Sing a New Song 2011 Annual Convention the Words We Proclaim at Mass May Change, but Our Faith Remains Constant

NATIONAL ASSOCIATION of PASTORAL MUSICIANS PASTORAL November 2011 Music Sing a New Song 2011 Annual Convention The words we proclaim at Mass may change, but our faith remains constant

Join in unison with Catholics around the world as we enter this exciting time of renewal

Missals from OCP worship1-800-LITURGY (548-8749) | ocp.org Visit us at: www.petersway.com Peter’s Way Tours Inc. Specializing in Custom Performance Tours and Pilgrimages Travel with the leader, as choirs have done for more than 25 years!

Request a brochure: [email protected] 2013 Adventus Petrus or call Midwest Office: 1-800-443-6018 Festival Celebrations in Rome In cooperation with the Archpriest of St. Peter’s Basilica and the Fondazione Pro Musica e Arte Sacra FEBRUARY - Candlemas JUNE - Corpus Christi NOVEMBER - St. Cecilia DECEMBER - Christmas Octave Your Choir will join in seasonal Papal and Cardinal celebrations/events, and share a concert with attendance of 1000+. Choirs of all sizes are welcome. Contact us for a detailed itinerary incorporating Adventus Petrus events Preview a Choir Tour! HOLY LAND - Songs of Scriptures JANUARY 12 -21, 2012 • $1,095 (plus tax) ROME, ASSISI, VATICAN CITY - Roman Polyphony JANUARY 26 - FEBRUARY 2, 2012 • $795 (plus tax) IRELAND - Land of Saints and Scholars FEBRUARY 16 - 22, 2012 • $795 (plus tax) Continuing Education Programs for Music Directors Enjoy these specially designed programs at substantially reduced rates. Fully refundable from New York (excluding tax/fuel surcharge) when you return with your own choir! Thanks to the music of Jacques Berthier and the prayer of the Taizé Community, this beautiful song has become part of the liturgical repertory of Catholics and other Christians all over the world. The last twenty years of Teresa’s years were fraught with illness, conflict, and suffering. Her reform efforts were met with rejection and suppression on the part of Carmelite superiors, and she was even investigated From the President by the Inquisition. Yet in the midst of all her trials, Teresa lived in a world of intimate experiences of and connection to Christ, her lover and spouse. Teresa Sanchez de Cepeda y Ahumada was born I recently had the opportunity to visit the in Avila, Spain, in 1515. She entered the Carmelite Monastery of San Jose in Avila (the first convent Order at the age of thirteen and took the name Teresa founded by Saint Teresa) and to speak with one of of Jesus. Soon she began having mystical experiences. the sisters about Teresa’s love of music and the role of She initiated a reform of the Order when she was liturgical music today. Although she was not visible forty-five and established more than sixteen convents behind the wall of the visiting area, this sister’s voice and monasteries before her death at the age of sixty- glowed with joy as she spoke of liturgical music. seven. Teresa was canonized just forty years later. In Music, she said, has so much power to bring people 1976, she and Catherine of Siena were the first two closer to the presence and love of God. But, she added, women ever to be declared doctors of the Church, it has to be good music! revered for their teaching of the faith. This last point was not an admonition but Famous as a mystic and a reformer, Saint Teresa rather a witness to the experience of God in beauty is probably less well known as a lover of music and that touches the human spirit and opens it to the singing. At the first convent that she founded in Avila, knowledge and love of God. So many times I have the Monastery of San Jose, Teresa gathered with the heard various commentators argue the need for other sisters to sing and play instruments. She herself “good” music in the liturgy, but rarely had I heard played percussion, while other sisters joined in singing such a joyful and simple witness to it. This was and playing other instruments. Many of the songs that no grim critique based on personal preference or they sang were texts written by Teresa herself. musical taste, much less an arrogant rebuke. Rather, Saint Teresa wrote poetry, not music, so her texts it was a joyful testimony to the power of beauty by a were sung to familiar secular tunes that the sisters contemplative sister living a simple life in the tradition already knew. Only after her death did composers of a singing and percussion-playing mystic. begin to create tunes intended specifically to support My visit to Avila has gotten me thinking about her hauntingly beautiful poetry. Saint Teresa a lot lately, not only when singing and In the Cathedral of Avila today, the text of one of playing at Sunday Mass but also when planning Saint Teresa’s best known songs is posted right next to and rehearsing music. I’m more convinced than ever her statue: that our singing and playing must open the hearts of the community to the presence and power of Christ Nada te turbe, Let nothing disturb you, among us. Even in the midst of suffering and struggle, nada te espante, let nothing frighten you. music is the language that allows people to proclaim todo se pasa, Everything passes, their trust that “God alone is enough.” Dios no se muda; but God does not change; la paciencia patience attains everything; todo lo alcanza; the one who has God quien a Dios tiene lacks nothing: nada le falta: God alone is enough. J. Michael McMahon Sólo Dios basta. President

2 November 2011 • Pastoral Music NATIONAL ASSOCIATION of PASTORAL PASTORAL MUSICIANS

November 2011 Volume 36:1 Music

Pastoral Music (ISSN 0363- 6569) is published five times Contents per year in January, March, May, September, and Novem- Annual Report 5 Annual Fund 2011 7 ber by the National Associa- tion of Pastoral Musicians NPM Honors 2011 10 Association News 11 (NPM), 962 Wayne Avenue, Suite 210, Silver Spring, MD 20910-4461. NPM is an organization of musicians and clergy dedicated to fostering the art of musical liturgy. Member services include the Sing a New Song electronic newsletterPastoral Music Notebook, discounts on NPM conventions and institutes, and other benefits. 2011 Annual Convention Give Me Jesus 19 Statement of Ownership, Management, By Ray East and Circulation (Required by 39 U.S.C. 3685) A New Missal and a New Translation: 23 Pastoral Music is a magazine published five How Did We Get Here? times annually, in January, March, May, By Kevin W. Irwin September, and November, at an annual subscription price of $46.00. Pastoral Music offices are located at 962 Wayne Avenue, We Are the Young . . . 35 Suite 210, Silver Spring, Maryland 20910- 4461. Beyond Songs: Singing the Liturgy 37 By Paul Ford Pastoral Music is a membership magazine of the National Association of Pastoral Musi- cians. Dr. J. Michael McMahon, Publisher. Local Folks Do Well: Voces Novae, Creative Motion, 44 Dr. Gordon E. Truitt, Editor. There are no and a Louisville Bowtie known bondholders, mortgagees, or other By Sylvia Marcinko Chai security holders. The purpose, function, and nonprofit status of this organization Pastoral Leadership for Managing Change 47 have not changed during the preceding By Dolly Sokol twelve months. The average number of copies per issue Notes from the Booth over the last twelve-month period, 7,810; A Mystical Experience in an Oasis 52 actual number, September 2011 issue, 7,800; total paid distribution last twelve months, within the Marketplace average, 7,460, September issue, 7,450; av- By Tony Barr erage free or nominal rate distribution last twelve months, 79; September issue, 29; total Catechesis and the New Translation of the 55 distribution last twelve months, average, Roman Missal: “Help Me to See” 7,539; September issue, 7,479. Percent paid By Jerry Galipeau circulation, average, 98.9%; September issue, 99.6%. The issue date for this circulation Commentary information is September 2011. Sing a New Song 75 Copyright © 2011 by the National Associa- By the Participants tion of Pastoral Musicians. Periodicals postage paid at Silver Spring, Professional Concerns 61 Reviews 64 Calendar 72 Maryland, and additional mailing offices. Postmaster: Send address change to Pastoral Cover: Convention participants gather for morning prayer. Photos in this issue courtesy of Music, 962 Wayne Avenue, Suite 210, Silver convention photographer Patti Dobbins, Louisville, Kentucky; Green Bay NPM Chapter; Peter Spring, MD 20910-4461. Maher; Trudy Maher; Terri Pastura; and Gordon E. Truitt.

Pastoral Music • November 2011 3 Mission Statement The National Association of Pastoral Musicians fosters the art of musical liturgy. The members of NPM serve the Catholic Church in the United States as musicians, clergy, liturgists, and other leaders of prayer.

NPM Board of Directors NPM National Office 962 Wayne Avenue, Suite 210 Term/End Silver Spring, Maryland 20910-4461 Rev. Ricky Manalo, csp (1/2011) Phone: (240) 247-3000 • Fax: (240) 247-3001 Dr. Jennifer Pascual (1/2011) General e-mail: [email protected] Mr. Stephen Petrunak (2/2013) Web: www.npm.org Mr. Thomas Stehle, Vice Chair (1/2013) Ms. Joanne Werner, Chair (1/2011) Dr. J. Michael McMahon, President Dr. J. Michael McMahon, NPM President Ext. 12 E-mail: [email protected] Rev. Virgil C. Funk, President Emeritus NPM Council Membership At-Large Representatives Ms. Kathleen Haley, Director of Membership Services Ms. Mary Beaudoin (1/2012) Ext. 19 E-mail: [email protected] Rev. Stephen Bird (1/2012) Ms. Janet Ferst, Membership Assistant Ms. Jennifer Kerr Budziak (1/2014) Ext. 15 E-mail: [email protected] Mr. Jaime Cortez (1/2014) Ms. Kate Cuddy (1/2014) Education Mr. Rendell James (1/2014) Rev. Dr. Paul H. Colloton, Director of Continuing Education Ms. Anne Ketzer (2/2012) Ext. 11 E-mail: [email protected] Mr. Steven Warner (2/2012) Mr. Peter Maher, Director of Convention Operations National Committees Ext. 22 E-mail: [email protected] Rev. James Wm. Bessert, Publications (2/2012) Dr. Kathleen DeJardin, Certification (1/2014) Publications Dr. Steven Janco, Education (1/2014) Dr. Gordon E. Truitt,Senior Editor Mr. Mark Lawson, Music Industry (1/2014) Ext. 21 E-mail: [email protected] Mr. Tom Nichols, Finance (1/2012) Advertising Interest Sections Ms. Karen Heinsch, Advertising Manager Ms. Edna Argüello-Hitchner, Hispanic Musicians (1/2014) Phone: (503) 289-3615 Ms. Gael Berberick, Ensemble Musicians (2/2012) E-mail: [email protected] Mr. Louis Canter, Diocesan Directors of Music (1/2014) Mr. Meyer Chambers, African American Musicians (1/2012) Administration Mr. Bruce Croteau, Pastoral Liturgy (2/2012) Mr. Paul Lagoy, Secretary and Mail Clerk Ms. Rachelle Kramer, Youth (1/2012) Ext. 26 E-mail: [email protected] Ms. Tracy Lake, Music Education (1/2012) Mr. Anthony Worch, Finances Col. Tom Luna, Musicians in the Military (2/2012) Ext. 15 Rev. Ricky Manalo, csp, Asian and Pacific Rim Musicians (2/2012) Ms. Margaret Matuska, Choir Directors (1/2014) Sr. Nylas Moser, asc, Musicians Serving Religious Communities (1/2012) Mr. Nicholas Palmer, Composers (2/2012) Ms. Mary Lynn Pleczkowski, Cantors (1/2012) Rev. Anthony Ruff, osb, Chant (2/2012) Dr. Michael V. Smith, Pianists (1/2014) Mr. Stephen Steinbeiser, Campus Ministers (2/2012) Dr. Lynn Trapp, Organists (2/2012) Rev. Robert Webster, Clergy (2/2012)

Ex-Officio Representatives His Eminence Cardinal Daniel N. DiNardo, Episcopal Moderator Ms. Joanne Werner, Board of Directors Chair Ms. Hollie Uccelini, Council of Chapters Chair Dr. Robert Wolf, DMMD Division President Mr. Peter Maher, NPM Staff Representative Additional Staff Ms. Andrea Schellman, Assistant Editor Ms. Kathi Zysk, Website Manager The Association President and the NPM Board members also serve on Ms. Lisette Christensen,Website Designer the NPM Council without a vote.

