fundamentals, polyphony, been instrumental in the successful work- organ, and clergy. The group broke for din- shops hosted by Musica Sacra Florida, and ner on-your-own, and returned to the basil- she gave further advice on agenda, pricing, ica for our evening festivities, including a and repertory. We enlisted CMAA’s Bruce solemn Vespers for the newly elevated Feast Ludwick Jr, organist and choirmaster of St. of St. Mary Magdalene, an organ recital, Paul Cathedral in Birmingham, to lead the and an open mic for choirs and organists. organist sessions, alongside the basilica’s Fr. Carter began by giving a tutorial on how organist, Andrea Tierney, and to direct the to chant Vespers, so that all attendees could
Sacred Music | Fall 2016 Volume 143, Number 3 75 participate. He then celebrated Solemn Vespers with the attending clergy in choir, using a program commissioned by Fr. Sam- uel Weber, O.S..B., for this workshop. Con- ference participants divided between high and low voices to chant the Vespers. Bruce Ludwick Jr. served as cantor. The basili- ca’s Gloria Dei Schola sang a processional motet, Maria Magdalene by Andrea Gabri- eli, and the polyphonic verses of the Magni- ficat. The organ recital included sacred organ the full Gregorian Mass IV Cunctipotens repertory of different periods and styles, genitor Deus and the ICEL English Credo and our organists did a fine job of bring- I, and the polyphony choir rehearsed once ing out the colors of the basilica’s beauti- more. Those who had chosen the chant or ful instrument. Rounding out the evening organist track on Friday were invited to join was our open mic session, which included in this rehearsal so that they could partici- Gregorian chant, Renaissance polyphony, pate in the polyphony. We had a final call organ music, and a new setting of the Glo- for the book table, and confessions were ria, sung and played by its composer. again offered before Mass. Saturday began with a breakfast buf- The workshop culminated in a Solemn fet and choice of a solfege warmup or a Mass sung by the workshop participants, catch-up course for people who had missed celebrated ad orientem and with incense. the Friday’s chant session. Participants had The sung dialogues of the Mass were led by their choice of the fundamentals chant the priest and deacon, and the readings sung track or special topics: traditional Catholic by cantors. Chanted propers came from the funeral music, repertory and resources for Graduale Romanum, the Plainchant Grad- choirs, and/or a private organ lesson with ual, and Richard Rice’s Communio with Bruce Ludwick Jr. Dr. Donelson brought English Verses. The polyphony choir sang a all participants together for an enlightening polyphonic offertory by Jon Naples and two talk on the Spiritual Fruits of Gregorian motets, Jesu Dulcis Memoria by Victoria and Chant. During our onsite lunch, every- Teach Me, O Lord by Thomas Attwood. At one was invited to address questions to the the end of Mass, the men’s schola sang the panel of our musician-presenters. Questions solemn-tone Salve Regina with a drone. centered around how to integrate Catholic Two congregational hymns were sung in sacred music within the culture of pop and harmony. This Mass was an opportunity gospel styles that is common in most South- for everyone to experience and be inspired eastern churches. After lunch, participants by the ideal of a fully sung Ordinary Form chose to rehearse the chant propers of the liturgy. Mass with one of three scholæ: fundamen- Some lessons that the team learned in tals, advanced women, or advanced men. planning and implementing this workshop Dr. Donelson led a full-group rehearsal for are related to the attendees’ needs, budget- the Ordinary parts of the Mass, including ing, and flexibility.
76 Volume 143, Number 3 Sacred Music | Fall 2016 People of varying backgrounds will our registration filled to capacity, and come. It is good to plan sessions for the costs of our workshop were cov- different levels. If possible, offer flex- ered, allowing us to give our present- ibility so that people don’t have to ers a modest donation. choose just one track. We laid out our schedule so that people had a Hotels can be expensive. It is good to chance to participate in other courses provide a low-cost housing option if besides the primary track they chose, possible. and we included all the materials in the workshop book for all to access, The tasks involved in administering regardless of their session choices. a workshop are many. It is best to start planning at least six months in Be sure to offer something that would advance, and to pace yourself. The attract your own parish musicians music director serving as the pri- to participate in the workshop, and mary administrator can expect to be consider offering them a discount on very busy up to and during the work- the registration. shop. Consider delegating most of the teaching or performing respon- There is not enough time in a short sibility, freeing yourself for hospital- workshop to present all the essentials ity and administration and to really of sacred music. Consider includ- enjoy the workshop you have put ing all the material you would like to your heart into. cover in a packet or book that people can reference later. Plan in advance for a survey to collect feedback, as well as any other fol- Most attendees were willing to stay low-up activities that you want to do. overnight on Friday. A full two-day Putting on a workshop takes a lot of workshop might provide even more energy, and you may feel drained for flexibility in programming. awhile afterwards.
The hosting organization must be pre- Invest in a CMAA membership for your pared to lose money. Most people parish, and you will get top-notch sign up at the last minute. You will assistance from CMAA with your not have a clear picture of the cost workshop. until very close to the workshop. Plan your pricing based on smaller num- Participants from the Basilica of Sts. Peter ber of attendees than you hope for. and Paul and the planning team believe Unless you have funds available to the workshop was successful in its initia- cover costs, regional workshops are tive to offer instruction and experience in largely a volunteer effort. It is helpful the music of the church. Everyone had the to discuss the financial reality with opportunity to experience a fully sung Mass your presenters up-front. In the end, and Vespers. Although no one could attend
Sacred Music | Fall 2016 Volume 143, Number 3 77 every session, all got to bring home a 226- sung dialogues of the Mass in English to page book packed with resources, sample the people gradually, with future plans to propers in English and Latin, and a com- introduce the propers in English. Fr. Carter pilation of helpful reference material. Many and I are working with them to help with purchased books and chant collections from this transition. Through this process, bonds the book sale. Our attendees came from of Catholic unity are being formed among diverse parish backgrounds but shared com- very different parishes. mon enthusiasm for learning more about A regional sacred music workshop can sacred music and bringing it home to their parishes. The consensus among attend- be highly successful in a parish of any size ees who have offered feedback was that or means with a supportive pastor and a this workshop was enjoyable and helpful. team of musicians who are willing to vol- With these first two workshops behind us, unteer to plan and implement it. Local the new Southeastern Sacred Music Chap- workshops may be the best way to share the ter now has an infrastructure for network- sacred music tradition with other parishes. ing and discussing topics, as well as hosting The process of putting on a workshop is future events. somewhat like missionary work: challeng- ing and unpredictable, but of inestimable value to the hosts and the recipients. To join Southeastern Sacred Music, visit our website: southeasternsacredmusic.com. You can also follow Southeastern Sacred Music on facebook by joining the group or liking our page. Photos and video clips from the July 2016 workshop, including a full audio recording of the Vespers, are available on The participants from these first two facebook. Planning is under way for next summer workshops have developed a summer’s workshop. camaraderie through our shared experi- The transcript of Fr. Carter’sRevolution ences, similar to what many experience of Obedience talk can be found on the Joy of when attending the CMAA Colloquium, Tradition resource page on Basilica of Sts. and these friendships can lead to progress Peter and Paul’s website: http://www.sts- in sacred music in the southeast. Already, peterandpaulbasilica.com/joy-of-tradition. for example, two Chattanooga area par- ishes that we are aware of are implement- Readers can contact Maria Rist at Maria- ing what they learned at the workshop, [email protected]. using two different approaches. At one par- ish, the choir has started singing Gregorian chant and motets in Latin. At another par- ish, the clergy and choir are introducing the
78 Volume 143, Number 3 Sacred Music | Fall 2016
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