4 November 2011 • Pastoral Music Annual Report The National Association of Pastoral Musicians has adopted five strategic goals for the three-year to the Membership period of 2010 through 2012. Three of the five goals identify specific areas toward which the energy and for the year January 1 to December 31, 2010 resources of the Association will be directed: the pastoral, liturgical, and musical needs of Hispanic/Latino Catholics in the United States; increased focus on Strategic Goals 2010–2012 youth and young adults; and preparation for the new English-language translation of the Roman Missal. 1. Address the pastoral, liturgical, and musical needs of the Hispanic The other two goals are directed at strengthening Catholic population in the United States. the Association to carry out its mission: sustaining 2. Sustain and increase membership in the NPM community of ministry. and increasing NPM membership and continuing development of financial resources. Each year of the 3. Increase NPM focus on youth and young adults who can and do plan the NPM Board of Directors is identifying and contribute to liturgical and music ministry in the United States. implementing concrete objectives to accomplish the 4. Contribute to the preparation of communities and pastoral leaders for goals. We invite and encourage every member to do implementation of the new English-language edition of the Roman his or her part to participate in these efforts. Missal. 5. Find new financial resources and strengthen existing ones to support the mission and work of NPM in a challenging economy.

Membership in NPM represents commitment to Membership and participation in the mission of the Association —fostering the art of musical liturgy and serving Dec. 31, 2009 Dec. 31, 2010 the Catholic Church in the United States. Like many Total Membership 7,742 7,239 other nonprofit associations, NPM has seen some decline in members over the past few years. In 2010 DMMD Membership 712 668 the Association experienced a decrease of 5.4 percent. The Board of Directors last year appointed a task force Interest Sections to study membership and to make recommendations African American Musicians 113 114 for steps to be implemented during 2012. Campus Ministers 183 195 Cantors 2,162 2,225 Choir Directors 2,191 2,260 NPM is a “big tent” that embraces musicians, Clergy 1,114 993 clergy, liturgists, and other leaders of worship. The Diocesan Directors of Music 144 131 Association has a Director of Music Ministries Di- Ensemble Musicians 1,318 1,368 vision (DMMD) for professional directors of music Hispanic Musicians 237 252 ministries and seventeen Interest Sections that allow Music Education 364 394 members to identify their own particular areas of Musicians in the Military 39 34 expertise, ministry, or concern. These interest sections Organists 1,857 1,911 represent an amazing diversity within the Association Pianists 894 1,015 that embraces ordained and lay ministers, young and Youth 1,089 1,146 old, various cultural and ethnic communities, and a Asian Pacific Musicians 38 46 wide variety of music ministry specializations. Musicians Serving Religious Communities 40 81 Pastoral Liturgy 530 640 Chant 202 208 Composers 56 106

Chapters 2010 66 (60 permanent, 6 temporary) 2009 66 (59 permanent, 7 temporary) 2008 71 (62 permanent, 9 temporary)

November 2011 • Pastoral Music 5 Pastoral Music continues to provide a forum for Publications thoughtful and helpful discussion of issues affecting sung worship and pastoral music ministry. The Dec. 31, 2009 Dec. 31, 2010 Liturgical Singer is a practical and lively newsletter Members and Subscribers for psalmists, cantors, choir directors, and choir Pastoral Music 7,9601 7,44702 members. Liturgical Singer 1,5313 1,3043

In addition to these two printed periodicals, NPM 1. This number includes 65 non-member subscribers and 153 libraries. publishes a variety of electronic publications, 2. This number includes 57 non-member subscribers and 151 libraries. including Pastoral Music Notebook, a twice- 3. Total number of copies sent to subscribers; some subscriptions are bulk orders. monthly newsletter for NPM members; Sunday Word for Pastoral Musicians, a weekly reflection on the Sunday Scriptures; Clergy Update, a quarterly newsletter for clergy members; and Praxis, a quarterly newsletter for DMMD members.

The 2010 NPM Convention in Detroit drew a Education total of 1,566 paid registrants for the first national Conventions gathering during an even-numbered year since 1978. From 1980 until 2008 NPM had held regional gather- Total Paid Attendance ings during the even-numbered years. The recently 2010 Annual Convention: Detroit, Michigan 1,566 concluded 2011 National Convention (July 12–16) 2009 National Convention: Rosemont, Illinois 2,440 was held in Louisville, Kentucky. The next national 2008 Regional Conventions: East Brunswick, conventions will be held in Pittsburgh, Pennsylvania Cleveland, Los Angeles 1,689 (2012) and Washington, DC (2013). Institutes NPM institutes drew 232 participants in 2010 at Total Paid Attendance seven different locations. In addition to programs 2010 8 Institutes 314 for cantors and ensemble musicians, the Association 2009 8 Institutes 293 sponsored institutes on chant, handbells, music with 2008 9 Institutes 591 children, and pastoral liturgy. Webinar NPM sponsored four educational webinars Total Paid Attendance for a total of nearly 1,100 participants. This year’s 2010 4 Webinars 1,100 webinars included an ecumenical program on the 2009 1 Webinar 467 psalms in Christian worship, a session on the new Roman Missal, and a series of webinars on Sing to the Lord: Music in Divine Worship.

When the NPM Board prepared its budget for 2010, the Association was facing some very difficult choices Finances in light of significant financial setbacks during the recent recession. The 2010 budget reduced expenses 2010 Income: $1.310 million 2010 Expenses: $1.239 million very substantially in order to achieve a surplus for this year. Three full-time NPM staff positions were eliminated, salaries for existing staff were frozen for the third successive year, and some employee benefits were reduced or eliminated. The Association adopted a new communications strategy that makes greater use of electronic media and relies far less heavily on NPM Income and Expenses printing and mailing. A number of other cost-cutting (in $ millions) measures were also introduced.

Happily, NPM experienced a surplus of $71,000 in 2010, coming very close to the projected budget surplus of $88,000. The Association will need to achieve surpluses for the next several years to make a full recovery from recession-related losses, but early indications are showing strong performance for 2011 and more importantly the confidence of members in the value of NPM’s work.

6 November 2011 • Pastoral Music Pennsylvania Annual Fund 2010 St. Peter Catholic Church, Deland, Florida St. Teresa of Avila Catholic Community, Carson City, Nevada United States Conference of Catholic I continue to offer profound thanks to all the indi- Bishops, Washington, DC viduals, dioceses, parishes, corporations, and others Wicks Organ Company, Highland, who so generously supported the 2010 NPM Annual Illinois Fund. Your gifts help to make possible the programs and services that NPM provides for musicians, clergy, Individual Donors liturgists, and other leaders of prayer. Please help us Founders Circle to continue this important work through your gift to ($1,000 or more) the 2011 NPM Annual Fund. If there are any errors or omissions in the lists on these pages, please accept our Mrs. Ann S. Carney apology and send a correction by e-mail to Lowell@ Dr. Gregg and Mrs. Natalie Codelli npm.org or by phone: (240) 247-3000. Mr. Kevin G. Curtin His Eminence, Daniel N. DiNardo Dr. J. Michael McMahon Mr. Stephen M. Petrunak Mr. Thomas Stehle

Benefactors ($500–999)

Rev. Victor J. Buebendorf Mr. Charles and Mrs. Diane NPM Chapters, Corporations, Clement and Joe Morgan Gardner Parishes, and Religious Our Lady Queen of Poland, Silver Dr. Dolly Sokol and Deacon Joe Herrera, Jr. Communities Spring, Maryland St. Christopher, Mississauga, Ontario, Mr. Steven R. Janco Canada Dr. Marie J. Kremer St. James Catholic Church, Conway, Ms. Joanne Werner Founders Circle South Carolina ($1,000 or more) St. Lawrence O’Toole Rectory, Hartford, Patrons Connecticut, in honor of Scott and ($250–499) Diocese of Hamilton, Bermuda Luisa Buckler St. Thomas Aquinas Catholic Church, Mr. Henry Bauer Benefactors Alpharetta, Georgia Dr. Michael Connolly ($500–999) St. Thomas More University Parish, Rev. Robert Duggan Indiana, Pennsylvania Dr. Paul F. Ford St. Agnes Church, Arlington, Virginia Mr. Jeremy Q. Helmes Donors Rev. Msgr. William Ronald Jameson Patrons (Up to $99) Mr. Joseph F. Kouba ($250–499) Mr. Peter and Mrs. Trudy Maher Adrian Dominican Sisters, Adrian, Dr. Jennifer Pascual Order of Saint Benedict, Saint John’s Michigan Ms. Jane Scharding-Smedley Abbey, Collegeville, Minnesota College of the Holy Cross, Worcester, Massachusetts St. Michael the Archangel Church, John Paul the Great Catholic School, Aurora, Colorado Sponsors Jasper, Indiana ($100–249) Mary, Mother of the Church, St. Louis, Sponsors Missouri Mr. Robert J. Batastini ($100–249) Sacred Heart, Punta Gorda, Florida St. Elizabeth Ann Seton, Las Vegas, Mr. Michael Batcho Ms. Mary J. Beaudoin Alfred Music Publishing, Van Nuys, Nevada Mr. Michael J. Bruch California St. Joseph Church, Cuyahoga Falls, Ohio Rev. James Challancin Cathedral of the Sacred Heart, St. Joseph the Worker Parish, Liverpool, Mrs. Emma Jane Cochran Richmond, Virginia New Jersey Br. Thomas-Joseph Cole, ofm Diocese of Lansing, Lansing, Michigan St. Malachy Parish, Celebration Choir, Rev. Paul H. Colloton Our Lady Queen of Heaven, Lake Geneseo, Illinois Mrs. Elizabeth V. Coolahan Charles, Louisiana, in memory of Bill St. Patrick Church, Carlisle, Ms. Jean Degan

Pastoral Music • November 2011 7 Dr. Kathleen R. DeJardin Mr. Robert J. LeBlanc Ms. Sandra L. Dooley Mrs. Marilyn Le Cerff Dr. Carol A. Doran Mr. Brian T. Lepacek Ms. Charlene Dorrian Ms. Amy E. Lepak Mr. Michael and Mrs. Marie Doyle, in Rev. Thomas Lijewski memory of Larry Mayer Mr. Mark Q. Lizama, in memory of Mr. Rob W. Glover Josephine Q. Lizama Mr. James and Mrs. Bonnie Griffin Rev. Karl E. Loeb Dr. Bob Hurd Sr. Barbara A. Lolli, op Ms. Barbara L. Ilacqua, in honor of Sr. Mary Ellen B. Magano Richard P. Gibala Mr. Lawrence A. Maguda Ms. Maria A. Innocenti, sfo Ms. Julie G. Males Mrs. Helen T. Jauregui, in honor of Mary Ms. Mary C. Malewitz McLarry on her retirement Dr. M. Michel Malolepsy Mr. Ross Kelsch Ms. Sharon Cobb-Thompson Ms. Kathy Rae Maresca Deacon Joe C. Kennedy Ms. Violet E. Connors, in memory Mr. Robert M. McAdams Mr. John A. Kennedy of Loretta C. M. Staniskis Ms. Judith A. McGannon Rev. Robert J. Kennedy Ms. Kathryn Conrad Mrs. Arthur F. McGervey Mrs. Helen K. Kilty Mr. Richard A. Crone Mr. Timothy J. McManus Mrs. Mary E. Kunde-Anderson Ms. Loretta M. Czahor Mr. William K. Miller Ms. Patricia Lamb Mr. Gregory A. Czerkawski Mr. Paul E. Mohr Mr. Stephen P. Lintzenich Ms. Patricia Anne D’Anniballe Sr. Nylas Moser, asc Mr. Nicholas Lombardo Mr. Philip C. Desrosiers Rev. Thomas P. Mull Mr. Alan D. Lukas Rev. John J. Dillon Sr. Rita Musante, olvm Mr. Bruce R. Marshall Mr. Gerard Dimartini Mr. Terrence O’Grady Mrs. Anne G. Moore Sr. Regina R. Dougherty, ssj Ms. Anna Belle O’Shea Mrs. Kathleen M. O’Brien Ms. Judith DuLong Ms. Joy O’Sullivan Daniel E. O’Connor Mrs. Mary Anne Dunbar Ms. Kristin J. Oberle Ms. Lucia C. Philiposian Rev. Arthur J. Dupont Mr. Alexander Pascua Ms. Mary Lynn Pleczkowski Ms. Hazel T. Eaton Ms. Betsie Pendarvis Sr. Mary Jo Quinn, scl Mr. Edward J. Eicher Ms. Elizabeth M. Pesce Rev. Don Rooney, for David Mathers Ms. Kay Elliott Ms. Anna Peterson Ms. Mary Frances Reza Mr. Eugene E. Englert Mrs. Elizabeth Powell Ms. F. Chloe Stodt Mr. William P. Erickson Ms. Marilyn Prall Mr. Nicholas Thomas Dr. John A. Ferguson Mr. Joshua Price Dr. Lynn Trapp Ms. Nars Fernandez-Febra Ms. Cecille M. Provencher Rev. Bernard L. Tyler Ms. Mary C. Filippis Rev. Philip Raether Mr. Ray Valido Mr. Eugene Forish Mrs. Lakambini Z. Ramos Ms. Monique A. Walton Ms. Janet Fornalik Ms. Marilyn Ratke Dr. John C. Warman Mrs. Judith A. Freelander Ms. Genevieve Rollins Mr. Michael Wustrow Mrs. Mary C. Geis Ms. Susan Rositch Rev. Casper Genuardi Mr. Rex B. Rund Donors Mr. Wayne Gilliam Ms. Jo Ann C. Ruskamp (Up to $99) Rev. Richard M. Ginther Sr. Claudette Schiratti,rsm Mrs. Yvonne R. Glonchak Mr. Tony Scott Ms. Faye E. Abbondanza Mr. William Gokelman Ms. Mary Ann Sedivy Rev. Damian-Vincent Amantia, tor Mr. Joseph Gonzales Mr. James Shelton Mr. Renė Ayala Rev. Joe Graffis Mrs. Anne L. Shingler Ms. Anne L. Bartels Miss Kathleen M. Haley Mrs. Nancy M. Smith Ms. Jane Bell Ms. Rosa Hamilton Mr. Ronald Stolk Rev. Stephen J. Bird Mrs. Loretta S. Hartnett Ms. Laura Sullivan Ms. Theresa Borro Mrs. Anne Hatton Rev. Lawrence Symolon Chaplain Lieutenant Colonel Mr. Timothy D. Hebert Mr. Paul A. Tate Gary R. Breig Mrs. Joan W. Higby Ms. Mary Thurtle Dr. Timothy Brunk Ms. Gayle Hinsdill Dr. Gordon and Mrs. Carole Truitt Mr. Daniel A. Budzynski Mr. Jeff and Mrs. Debra Honoré Rev. Thomas Tyler Ms. Therese Bulat Ms. Evelyn M. Horine Mrs. Hollie B. Uccellini Mr. Gerald F. Burke Mr. Joseph G. Jacobs Mr. Justin Umbarger Dr. Ross P. Cafaro, Jr. Mrs. Mary Keefe Mr. Thomas Uva Ms. Carolyn A. Cardinalli Ms. Joanne Koehl Mrs. Nancy Valtos Mrs. Judith A. Carroll Ms. Seraphine Kolar Mr. Thomas E. Welsh Rev. Peter R. Cebulka Ms. Helena E. Kuhnley Ms. Christine Yearly

8 November 2011 • Pastoral Music These publications and other resources available from the Bookstore National Association of Pastoral Musicians Liturgy Formation Resources Professional Issues a pastoral music resource Why We SING What We Sing A Pastoral Musician’s Employment Resource New! and DO What We Do at Mass New! “A coherent and highly usable resource” for pastoral musi- Edited by Gordon E. Truitt Why We Through historical, theological, and mystagogical approach- cians and their employers to use in writing contract and

SINGWHAT WE SING and es to the Order of Mass, the contributors offer helpful ways job descriptions and negotiating salaries in a lay ecclesial

DO WHAT WE DO to renew our appreciation of the liturgy. Various authors. ministry context. DMMD Professional Concerns Committee at Mass publications Item #LFR-13...... Single copy...... $6.00 Item #PRO-9...... Single copy...... $15.00 ...... 2–5 copies...... $5.00 each ...... 6 + copies...... $4.00 each Work and Remuneration: A Statement and Worksheet Because music is integral to liturgy, the employment of Seven Sessions: The NPM Study Guide to Sing to the well-trained directors of music ministries is vital, and the Lord: Music in Divine Worship Church has a moral obligation to pay its musicians fair and Practical and professional guidance to help communities equitable salaries. Director of Music Ministries Division understand and implement these guidelines for Catholic Download free pdf at http://www.npm.org/Sections/DMMD/ communities in the United States. salaryguidelines.htm. J. Michael McMahon, Paul Colloton, and Gordon E. Truitt Item #PRO-6...... Single copy...... $5.00 Item #LFR-11...... Single copy...... $10.00 ...... 2–9 copies...... $8.00 each Hiring a Director of Music Ministries: ...... 10 + copies...... $6.00 each A Handbook and Guide—Revised Edition Revised! This helpful booklet makes the task of hiring the right Ministries in Sung Worship: director of music ministries easier and more productive by A Documentary and Pastoral Resource offering tested and proven suggestions. Director of Music Documentation from official instructions and ritual books Ministries Division, Professional Concerns Committee and pastoral applications for each musical ministry. Item #PRO-8...... Single copy...... $6.00 J. Michael McMahon and Gordon E. Truitt Item #LFR-5...... Single copy...... $15.00 National Certification Standards Singing the Year of Grace: A Pastoral Music Resource for Lay Ecclesial Ministers Revised! A practical resource for exploring and understanding the Standards for lay ecclesial ministry approved by the USCCB way the Church celebrates each year. Various authors Commission on Certification and Accreditation. Includes Item #LFR-12...... Single copy...... $15.00 standards for Certified Director of Music Ministries. Eng- lish/Spanish edition. Psalmist & Cantor: A Pastoral Music Resource Item #PRO-7...... Single copy...... $14.95 A collection of practical articles drawn from Pastoral Music and Liturgical Singer. Various authors Item #LFR-6...... Single copy...... $7.00

The Choir in the Liturgy: A Pastoral Music Resource Practical advice for choirs and choir directors about the role of the choir in liturgy, rehearsals, and how to form children’s and youth choirs. Various authors Liturgical Documents Item #LFR-8...... Single copy...... $7.00 General Instruction of the Roman Missal, revised ed. Why We Sing Pamphlet English translation from the third edition of the Roman Item #LFR-1...... Packet of 50...... $7.50 Missal with Liturgical Year Norms and U.S. Norms for Distribution and Reception of Holy Communion. Singing Our Worship Item #LD-4...... 1–9 copies...... $15.95 each A Pastoral Musician’s Guide to the General Instruction 2000 with American adaptations. J. Michael McMahon Sing to the Lord: Music in Divine Worship Item #LFR-3...... Single copy...... $4.00 2007 guidelines from the United States Conference of ...... 10 or more copies...... $3.50 each Catholic Bishops “provide direction for those preparing for the celebration of the Sacred Liturgy . . . .” The Way We Worship Item #LD-7...... 1–9 copies...... $9.95 each Pastoral Reflections on the General Instruction of the Roman ...... 10–24 copies...... $8.95 each Missal. Various authors ...... 25–49 copies...... $7.95 each Item #LFR-4...... Single copy...... $7.00 Introduction to the Order of Mass A Pastoral Resource of the Bishops’ Committee on the Blessings for Musicians Liturgy. Texts and ideas to celebrate the gifts, contributions, and min- Item #LD-5...... Single copy...... $9.95 istry of pastoral musicians. Compiled by Gordon E. Truitt ...... 10–24 copies...... $8.95 each Item #LFR-10...... Single copy...... $5.00 ...... 25+ copies...... $7.95 each

Order Today! By phone: (240) 247-3000, ext. 26. Online: www.npm.org. E-mail: [email protected]. NPM Publications • 962 Wayne Avenue, Suite 210 • Silver Spring, Maryland 20910-4461 • See our website—www.npm.org—for shipping charges and return policy • NPM Honors 2011 Scholarship Awards Mr. Henry Bauer NPM Members Scholarship

Ms. Rachelle Kramer NPM Nancy Bannister Scholarship Jubilate Deo Award St. Louis Jesuits Mr. Daniel Girardot NPM Perrot Scholarship

Mr. Rendell James NPM Koinonia Scholarship

Mr. Kristopher Seaman NPM Board of Directors Scholarship

Mr. Evan Snyder Pastoral Musician of the Year NPM MuSonics Graduate Scholarship Sister Mary Jo Quinn, scl Mr. Scott Raymond Ziegler NPM MuSonics Undergraduate Scholarship

Ms. Juliana Horton Paluch Family Foundation/WLP Scholarship

Mr. Valentino Piran Virgil C. Funk, Jr., Stewardship Award OCP Scholarship Dr. Marie Kremer Ms. Kayla Parker GIA Pastoral Musician Scholarship

Mr. Michael Adams University of Notre Dame Folk Choir Scholarship

Mr. Brandon Gauvin Funk Family Memorial Scholarship Outstanding Pastor Rev. Victor Buebendorf Mr. Nicholas Capozzoli Dosogne/Rendler-Georgetown Chorale Scholarship

Ms. Tracey Vas Dan Schutte Scholarship

DMMD Member of the Year Ms. Patricia Campbell Ms. Joanne Werner Father Lawrence Heiman, cpps, Scholarship

Mr. Adam DeLessio Steven C. Warner Scholarship

Mr. Nicholas Mourlam Lucien Deiss, cssp, Scholarship

10 November 2011 • Pastoral Music Association News

2011 Convention and young adult participants liked the gatherings designed for them, especially Who Was There? the evening jam sessions (seventy-eight percent very good or good) and the young Our online evaluation form allows us adult meet-ups (eighty-one percent very a glimpse into who the participants are good or good). The plenum showcases at our annual conventions. This year in (WLP, OCP, and GIA) were also highly Louisville, one-third of those attending rated. were parish directors of music ministries For some individual comments about (or an equivalent title and role). Cantors this year’s convention, please see the and choir directors accounted for ten Commentary on page seventy-five. percent each, and about seven percent were choir members. Six percent were Recordings Available organists, and just over four percent were pastors. More than forty-six percent of NPM recorded four of the plenum seven percent) arrived by car, and more participants have been NPM members presentations at the 2001 Annual Con- than one-third (thirty-nine percent) came for ten years or more. Twenty-two percent vention and more than sixty workshop by plane. Two percent arrived by bus. have been members for one to five years, sessions. For a complete list of the audio and about fourteen percent at Louisville recordings available from this year’s con- were new members. What We Were Looking For vention—and to order recordings—go to Nearly forty percent of those attend- the NPM website: www.npm.org. ing the 2011 Convention were full-time, When asked why we attend an NPM salaried pastoral musicians, liturgists, or convention, most of us in Louisville Save the Dates clergy. Surprisingly, given the current state admitted that we came primarily for the workshops (eighty-four percent) or the of the economy, nearly fifty-three percent The 2012 Annual Convention of the showcases and exhibits (seventy-one of the participants were equally divided National Association of Pastoral Musi- percent). Better than half of us also said between part-time, salaried ministers and cians is set for July 23–27 in Pittsburgh, that we came for the liturgies and prayer volunteers. More than half of those at the Pennsylvania. The theme, drawn from events, major addresses, and camaraderie. Louisville Convention serve suburban Psalm 104:30, is “Renew the Face of the Twenty-eight percent had other reasons parishes; twenty-six percent serve urban Earth.” parishes; and fifteen percent minister to for being in Louisville. With our interest in workshops, show- rural communities. People with middle Members Update or upper-middle class incomes comprise cases, and exhibits, it is not surprising nearly eighty percent of the parishes that we came looking chiefly for new or served by convention participants (such renewed insights about liturgy and new Certification parishes can afford a full-time or part-time ideas about music in liturgy. Changes for Cantors/Psalmists. There staff person for liturgy and music). Most of are changes in text and in title for the two the parishes represented by participants What We Liked levels of certification in our cantor/psalm- are composed primarily of non-Hispanic ist program. white parishioners (seventy-seven per- Convention participants overwhelm- BCC. With the arrival of the new Ro- cent), but those parishes also minister ing approved of this year’s convention. man Missal translation in English, there to significant numbers of other racial Nearly sixty-six percent found it very are some changes in repertoire for those or ethnic cultural groups, especially to good, and another thirty percent found NPM members applying for the Basic Hispanic or Latino/Latina populations it good. All the plenum addresses were Cantor Certificate. The psalm selections (nearly thirty-four percent), Asian com- similarly well received, as were the musi- have been updated, and there is greater munities (fifteen percent), Black or African cal events. The best-rated musical events freedom to select settings of the mystery American groups (thirteen percent), and (each receiving better than seventy per- of faith (memorial acclamation), great Pacific Islanders (eight percent). cent “very good” ratings) included “From Amen, and Lamb of God. Here is what Better than one-third of the participants Gethsemani to Galway” with the Notre the new text says: (thirty-six percent) come every year to an Dame Folk Choir, “Sing with the World” NPM convention; for another nineteen with John Bell, “Singing the Spirituals” With the advent of the new English percent, this was their first convention. with ValLimar Jansen, and “Sing the Early translation of the Roman Missal, third More than half of the participants (fifty- Classics” with the St. Louis Jesuits. Youth edition, BCC applicants may teach the

Pastoral Music • November 2011 11 Issues We Face: A Webinar Basic Organist, Service Playing, and Col- league Organist have been updated to Hotline Online Series for Pastoral Music reflect changes in the Catholic repertoire Ministry, 2011–2012 as well as any changes in the AGO require- Hotline is an online service provided ments for Service Playing and Colleague by the Membership Department at the  September 15, 2011: How to Evalu- certification. (Remember: You must be a National Office. Listings include mem- ate New Mass Settings. Jeremy member of both AGO and NPM to apply bers seeking employment, churches Helmes. for joint certification.) Go to the website: seeking staff, and occasionally church  October 20: A Checklist for Roman http://www.npm.org/Sections/Organ/or- music supplies or products for sale. Missal Implementation. Diana Ma- gancertification.htm. We encourage institutions offering calintal. salaried positions to include the salary • November 17: The Musical Judg- 2011 Scholarships range in the ad and to indicate whether ment in the “Three Judgments, One that range accords with NPM salary Evaluation.” Steven Janco. Michael B. Adams has received this guidelines (http://www.npm.org/Sec- • December 15: Toward Better Sing- year’s University of Notre Dame Folk tions/DMMD/salaryguidelines.htm). ing: Working with Cantors and Choir Choir Scholarship ($1,250). Beginning Other useful information: instruments Members. Kathleen DeJardin. with piano les- in use (pipe or electronic organ, piano), • January 19, 2012: Practical Ap- sons when he was size of choirs, and the names of music proaches to Bilingual (Spanish/Eng- in grade school, resources/hymnals in use at the par- lish) Music. Peter Kolar. Michael taught ish. • February 16: Yes, You! What You himself the basics A listing may be posted on the web Need to Know about Latino Catho- of organ before page—www.npm.org—for a period lics. Allen Deck, sj. beginning formal of sixty days ($65 for members/$90 for • March 15: Praying and Singing the organ lessons. He non-members). Ads will be posted as New Grail Psalter. Abbot Gregory has sung bass soon as possible. Polan, osb. in the liturgical Format: Following the header • April 19: What Do Youth Want? choir and school information (position title, church or What Do They Need? Robert Mc- choir at St. Law- organization name, address, phone, Carty. rence Catholic Community in Utica, fax, e-mail, and/or website addresses), • May 17: A Vatican II Approach to Michigan (his home parish), in his high ads are limited to a maximum of 100 Latin and Chant in the Liturgy. Paul school choir and a chamber choir, and in words. Ford. the college chorus at Aquinas College in Ads may be submitted by e-mail Grand Rapids, Michigan. Michael also to [email protected], faxed to (240) For additional information on these subs, when needed, for his home parish 247-3001, or mailed to: Hotline Ads, 962 webinars, visit the NPM website: www. director of music ministries and for a Wayne Avenue, Suite 210, Silver Spring, npm.org. local Lutheran parish. Michael will use MD 20910-4461. When submitting your his scholarship to continue his studies as ad, please include your membership a liturgical music major (with a double number and the name of the person Mass setting of their choice, under these to whom or institution to which the conditions: minor in theology and Spanish) at Aqui- nas. invoice should be mailed. The Mass setting must be published. Henry Bauer is the director of liturgy BCC on-site applicants must bring and music at St. Jane Frances de Chan- included organ concerts at the Basilica a copy of the sheet music to on-site tal Church in Bethesda, Maryland. In of the National Shrine of the Immaculate adjudications. addition to his Conception and National City Christian church ministry, Church. In college, he toured with the To review the application form, go he maintains a Butler Chorale in Europe as their organist to the NPM website: http://www.npm. private piano and and accompanist. He began playing the org/Sections/Cantor/cantorcertification. organ studio. He organ for his home church, St. Anne in htm. holds a master’s Monterey, Indiana, at the age of twelve ICC = CCC. The name of the Intermedi- degree in liturgi- and continued until he went to college. ate Cantor Certificate has been changed cal music from While in college he played the organ for to Cantor Colleague Certificate. NPM The Catholic Olive Branch Disciples of Christ Church in members applying for this level of certi- University of Indianapolis, Indiana. For his local NPM fication may review the current brochure America and a chapter (Washington, DC), Henry serves and application form at http://www.npm. bachelor of music on the Chapter Board and coordinates org/Sections/Cantor/cantorcertification. in piano pedagogy cum laude from Butler activities for DMMD. In 2001 he served on htm. University. Currently, he is pursuing the Core Committee for the National Con- a doctorate of musical arts in sacred vention held in Washington, DC. When Organist Certification music from The Catholic University of Pope Benedict XVI came to Washington in America, with choral conducting as his 2008, he served as an assistant conductor Updated. The application forms for emphasis. His performance credits have for the Papal Mass. He intends to use the

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Integrates with PDS, ParishSOFT®, Servant Keeper® and more. For a free trial or more information: Visit us at www.MinistrySchedulerPro.com or call us at (888) 622-0949. NPM Members Scholarship ($3,000) for panies the adult choir and children’s choir, ($1,000), was very courses this fall at Catholic University and works with an instrumental ensemble, young when he to assist with expenses related to the first plays weddings and funerals, and gives an became involved of three DMA choral recitals required for annual organ recital. This fall, he has be- in musical the- his degree program. gun attending the Oberlin Conservatory ater and began to Patricia Campbell, CDMM (Certified of Music to major in organ performance develop his love Director of Music Ministries as of July and study with James David Christie. of singing, per- 29, 2011) is the recipient of the Father With the Dosogne/Rendler-Georgetown formance, and Lawrence Heiman, Chorale Scholarship ($1,000), Nick will music in general. cpps, Scholarship be able to continue both his organ and He began piano ($1,000). Patricia sacred music studies. While at Oberlin, lessons when he has been a pastoral he plans to maintain a balance between was fourteen, musician since her performance and music ministry. He and in 2007 he won the annual concerto teens at Our Lady hopes to become a music minister in the competition as an undergrad at Wayne of Fatima in Lake- Oberlin area to gain more experience in State University. (His concentration at the wood, Colorado. service playing, choral conducting, and time was actually in organ, not piano.) She worked in the music ministry at St. planning liturgies. His involvement in liturgical music be- Joseph Church in Sharon, Pennsylvania, Adam DeLessio had his introduction gan in 2001, when he played music for before accepting her current position: to pastoral music from a pew a few rows the Tuesday night Mass at St. Thomas à She is beginning her sixteenth year as behind the pipe organ console at Our Lady Becket Church in Canton, Michigan, and director of music and worship at Blessed of Lourdes Parish accompanied the parish’s children’s choir. Sacrament Parish in Warren, Ohio, and is in Whitehouse By 2007, he had been hired full-time by completing her master of arts in pastoral Station, New Jer- the parish as an accompanist and associate liturgy and music in the Rensselaer Pro- sey, which has a director of music, becoming the full-time gram of Church Music and Liturgy. She long tradition of director of music ministries in July 2010. sends her thanks to Mr. Robert Frenzel, vibrant pastoral Brandon will use this scholarship award whose generosity makes this scholarship liturgy in which to continue his studies toward a master possible, to Fr. Larry Heiman, whose the music min- of music degree at Wayne State. leadership and direction helped to es- istry is integral. Daniel Girardot has been awarded this tablish the Rensselaer Program fifty-one The organist on year’s NPM Perrot Scholarship ($2,000). years ago, and to NPM for awarding this that occasion was He will use this scholarship to continue scholarship to her. his father, and working on his Nick Capozzoli began his piano stud- from both his doctor of minis- ies at the age of nine, but at age twelve, parents he grew try degree at The Nick was so inspired by the sounds to appreciate and understand the role of Catholic Univer- a n d p o we r f u l music in liturgy. The DeLessios became sity of America, command of the a two-church family when Adam’s father Washington, DC, pipe organ that he became the director of liturgical music where his focus began taking or- for the diocese and its cathedral. A year is on the spiritual gan lessons. After after this happened, Adam joined the formation of pas- taking a few les- parish handbell choir and remained a toral musicians. sons, he was soon member—as well as its senior leader—un- Dan has been the playing Saturday til high school graduation. The parish music minister morning Masses chamber orchestra developed later, and and liturgist at St. Theresa Catholic at St. Louise de Adam was given the opportunity to play Church in Austin, Texas, for more than Marillac Church in trombone. He also performs with the brass twenty-six years. He earned his bachelor’s Upper St. Clair, Michigan. At St. Louise ensemble of the Cathedral of St. Francis degree in music education from the Uni- de Marillac, Nick began to learn and ap- of Assisi in Metuchen, New Jersey. While versity of Texas at Austin in 1983, and preciate liturgical music. It was during his trombone is his principal instrument, he then earned a master’s degree in theology time there that he knew he was called to also plays baritone and tuba. In addition and liturgical studies at the University of serve the Church with his musical talents. to the church ensembles in which he has Notre Dame in Indiana. Dan has served In order to strengthen his organ skills, he participated, Adam took advantage of the as the member of a campus ministry team joined the American Guild of Organists. exceptional music curriculum his high and choir director at two Catholic campus He has been awarded a scholarship for school offered. The Steven C. Warner parishes in Texas and as director of music organ study through the Pittsburgh Organ Scholarship ($1,000) will aid in his pursuit at Shepherd of the Hills Presbyterian Academy of the Pittsburgh AGO Chapter. of a degree in music education at The Church in Austin before he assumed his Currently, he is principal organist at Our Catholic University of America. Adam current ministry. In addition to working Lady of Grace Church in Pittsburgh. Dur- hopes to serve the Church as a member with other staff members at St. Theresa ing his four years at Our Lady of Grace, he of a brass choir and director of a parish to direct two children’s choirs, a youth has taken on more responsibilities and has orchestra and handbell choir. choir, a handbell choir, and two adult learned more deeply what it means to be a Brandon Gauvin, recipient of this choirs, Dan has taught liturgical music, pastoral musician. Nick regularly accom- year’s Funk Family Memorial Scholarship choral music, and theology at two Catholic

14 November 2011 • Pastoral Music schools, served as a spiritual director in gree in music and Spanish from Indiana choir director, ac- the Diocese of Austin, taught spiritual University in Bloomington, where she companist, can- direction candidates, and coordinated studied piano and violin, and her mas- tor, and choral music for diocesan liturgies. He was also ter of music degree in conducting from singer at church- the founder and coordinator (1984–1986) Southern Baptist Theological Seminary in es in south Loui- of the Office of Worship for the Diocese Louisville, Kentucky. After entering the siana and north of Austin. Catholic Church, Ms. Horton felt a need Texas. Rendell Julianna Horton has been involved in for further study in Catholic liturgy and earned a bach- church music since she was a child. The church music. She is using the Paluch elor’s degree in daughter of a church choir director, she Family Foundation/WLP Scholarship music education, first began sing- ($2,500) to pursue a diploma in pastoral graduating sum- ing as part of her liturgy at the Rensselaer Program of ma cum laude father’s church Church Music and Liturgy at St. Joseph’s from Loyola University New Orleans. choir practice College in Rensselaer, Indiana. He then earned the master of music in on Wednesday Rendell James, a native of Sunset, choral conducting from Louisiana State nights because Louisiana, found his first opportunity University. Currently, Rendell is satisfying she was stuck at to sing in church when he joined the the requirements for the doctor of musi- the church with children’s choir—at the age of five—at cal arts in sacred choral music at New nothing better the Jesuit parish of St. Charles Borromeo Orleans Baptist Theological Seminary, to do! Over the in Grand Coteau, Louisiana. Gentle en- and he is using this year’s NPM Koinonia years, she has couragement by his late parents increased Scholarship ($2,000) to complete those been a part of his confidence level, so beginning at the studies. Rendell is currently the coordina- church choirs as singer, accompanist, and age of nine, Rendell served as a cantor for tor of music ministry at St. Francis Xavier director, and has felt a calling to work in weekend liturgies at the parish, and by age Catholic Church in Metairie, Louisiana, the field of church music. She is currently thirteen he directed the choir and played and director of choral activities at the New the music minister at Immaculate Con- piano and organ for weekend liturgies. Orleans Center for Creative Arts. ception Church in La Grange, Kentucky. His liturgical music ministry experience Rachelle Kramer, a member of the Ms. Horton received her bachelor’s de- includes service as a music coordinator, NPM Council and chair of the Youth

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Pastoral Music • November 2011 15 Steering Commit- grade when she since he was four- tee for NPM, has finally worked up teen years old—he been awarded this the courage to join learned piano later. year’s NPM Nancy the children’s choir He added the role Bannister Scholar- at Most Precious of psalmist/cantor ship ($2,500). Piano Blood Catholic to his music min- was her primary Church in Den- istry after partici- undergraduate in- ver, Colorado. She pating in an NPM strument at the quickly learned Cantor Institute at University of St. that, for her, song the University of Thomas in St. Paul, Minnesota, where she was the most effec- St. Thomas in St. earned a bachelor’s degree in arts, with a tive form of prayer. Her involvement grew Paul, Minnesota. On the advice of his concentration in music and an emphasis over the years, and once she became too uncle (a monk at St. John’s Abbey), he on liturgical music and Catholic studies. old for the children’s choir, she joined the studied theology, with a minor in organ She earned her master of music degree adult choir—by far the youngest member. and voice, at St. John’s University, Colleg- in choral conducting performance at the Kayla recently began her second year at eville, Minnesota. He earned his master’s University of Wisconsin-Milwaukee in the College of Saint Benedict in St. Joseph, degree in liturgical studies at St. John’s 2008, and she is using this scholarship Minnesota, where she is studying music while working as the first director of the award to work on a master’s degree in education and vocal performance. Her Office of Liturgy for the Diocese of Juneau, theology (with a concentration in liturgy) ultimate goal is to be a choir director in Alaska. Since beginning his work in Gary, at St. John’s University, Collegeville. For a parish very much like the parish she Kristopher has been awarded a master’s nine years (2001–2010), Rachelle served grew up in. She is very thankful to receive degree in systematic theology and a doctor as director of music for campus ministry the GIA Pastoral Musician Scholarship of ministry with a concentration in litur- at Marquette University in Milwaukee, ($2,000) and will apply it to her continu- gical studies from Catholic Theological where she directed the liturgical choir and ing education. Union in Chicago, Illinois. In September instrumentalists for Sunday Masses; over- Valentino Piran, a pianist, organist, he began studying for his doctorate in saw student music leaders for weekday conductor for choirs and orchestras, and theology at King’s College, University of Masses; and trained cantors, instrumen- recipient of the OCP Scholarship ($2,500), London, in the United Kingdom. Kristo- talists, and other student musicians. She was born in Vicen- pher is the recipient of this year’s NPM is currently serving as the children’s choir za, Italy. He began Board of Directors Scholarship ($2,000). director at St. William Parish in Fridley, playing the organ Evan Snyder is using the NPM Mu- Minnesota, and as accompanist at St. at his parish church Sonics Graduate Scholarship ($2,000) Margaret Mary Parish in Golden Valley when he was nine, to begin his master’s program at Cath- while studying full-time at St. John’s. and he completed olic Theological Nicholas Mourlam, recipient of the his musical under- Union in Chicago. 2011 Lucien Deiss, cssp, Scholarship graduate studies A lifelong resident ($1,000), is currently a junior at the Uni- at the Italian Con- of Frankenmuth, versity of Kansas servatory of Music Michigan, Evan majoring in pipe “A. Pedrillo” in Vi- began serving as a organ performance cenza, graduating pastoral musician and church mu- summa cum laude in piano performance. in grade school. sic. Nicholas has During and after his studies in Italy, he In high school, he received the dual served in Vicenza as music director and was appointed as- service playing organist at San Carlo Roman Catholic sistant director of certificate of the Church and as pianist, organist, and choir music in his home parish, Blessed Trin- American Guild of director at St. Mark Chapel (U.S. Army) ity Catholic Church, in Frankenmuth. In Organist and Na- for Catholic, Protestant, and Gospel addition to rehearsing instrumentalists, tional Association congregations. Moving to the United the choir, and cantors/psalmists, planning of Pastoral Musicians. He began studying States, he completed a master of music services, helping to choose music, and pipe organ when he was fourteen years degree in orchestral conducting at the playing organ and piano for funerals and old, and as a freshman in high school, he University of North Carolina School of weddings, Evan also sang in the choir, became an organist for his home parish the Arts. He is currently the director of rang in the handbell choir, and played of St. Agnes Catholic Church in Roeland music ministries at St. Thomas Aquinas trumpet for major liturgical celebrations. Park, Kansas. He was the organist for Parish in Charlotte, North Carolina, while He was also involved in his high school’s Our Lady of Sorrows Catholic Church pursuing a doctorate in sacred music at choral and band programs, and he at- in Kansas City, Missouri, for his last two The Graduate Theological Foundation in tended Music Ministry Alive! for several years of high school, and he is currently Mishawaka, Indiana. summers, serving on the team one year. the substitute organist for the St. Law- Kristopher Seaman has been the Evan left Frankenmuth to complete his rence Catholic Campus Center at KU diocesan director of music and associ- bachelor of music degree in piano perfor- and also substitutes for local Kansas City ate director of the Office of Worship for mance at Western Michigan University in churches. the Diocese of Gary, Indiana, since 2002. Kalamazoo, Michigan. During his time in Kayla Parker was in the fourth He has been playing organ in churches Kalamazoo, Evan served the St. Thomas

16 November 2011 • Pastoral Music More Catholic Student Parish, performing studying the organ with Vincent Carr, as- of MENC, The National Association for many of the duties that he performed in his sistant organist at the Cathedral Basilica of Music Education. As a member of the home parish. He also served as a substitute the Sacred Heart in Newark, New Jersey, Metropolitan New Jersey Chapter of the organist and pianist for area Catholic and while accompanying the folk group of Our AGO and the Newark Chapter of NPM, Protestant churches. During these years Lady of the Blessed Sacrament in Roseland Scott has been featured in young organist as well, he became a member of the NPM and the high school choir at Saint James recitals as well as master classes. Steering Committee for Youth. the Apostle Church in Springfield, New Tracey Vas is twenty-seven years Jersey. Scott has worked as interim and 2012 Scholarships old and lives in Toledo, Ohio, with her substitute organist at Saint James and as husband, Nick. She has been involved a substitute organist throughout north- Thanks to the generosity of NPM mem- in pastoral music ern and central New Jersey. At the Cali bers, associates, and friends, we will be for most of her life, School, Scott has studied piano in chamber offering scholarships once more in 2012. serving as a cantor ensembles and is the student accompanist Please check the website—www.npm. for her home par- for the 150-voice MSU Chorale. Scott org—and the January issue of Pastoral ish when she was sings with the MSU University Singers, Music for information on the number ten. Tracey was a fifty-voice auditioned ensemble under and value of our 2012 scholarships and very involved in the direction of Heather Buchanan and for details on how to apply for a scholar- music ministry in is the vice president of the MSU chapter ship. high school, singing and playing flute, and participating as the only high school student in the adult choir at her parish. Tracey majored in music education at Bowling Green State University in Bowl- ing Green, Ohio. She became very active at St. Thomas More University Parish and was granted the music and liturgy intern- ship for three semesters. Tracey currently ministers as associate for contemporary music at St. Patrick of Heatherdowns, Ohio, where she directs Break Forth, the contemporary music group. She also teaches music in Kindergarten through Your contribution to the NPM eighth grade at two Catholic campuses of Annual Fund helps strengthen and the Central City Ministry of Toledo. She support: plans and plays for the weekly liturgies u and directs the children’s choirs at both Annual conventions campuses. Tracey plans to use the Dan u Scholarships for future leaders Schutte Scholarship ($1,000) to continue u Colloquia her studies in pastoral music. She is u Certification programs currently working toward her master’s u Publications degree in church music and liturgy at St. u Joseph’s College in Rensselaer, Indiana. Institutes Scott R. Ziegler is a music education u And much, much more! major at the John J. Cali School of Music at Montclair State University in Montclair, Federal employees may support New Jersey, and the NPM Annual Fund through he plans to use the Combined Federal the NPM MuSon- Campaign. Please use ics Undergradu- designation number 10818. ate Scholarship ($2,000) to further his studies of mu- Please send your tax-deductible gift to: sic ministry and music education at the Cali School The NPM Annual Fund and beyond. Scott began piano les- PO Box 4207 sons at age five and soon after began Silver Spring, MD 20910-4207 accompanying the children’s choir of Our Lady of the Blessed Sacrament Church in Roseland, New Jersey. At sixteen, he began Thanks for your support.

Pastoral Music • November 2011 17 Sing a New Song 2011 Annual Convention

18 November 2011 • Pastoral Music Give Me Jesus

By Ray East

ive me Jesus: What a challenge, Who first from midst his bonds lifted what a prayer! The words and his eyes? the longing music of the African Who first from out the still watch, G lone and long, American spiritual: “Give me Jesus. You Feeling the ancient faith of prophets rise can have all this world, give me Jesus.” Within his dark-kept soul, burst into A long, long time ago, before the stars song?1 were set in their orbits to shine obedi- ently, before the planets took their place, Saints, that’s why we have to sing a whirling around the suns, before galaxies, new song. The world needs this song; before time, before space, even before the the world needs you to sing it, to play cosmos and the Big Bang—before all—the it, to dance it. We have come from the eternal Logos existed, begotten, not made, lands of the North and the South, from consubstantial with the Father. East and West, from Canada and Mexico, And what did they call him? Church, from across the seas, from continents far it was in God’s loving plan that in the away. And right here, in Louisville, we fullness of time an angel would come have gathered to sing a new song! The to the little town of Nazareth and speak lyrics still beg, “Give me Jesus,” but our to a virgin betrothed to a man named cries are now turned into dancing, with a Joseph, and the virgin’s name was Mary. hundred—with five hundred—handbells And Mary said, responding to the angel’s ringing, with drums beating, with preach- announcement: “How can this be, since I ers preaching, with pipes and woodwinds do not know man?” But the angel told her, playing, with organs going to great swell, Monsignor Ray East and the words ring out to us today: “Do pulling out all the stops. not be afraid. This child to be born will be the Son of the Most High. He will save this “yes” to everything that lies ahead will A Family Reunion people from their sins. And Mary, just to change our worship for the better. Church, show that God does not make a mistake, I call you saints, because that’s what Saint This is a family reunion, this gather- the Holy Spirit will overshadow you, and Paul called you. I believe with all my heart, ing in Louisville. We are members of one right now, in your womb, a child is being mind, and spirit that “God so loved the body—the Body of Christ—and we do conceived.” world that he gave his only Son, so that not sing alone. It is good to be here—to everyone who believes in him may not be in the right place, at the right time, for Ave, Maria, gratia plena, Dominus tecum. perish but may have eternal life” (John Benedicta tu in mulieribus, et benedictus the right reason. But while our gathering 3:16). That’s what this is all about. It’s not fructus ventris tui, Jesus. Sancta Maria, in Louisville may feel something like the Mater Dei, ora pro nobis peccatoribus, nunc about rules and regulations, Church; it’s disciples on Mount Tabor, who wanted to et in hora mortis nostra. Amen. about Jesus! stay there and build three tents, there is And some unknown African Meisters- a back story. Someone came here angry Church, I believe with all my heart that inger sang the mournful plaint: “Before or upset or depressed; someone came Mary’s “yes” to the angel’s announcement I die, let me die easy. Dark midnight here stressed and questioning, panicking changed the history of the world, of the was my song, give me Jesus.” And some about the advent of this coming Advent. universe. I also believe firmly that your unknown slave cried out, in an ancient November 27: Deadlines looming, pub- tune, as remembered by James Weldon lishers rushing, congregants confused, Rev. Monsignor Ray East, a presbyter Johnson when he wrote: musicians and choirs practicing and of the Archdiocese of Washington, ordained practicing and practicing. But someone in 1981, is the pastor of St. Teresa of Avila O black and unknown bards came to Louisville with an open mind of long ago, Parish in Washington. This article is ex- and an open heart, ready to lift up those How came your lips to touch cerpted from his keynote address on July 18, the sacred fire? who are heavily burdened. I hope that 2011, at the NPM Annual Convention in How, in your darkness, did you come someone came prepared to listen and Louisville, Kentucky. During his presen- to know learn, to study. And I hope that someone tation, he was assisted musically by Mr. The power and beauty of the came to “sing to the Lord a new song.” David Haas and Ms. Lori True. minstrel’s lyre? We have to sing that song because of

Pastoral Music • November 2011 19 what we believe about God and especially Got Jesus? building and the liturgy. So how do those because of what we believe about Jesus. In people hear the words of a new song? 1990, the Secretariat for the Bishops’ Com- You’ve seen the big billboards that ask: Who will go, if you or I don’t? That is mittee on the Liturgy and the Secretariat “Got Milk?” Well, as pastoral musicians, to say, we have a new role to play, and for the National Office of Black Catholics, we need to ask ourselves: “Got Jesus?” we need to be converted in our hearts to with the approval of the National (now Sometimes we have a lot of other things, embrace this new role, to be balanced in the United States) Conference of Catholic but we don’t have Jesus. When we climb our lives, so that it’s not just about notes Bishops, issued the statement Plenty Good onto the organ bench, or stand before on a page, notes on the score, but instead Room: The Spirit and Truth of African Ameri- the ambo to proclaim a psalm, or when it’s about God’s song written in our heart. can Catholic Worship. On the encounter we direct the choir or sing in the choir, We’ve got to be about Jesus; we’ve got to with Christ, that document says: or when we play our instruments before have fire on the inside because otherwise the Lord, sometimes we don’t have Jesus. there won’t be fire on the outside. In whatever locality he preached, Jesus Like Martha, we’re so busy about so many I’ve been changed. I’ve been changed preached that the reign of God was at other things that we forget that Jesus is in by something that would help this ADHD hand (Mark 1:15). Wherever he trav- the house and about our encounter with preacher/teacher put some balance and eled, Jesus turned people’s hearts to Jesus in the sacred liturgy. focus in his life. You’ve read the book and God (see Luke 18:42–43). Whenever bought the T-shirt. The secret is that the he proclaimed the Good News, Jesus We have a crisis, Church. Sometimes, showed the way to God’s prodigal we put the wrong emphasis on the wrong foundations behind the book The Purpose 3 love and mercy (see Luke Driven Life come from our 15:11–32). Whoever fol- Book. It comes from the lowed him experienced in Hebrew and the Christian Jesus the very mystery of Scriptures; we hear it pro- God. In him, their longings claimed in the Lectionary for for a coming High Priest, Mass. It’s about the Great Prophet, King, Suffering Commandment: Shema, Servant, Savior, and Mes- Israel—You shall love the siah were fulfilled. He was Lord your God with your the Christ, the Son of the Living God (see Matthew whole heart, soul, mind, 16:13–23). The encounter and strength. And you with Christ changed their shall love your neighbor lives completely (see Luke as yourself. Add to that: 8:1–3).2 “Lord, you give the great commission: ‘Heal the sick And this soon-to-be-cru- and preach the word.’”4 cified rabbi, misunderstood It’s as simple as that: From by religious leadership, the Great Commandment before he came to the throne and the great commission of the cross, desired to eat come a way that we can re- David Haas, Lori True, and Ray East join in singing “Give Me Jesus.” the paschal meal with his orient our lives as pastoral disciples. He took the bread, said the syllable. In the Church, there’s always a musicians, put some balance in those lives, blessing, gave it to his disciples and crisis of one kind or another, but where so that we can reach out to that mostly said: “Take this, eat it. This is my Body, we’re going, and the course that we’re unchurched world. which will be given up for you. Do this following is a sure one, and what we can in memory of me.” And then he took the accomplish in our time and in our place is Five Purposes chalice, offered up for many, and said: so critically important that we will either “Do this in memory of me.” sing a new Church into being—one that May I propose these five ways, these Isn’t that why we’re here, Church? can rise above any present crisis and focus five purposes for our existence. Ever since that paschal meal, liturgy has on the essentials—or there will be just the The first purpose is to worship and to been at the center—at the heart—of the same old, same old, just with different become worship. You and I were planned Church. Not just liturgy with formula- rules and crises. for God’s purpose, pleasure, and worship. tions but liturgy with Tradition, going all I firmly believe something new can Worship is the first principle of our lives. the way from the blood-stained portals of happen. In a Church in which thirty- The Eucharist is the source and summit of the Hebrew children coming out of Egypt eight percent of Catholics are completely our lives as Catholic Christians, as people and extending through the table of the inactive, according to a recent Pew Study of faith. We’re anchored in the Eucharist. Lord on that Passover night, to the table on Religion, at a time when only forty But the Eucharist has to flow out; it has to and the altar of the cross, to the meal at percent of Catholics even go to church go out of the doors in all kinds of liturgical Emmaus, at the command of Jesus to all on a regular basis, when only twenty prayer. You and I, you see, can’t worship our tables, our altars, and all our places of percent of Catholics are found in the pews on Sunday and be devils on Monday. You worship. Jesus lives! He is God crucified every Sunday, we might find ourselves and I have to let worship be the fiber of and risen. “You can have all this world, singing a new song to an empty church, our being; we need to be steeped and give me Jesus.” to a “Church” that’s outside the church percolated in worship twenty-four/seven.

20 November 2011 • Pastoral Music Even in our sleeping we worship the Lord; we make God smile. If the heart of worship is the Eucharist, then careful preparation on our part is not just musical or technical preparation but spiritual preparation. How many of us, every week, gather around the lectionary and do lectio divina? Shouldn’t that be part of the warp and woof of our prayer? Shouldn’t the psalms and singing the psalms in the liturgy of the hours be part of our daily lives? Of all people, we pastoral musicians should have inside of ourselves the liturgy of the hours.5 Purpose Two: koinonia, community, fellowship. We were formed to be family. One thing I love about being an NPM member is that we are family. Form that family, let that family be strong. But there are many members of our family missing. When the musicians of the three-mil- Above left: Cardinal Daniel DiNardo offers the opening prayer. Right: Dr. J. Michael McMahon and Ms. Joanne Werner give the annual report to the members. lion-member Church of God in Christ gather for their musicians’ convention, no fewer than thirty-three thousand people gather—ten times the number we have. Yet isn’t our church sixty-five million members and counting? What’s wrong with this picture? We are formed to be family, and the family formation starts here, but it has to go out there, among our fellow musicians. When we’re family, when we show how we love one another, support one another, trust one another, then we’re led to a third purpose. Purpose Three: discipleship. In discipleship, we were created to become like Christ. Our whole purpose, as church musicians, liturgical musicians, pastoral musicians, is to receive Christ in the center of our souls, to let him be the center of our joy, and then to let ourselves, like an earthen vessel, be formed in Christ’s image, so that when people see us, they see Jesus shining through us in everything we do. We were created to become like Christ, who became like us and, though tempted as we are, never sinned as we do. But if we allow ourselves to be formed by a loving and forgiving God, then we can truly be disciples and servants. That brings us to the fourth purpose. Purpose Four: Learn to serve. It starts right here, where we gather, but it doesn’t

Pastoral Music • November 2011 21 end here. We look out for each other; we singing the songs of Zion, having shared well couldn’t get an annulment; Peter had serve each other. We welcome the stranger. your song, your heart, your labor, and foot-in-mouth disease and denied Jesus And then we reach out to the rest of our your money. You will learn to sing a new three times, but God gave them each a family and to those who might be strang- song because the world wants to teach us new attitude. And Lazarus was dead! ers but will become family. Mother Mary how to sing a new song. (Ego out, Jesus So come on, Church, let’s walk together was the best, the perfect, servant of the in.) Saints, let’s sing God a new song, but and sing God a new song. In things that Lord. That’s why she sang her Magnificat. let’s let God transform us in our worship are not essential (style and whatever), She didn’t question the angel. Never in and in our community building. There’s let us sing with diversity. In things that her life did she look for thanks or ap- not enough street in the Church, and are essential, let us sing with profound preciation. She said to the head steward there sure as heck isn’t enough Church unity. And in all things, let us sing as one at the wedding feast: “Do whatever he in the street! So sing that new song, but in charity. tells you.” And she completely lived the sing it loud, sing it long, and sing it where will of God, never going against that will, you need to get your passport stamped. Notes even serving at the foot of the cross until Finally, you and I can’t sing a new song Jesus’ last breath. with an old mindset, with our prejudices 1. James Weldon Johnson, “O Black and We have to learn how to be Magnificat about musical styles and tradition. We Unknown Bards,” The Book of American Negro Poetry ed. James Weldon Johnson (New York, people. We live in a world that needs to have to have the mind and the heart of New York: Harcourt, Brace and Co., 1922). hear Magnificat—that needs to hear it in Jesus Christ, who makes all things new. 2. Secretariat for the Bishops’ Committee on Syria, Libya, South Sudan, Afghanistan, This is an incredible opportunity. Patti the Liturgy and the Secretariat for the National Iraq, Iran, and in our country too. The LaBelle put it this way: “From the top of Office of Black Catholics, National Conference mighty still are on their thrones, and the my head to the soles of my feet, I’ve got a of Catholic Bishops, Plenty Good Room: The Spirit mighty, from a position of strength, op- new attitude!” Hallelujah! David was an and Truth of African American Catholic Worship press and ignore the poorest of the poor adulterer and a womanizer, but God gave in The Liturgy Documents: Volume Two (Chicago, and the lowly. Church, just because we are him a new attitude. Moses stuttered and Illinois: Liturgy Training Publications, 1999), musicians, we are not let out of service. said he couldn’t lead the people, but God 167–207, here 170, paragraph 13. We have a strong, lifelong obligation to gave Moses a new attitude. Samson’s hair 3. Rick Warren, The Purpose Driven Life (Franklin, Tennessee: Zondervan, 2002). lift up the lowest, the least, and the last was too long, Leah was ugly, John the Bap- 4. Jeffrey Rowthorn, “Lord, You Give the according to the gifts that God has given tist ate bugs and was fashion challenged, Great Commission,” music by Cyril V. Taylor. us, the passion that God has given us to but God gave them each a new attitude, Text and music copyright © 1942, 1970, 1980 serve. Sometimes, not only are we becom- so much so that John could cry out: “The by Hope Publishing Co. ing the people of God through worship kingdom has come; the messiah is here!” 5. One online resource for praying the hours in spirit and truth, not only have we been Zaccheus was too short; the woman at the is http://www.universalis.com. formed into God’s family that extends throughout the whole world, not only were we created to become like Christ through discipleship, not only do we serve with a towel and a basin, not only are we called to clean up messes, even if that involves picking up a mop and a bucket, even if we have initials after our name; we were made for a mission. Purpose Five: mission. It’s called “evangelization,” Church. There is a mission out there that no one can do unless you say: “I am ready to go.” Unless you and I join in that worldwide group of missionaries who go as my grandparents and my aunt did, willingly and all their lives. My aunt went first to South Africa with my grandparents, and then, with Aunt Gladys, to Liberia—to the hell and turmoil of Liberia—where she brought the Good News of Jesus Christ.

If Not You, Who?

Who will go if you don’t? Next time, instead of taking a choir trip to Rome (many of us have been there and eaten at all the good restaurants), why not bring the choir to Haiti? Or Jamaica? Or Nicara- gua? I guarantee that you will come back Taizé Prayer on Monday night

22 November 2011 • Pastoral Music A New Missal and A New Translation: How Did We Get Here?

By Kevin W. Irwin

ore than once, when I was the bishops at Vatican II announced “that researching and writing this holy Mother Church desires to undertake Mpresentation, the opening with great care a general restoration of lines of the Gospel of St. Luke came to the liturgy itself” (SC, 21) and that “the my mind: liturgical books are to be revised as soon as possible; experts are to be employed on Since many have undertaken to compile the task, and bishops are to be consulted, a narrative of the events that have been from various parts of the world” (SC, 25).3 fulfilled among us, just as those who Thus was unleashed the most complete were eyewitnesses from the begin- reform of the liturgy ever undertaken at ning and ministers of the word have one time in the history of the Church. handed them down to us, I too have decided, after investigating everything For all practical purposes, the most au- accurately anew, to write it down in thoritative work detailing this process is an orderly sequence for you, most by Annibale Bugnini: The Reform of the excellent Theophilus, so that you may Liturgy 1948–1975.4 Bugnini worked tire- realize the certainty of the teachings lessly in the Curia for all of those years you have received (Luke 1:1–4, New as secretary for a variety of curial groups American Bible). responsible for this reform, the principal of which was the committee called the Quite frankly, I reflected on this text and Consilium.5 That there were no fewer on the task before me today with a certain Rev. Msgr. Kevin Irwin than nine “study groups” involved with amount of consternation, not to say dread. the reform of the Roman Missal under the Who am I to add to the highly articulate Consilium from the mid-1960s to 1970 at- ity. My concern is to bring to bear some and well-informed voices that have re- tests to its supreme importance and to the 1 insights from the promulgation of the cently addressed this issue? There is an vast amount of research, study, dialogue, Constitution on the Sacred Liturgy in 1963 impressive “cloud of witnesses” whose and consensus building that would occur to where we are now, literally on the cusp testimony is out there for all to read. as the missal came to be.6 of implementing the new Roman Missal.2 What, then, is left for me to say? I That the process was not without lex orandi, lex credendi asked myself what “angle” (I did not say Given that “ ” is a roadblocks and wrinkles is both docu- “spin”!) I might put on the story to invite major part of what the liturgy means, I mentable and a cause for concern today, interest and which might offer a differ- judge it important to highlight some of especially since some of the issues that ent kind of insight about the new Roman the theological insights that are at stake surfaced about the liturgical reform in the Missal and the process which brought it when we evaluate the missal and its late 1960s have resurfaced, and the strate- to us. I decided to play to my strengths translation and what kind of implications gies put in place to deal with them then and to view this material through the these might have for a spirituality drawn were obviously not totally satisfying. In a lex vivendi. lenses that I always use when reviewing from the liturgy—“ ” now-famous address to the Roman Curia the liturgy—its theology and spiritual- I decided to divide what follows into on December 22, 2005, the then-recently- two parts. First, the evolution that led to elected Pope Benedict XVI spoke of ways the third edition of the Missale Romanum Rev. Msgr. Kevin W. Irwin, a presbyter in which the meaning of the documents (2002) and second, the evolution of ICEL’s of the Archdiocese of New York, ordained of Vatican II had been interpreted. That work on its translation and then the in- in 1971, has taught liturgy and sacramen- day he introduced into our now-common creased ecclesiastical oversight they have tal theology since 1985 at The Catholic Church vocabulary the phrases “herme- received. University of America (CUA), Washing- neutic of continuity” and of “discontinu- ton, DC. He served for five years as dean of ity,” “reform,” and “rupture.” While it is the CUA School of Theology and Religious The Evolution and Contents often asserted that the Pope contrasted Studies, and he holds the Walter J. Schmitz of the New Missal continuity with discontinuity, in fact he Chair of Liturgical Studies. This article is paired continuity with reform and as- a printed version of his plenum address on As is well known, in paragraphs twen- serted that these were important values July 19, 2011, at the NPM Annual Con- ty-one through twenty-five of the Liturgy from the Council—ecclesia semper refor- vention in Louisville, Kentucky. Constitution Sacrosanctum Concilium (SC), manda. He chided those who judged that

Pastoral Music • November 2011 23 the Council was a “rupture” with that of our predecessor. It is that what went before and affirmed the faithful will receive the new that we should not understand Missal as a help toward witness- the Council as such.7 ing and strengthening their unity In point of fact something with one another by means of of the same debate went on in which, in the variety of so many the Roman Curia surrounding languages, one and the same the structure and contents of prayer of all will rise up, more the postconciliar Order of Mass. fragrant than any incense, to the While it was hoped that the Or- heavenly Father, through our der of Mass would be published High Priest Jesus Christ, in the in 1968, it actually took another Holy Spirit.”13 year to get beyond the allegations At this point in the evolution that, as proposed, it was nothing of our using the post-Vatican II less than “heretical” and to secure missal for forty years, and in light papal approval.8 In his study of of recent initiatives about the the reform, Bugnini offers an missal, I would like to make the insightful, succinct summary following five points about the of what went on during those missal and its implementation. months.9 He judged that an ad- Both Translated and Origi- ditional document was required nal Texts. Almost all of the A member of The Classical Artists of Louisville, Bellarmine to “justify” the new Mass. Pope contents in what was originally College, offers the gift of song. Paul VI countered that what titled in English the Sacramentary would be more effective was for Mass are a translation of the the addition of an “Introduction” to the Trent ancient liturgical manuscripts were Missale Romanum 1970. Among the most General Instruction of the Roman Missal discovered, both eastern and western, notable additions to the Sacramentary to deal with these concerns. Paragraphs containing extraordinary richness in the were the alternative opening prayers for 1–15 of the present General Instruction number and theological depth of texts Sundays. The initiative to compose such (GIRM) were originally the paragraphs which could now be incorporated into prayers was undertaken by ICEL in light comprising this “Introduction,” fol- a new missal and which were simply of the 1969 document governing transla- lowed by Chapter One of the GIRM unavailable at the time of the publication tions, Comme le prévoit,14 which indicated with paragraph numbers running from of the previous Missale Romanum in 1570. that original texts for the liturgy could 1 to 313. Those first fifteen paragraphs He stated that the principal innovation be composed. This particular effort by are subtitled successively “Testimony was “the restoration concerning the ICEL was also done as a response to a of an Unaltered Faith,” “Uninterrupted Eucharistic Prayer,” specifically the ad- worldwide consultation with the ICEL Tradition,” and “Accommodation to New dition of more than eighty prefaces and bishops about the desirability of compos- Conditions.” These are among the most the additional Eucharistic Prayers, some ing prayers “written by English-speakers fully footnoted paragraphs of the GIRM, of which were based on eastern liturgical for English-speakers with a view to en- with a significant number of those notes sources. riching the tradition of English liturgical taken from the Council of Trent. My own The post-Vatican II missal was distin- prayer.”15 The same issues were in play sense is that these paragraphs need to be guished from the post-Trent missal by the when the second edition of the Italian digested again and again and could well absence of Scripture readings. But its com- version of the Missale Romanum added the be utilized in asserting how and why the panion volume, the revised post-Vatican newly composed collect prayers based on missal needed to be revised after Vatican II Lectionary for Mass, was and remains a the three-year cycle of Sunday Scripture II. That these paragraphs are from the pen major achievement of the liturgical reform readings at Mass.16 The intention was of Cipriano Vagaggini, peritus at Vatican across denominational lines. That the Ro- to offer an introduction to what I might II and founding president of the Pontifi- man Catholic series of Scripture readings call a “liturgical hearing” of the Word of cal Liturgical Institute at Sant’Anselmo at Mass has been adopted and somewhat God. That these prayers were a popular (Rome) is clear.10 That some similarly adapted by other Christian churches is innovation was clear. That the project had well informed and moderating voices are itself an attestation of the esteem in which its detractors was also clear. At least two needed today is also obviously clear. it is held and a statement of ecumenical issues emerged about the texts. Would a There is at least a hint of defensiveness convergence about this newly restored steady diet of these alternates diminish the from the pen of Pope Paul VI in his “Ap- and emphasized part of the Mass.12 potential for the missal to be a universally ostolic Constitution” approving the new According to Pope Paul VI, when prayed series of texts? And, second, were Missale Romanum: He wrote “[H]owever, Pope Pius V promulgated the 1570 Mis- these prayers highly didactic and wordy, it should in no way be thought that this sale Romanum he did so “as an instrument especially as a prelude to the obviously revision of the Roman Missal has been of liturgical unity and as a monument of lengthy Liturgy of the Word?17 introduced without preparation, since true and reverent worship in the Church. It was also the judgment of the Con- without any doubt the way was prepared We, too, no less, even though We have silium that some of the Tridentine Missal’s by progress in liturgical disciplines these accepted into the new Roman Missal contents needed reworking. For example, last four centuries.”11 He then went on ‘lawful variations and adaptations,’ our its members asserted that the prayers to say that in the intervening years since own expectation in no way differs from and rites of the “offertory” were most in

24 November 2011 • Pastoral Music need of a revision in order to remove any expression that anticipates ideas proper to the Eucharistic Prayer itself.18 After the revisers of the missal finished their work and produced the Latin Missale Romanum, ICEL went a step further to draft original, newly composed texts for the opening prayer, the prayer over the gifts, and the prayer after Communion. The project about the prayers over the gifts was especially notable because this would change the Church’s lex orandi, one of whose premises (as I argued in my Hovda Lecture)19 is the inherent polyvalence of many liturgical texts. The newly composed prayers over the gifts assiduously avoided any proleptic reference to what the gifts would accomplish after consecration. As such they collapsed possible meanings of the proposed texts into one possible meaning and thus diminished the polyvalent potential of liturgical texts. Welcome to Louisville! Above left: The Colonel (Rev. Dr. Paul Colloton) and the Lady Two Missals in Comparison. For me (Ms. Sharon Schuhmann) greet attendees. Above right: Dr. Judy Bullock, chair of the local (and for a good number of our graduate convention committee, offers welcome. Below: People in their Derby finery offer directions. Bottom: One of many decorated horses in downtown Louisville. students in liturgy at CUA!), a fascinating missal project concerns comparing texts from the Tridentine missal and the present missal. This can mean comparing which texts from the previous missal remain in the new missal, whether the prayers that have remained in the new missal are in fact used on the same day as in the former missal, and whether there are changes in the words from the former to the new missal. Work on the revision of the missal (and, indeed, all of the post-Vatican II liturgies) was anonymous, in the sense that we do not know who decided what about texts and on what basis. We do, however, know who were the members of the study groups assigned to particular tasks.20 For the prayers of the missal, the group was headed by the famous Belgian liturgical scholar Father Placide Bruylants, on the basis of his classic two-volume study of the prayers of the Roman Missal.21 Also on the committee was Antoine Dumas who, by all accounts, and because of his numerous journal articles published at the time about the prayers of the missal,22 was one of the chief architects of the arrangement of the prayers in the new missal. My methodological presumption is that the contents of the new missal are normative and that in any comparison the benefit of the doubt should go to the revised missal unless compelling arguments suggest the contrary. Other authors, however, argue that the new missal should be judged against the normative Tridentine missal and, where changes were made in the

Pastoral Music • November 2011 25 new edition, one should be suspicious use of the previous Missale Romanum in hind it, and nothing less than confidence in favor of the Tridentine missal. This is specified circumstances under the direc- in the liturgical reform of Vatican II is at part of the methodological platform of Dr. tion of the diocesan bishop and the Sacred stake here. The decision by official sources Lauren Pristas of Caldwell College.23 In Congregation for the Doctrine of the Faith, not to use this phrase should be noted, effect we have agreed to disagree about specifically the Pontifical Commission despite the fact that it was used recently the premises of our research. Ecclesia Dei. That these documents have by Cardinal Klaus Koch in a lecture in Allow me to illustrate value found in spawned intense interest by some and Rome and in some recent publications in comparing texts from the two missals. The equally intense scrutiny by others is clear. Italy about the future shape of the revised present prayer over the gifts in the new From a theological standpoint, it is at least liturgy.32 None of these have official sanc- missal for Ash Wednesday is taken from worth noting that the initial inspiration for tion. the previous Missale Romanum, where allowing the use of this form of the Mass I also wonder whether the theological most of the present text was prayed on the was to be a factor in trying to reconcile climate and the culture that produced First Sunday of Lent. Two sets of phrases the followers of Archbishop Lefevbre with the Tridentine Mass can or should be have been added to the former prayer. the rest of the Catholic Church.27 At issue replicated. The world that spawned the What was not found in the former prayer was and is reconciliation, a supreme goal Missale Romanum of 1570 was post-me- is an explicit reference to “works of pen- of any celebration of the Eucharist and of dieval, post-Reformation. We live in a ance and charity.” While we do not know the Church in any and every age. postmodern, post-nuclear bomb, post- definitively why this phrase was inserted, Then there is also the related theo- millennial, post-Gen X world in which a I would venture to guess that it was to logical issue, namely, what this missal revision of the missal was judged to be make the prayer conform to the stated contains theologically. Father Patrick necessary. Church teachings have evolved ancient disciplines of Lent—penance, Regan, osb, of the faculty at Sant’Anselmo since Trent, and those evolved teachings prayer, and almsgiving—which themes in Rome, is writing a book laying out a and emphases are reflected in theRoman occupy the Gospel proclaimed on Ash comparison of these two forms of the Missal of 1970 (and now 2002). While a Wednesday (Matthew 6:1–6, 16–18). The Mass. I judge that this work will be very premise in compiling prayers and texts for other addition is at the end of the prayer, important to discern why the Council the new missal was “back to the future,” which now refers to the end of the Lenten Fathers at Vatican II decided on reform- in the way that some ancient (especially Season when we pray that we “may being the liturgy in the first place and about patristic) texts have been revived and are come worthy to celebrate devoutly the the shape of the reformed Mass in par- in the new Roman Missal, the principle Passion of your Son”—a phrase taken ticular.28 There were and are compelling that we should go back to the era of the from the Bobbio Missal (normally dated theological reasons why the Tridentine Council of Trent for the sake of going from the eighth century). The Latin phrase missal was changed. And there is good back is to drive the bus backwards. As Filii tui passionem, rich in meanings, simply reason that the Holy Father repeatedly a theological tradition, Catholicism is because “passion” in English. Now passio calls this “the extraordinary form” of the never about “the way we were” save for in Latin can evoke a range of meanings, Mass. What does concern me, however, in how “the way we were” shapes our his- from the physical passion of Jesus to his Pope Benedict’s “Letter” accompanying tory and enables us to look at the present paschal triumph. A literal rendering of the issuance of Summorum Pontificum,29 is and rearticulate what we believe in ever the word—“passion”—is adequate as his statement that “the two Forms of the new contexts and ways. In fact “back to far as it goes, but there is also a level of usage of the Roman Rite can be mutually the future” and our collective future in meaning about our passing over through, enriching: new Saints and some of the God are what matter, not nostalgia for a with, and in Christ that is also carried by new Prefaces can and should be inserted seemingly “pristine” form of liturgy for the use of passio.24 What is also lost, in into the old Missal.”30 I find this statement its own sake. my opinion, in praying this text as the troubling. My question is: Who would be The Roman Missal, Other Missals, prayer over the gifts on Ash Wednesday authorized to do this and on what basis? and the Celebration of Mass. It is a well- is a phrase in that former secret prayer After all, liturgy is quite unlike the trou- worn but lucidly clear phrase: Unity does from the First Sunday of Lent which is badour at the start of Leonard Bernstein’s not mean uniformity. The “substantial not used in the current text. It refers to Mass, who plaintively invites us to “sing unity of the Roman Rite” as a value is cited Ash Wednesday as “the beginning of the God a simple song,” and “to make it up in the Liturgy Constitution Sacrosanctum venerable sacrament,” that is, Lent—“ven- as we go along.” One of the purposes of a Concilium (SC, 38) in the context of four erabilis sacramenti exordium.” I would have Missal is to present us with texts and rites paragraphs about adapting and incultur- wished that this use of “sacrament” could precisely so that we do not make it up.31 ating the liturgy (SC, 37–40). There are have been retained because it recalls the Would this not be a 2011 version of the several other missals in use today which time before the thirteenth century, when 1960s Experimental Liturgy Book with the supplement the Missale Romanum for a the seven sacraments were explicitly Xerox machine in overdrive? Is this not variety of religious communities and numbered by Peter Lombard, whereas the very thing which Church documents new ecclesial movements. These are, for calling Lent a “sacrament” goes back at have tried to avoid? example, the Jesuit, Dominican, Francis- least to St. Leo the Great. A side issue worth noting in this regard can, and Benedictine missals.33 Sometimes The Tridentine Mass: Theology and is the use of the phrase “the reform of the there are special texts for feasts, e.g. in the Culture. The publication of Summorum reform.” What is to be noted is that the Jesuit Sacramentary and Jesuit Lectionary, or Pontificum in July, 2007,25 and the more Sacred Congregation for Divine Worship chants, e.g., in the Dominican Sacramentary, recent clarification in the InstructionUni - has not used the phrase “the reform of the or parts of the rite that are different, e.g. versae Ecclesiae in May of this year26 has set reform,” nor has Pope Benedict XVI since as described in the Statutes of the Neo- in play permission for a somewhat wider becoming pope. This phrase, what lies be- Catechumenal movement.34 These are

26 November 2011 • Pastoral Music notable in that these are missals in their own right and are officially sanctioned by all the requisite ecclesiastical authorities. Rather than regarding these as exceptions to the rule of unity, I would prefer to view them as post-Vatican II examples of the kind of permission granted after Trent that allowed religious communities or geographical territories which had their own missals in use for two hundred years to retain and use them. Among these were the Dominican and Carthusian liturgies and the Ambrosian liturgy, celebrated in and around Milan to this day. Then there is the diversity in liturgical celebration because of music and musical styles, for which people like you are trained and for which you tirelessly serve the Church—not to mention art and the architectural styles of our churches in which the liturgy is celebrated. There is indeed one Roman Missal, as there was one Missale Romanum after Trent. But there are and were different musical styles and musical selections, the singing and Above: Dr. Ann Howard Jones shows DMMD Board member Joseph Balistreri how to keep performance of which strike different the “stick” moving steadily and continuously in the DMMD Master Class on conducting. chords and bring out different emphases. And there are and were different styles of art and architecture which influence how we experience the one Roman Rite. Right: Marilyn Biery conducts the choir in I think here of the time several years “A Festival of Sacred Music.” ago, when I was asked by our campus Bottom right: Dancers interpret the “Song of ministry office at Catholic University to Luke.” help them evaluate the weekend student Below: John Bell invites us to “Sing with the liturgies. Two of these liturgies were World.” celebrated at the Basilica of the National Shrine of the Immaculate Conception, and two were celebrated at St. Vincent Student Chapel off Harewood Road, a building located between two dormito- ries. The Shrine is the largest Catholic church in this part of Christendom, with mosaics on the ceilings, more than sixty side chapels, and a dominating mosaic of Christ the Pantocrator (which always gets mixed reviews but which always makes an impression on people). The student chapel can seat about two hundred and reminds me of a New England community church, with clear glass paned windows, individual wooden chairs, no columns, no pews, and no kneelers. The music for the Shrine Masses was and is still largely taken from Worship, third edition; the opening hymn on that particular weekend was “Rejoice, the Lord is King” (Worship, 493). At the student Masses, the music on that weekend was largely taken from Gather, and the opening song was “Gather Us In.” “Rejoice, the Lord is King” is largely Christological—and a “high” Christology at that—and it focuses on God. “Gather

Pastoral Music • November 2011 27 Us In” is ecclesiological and focused on comment that his stated preference was ternational Commission on English in who we are here and now who gather at for newly composed prayers. One of the the Liturgy. Founded by ten (eventually the Lord’s invitation. At each Mass the issues raised here is that ancient texts are eleven) English-speaking bishops’ confer- Scripture readings and the prayers were just that—ancient—and sometimes the ences just prior to the promulgation of all the same, but each was a different ex- missal’s prayers fail to inspire. There are Sacrosanctum Concilium in 1963, the first perience of the liturgy. Each retained the several pros and cons at issue here which text produced by the young translation substantial unity of the Roman Rite, but are worth debating. I am thinking here body was the Roman Canon in 1967. Only each was a different experience. (And as of some collects assigned for Sundays subsequently, in 1969, did the Holy See is- someone with a laminated AARP card, I in (what is currently called) Ordinary sue a document that would govern the un- can attest that it was the same with the Time, which were composed to reflect precedented and herculean task of trans- Tridentine Mass: There were Masses with contemporary cultural or religious crises lating the liturgy into English through to lovely, simple Gregorian chant music; in the city of Rome that have been long 2001 (to which I alluded above) entitled there were some—admittedly few, in my since settled. One example is the collect Comme le prévoit. This document contained recollection—brilliant performances of in the present missal that was prayed several principles for translation, among Hayden, Mozart, and other composers originally at the time of the Roman feast which the best known is probably that of of classical music for the Mass; and there of Lupercalia in mid-February.36 This mid- “dynamic equivalence”—as opposed to was the more usual use of—dare I call winter festival was to avert evil spirits, “formal equivalence”—meaning that in them sentimental hymns?—like “To Jesus’ to purify the city, and to release health translating from the Latin certain liber- Heart All Burning . . . with fervent love for and fertility. While one might find traces ties could legitimately be taken for the men,”35 “Mother dearest, Mother Fairest,” of St. Valentine’s Day in this observance, sake of comprehension in the “receptor “An Army of Youth Flying the Standards Valentine never made it into the Roman language.” For example, in the third Eu- of Truth,” and “O Lord I Am Not Worthy,” euchology, and Lupercalia is officially charistic Prayer we have used the words sung as we processed to Communion, if a dead feast. But the sentiment of the “so that from east to west a perfect of- we “went to Communion,” despite the prayer—to follow the light and to reject fering may be made to the glory of your fact that that exact phrase had already what is contrary to the Gospel—obvi- name.” The original scriptural reference been spoken by the server in response to ously still stands as a valid focus. At the here to the Book of Malachi (1:11) was the priest’s invitation to Communion.) same time, while there may be prayers lost: “For from the rising of the sun, even The point to be made here is that we from the tradition that might be judged to its setting, my name is great among have to be careful about imagining that deficient, I would suggest that some of the the nations; and everywhere they bring there was and is only one way of celebrat- “alternative opening prayers” themselves sacrifice to my name, and a pure offering; ing the Roman Rite, even if we all use are theologically thin and with less rhe- for great is my name among the nations, the Roman Missal—either post-Vatican II torical style than should be expected. For says the Lord of hosts.” “From east to or post-Trent. One clear example of the example, the alternative opening prayer west” was judged a more adequate way substantial unity of the Roman Rite, of for this same Sunday in Ordinary Time to describe the cosmic reference “from the course, is in the texts of the prayers that reads: rising of the sun, even to its setting,” but we all pray. But the art and craft of celebra- it was geographically focused, and that tion well reflects legitimate diversity, often Father, meant that any reference to an ongoing, epitomized by the choice of music. let the light of your truth eternal sacrifice being offered—of which Rewrite or Compose Prayers for guide us to your kingdom an individual celebration of the liturgy through a world filled with lights Today’s Needs. There is a school of is part—would be diminished if not lost contrary to your own. thought that requires inclusion here even Christian is the name and the gospel altogether. But even as I say this, I want as we prepare to implement the missal. we glory in. to be clear that ICEL followed its “march- That is, that we should see the missal as may your love make us what you ing orders” with this kind of “dynamic a model but not a set of texts to be used. have called us to be.37 equivalence” in translation as well as in its It should be a guide, but presiding priests composing original texts for the liturgy. and bishops should compose prayers I, for one, will not shed a tear when this text At the same time (as was stated not either spontaneously on the spot or craft finds its way to the floor of the scriptorium too long ago by the Vice President of them ahead of time with images and and not into the revised Roman Missal. I the United States in a different context) metaphors that are more reflective of judge that overall we are far better served “mistakes were made” in the transla- our time and culture. They should use by the use of traditional sources and voices tions. In fact how could there not be? evocative language reflective of today’s from our family album, like the text from There was no precedent in the Catholic world, not of the classical world from Leo the Great on Christmas (which I will Church for such a wholesale revision of which the prayers came, and reflect the discuss below), than by searching for the all of our liturgies at one time, which needs of the assembled community. Even novel and contemporary. now had to be translated in rather quick as I say this I am reminded of the famous succession into English acceptable to all statement in the late 1960s by the recently Translation of the Missal eleven bishops’ conferences. ICEL was deceased Father Clarence Rivers, who the first to admit that a better translation said that “spontaneity takes a great deal The vernacular English translation was needed and undertook a revision of practice.” of the Missale Romanum and all other which culminated in what is now often Something of this was noted by John post-Vatican II liturgical documents is called the 1998 Sacramentary (translated Baldovin, sj, at a lecture at Catholic Uni- intertwined with the founding of and by ICEL and approved by all its member versity in March 2011. He offered the continued efficient operation of the In- conferences). What is to be noted is that,

28 November 2011 • Pastoral Music in the years prior to the final approval of the 1998 Sacramentary, there was increased interest in and oversight over the texts by individual bishop members of the ICEL episcopal conferences. At times, on this side of the Atlantic, the debates were intense, and unfortunately name calling and personal attacks were not absent. The history of the evolution toward the revision which has now culminated in the new English translation of the Missal to be implemented later this year can be documented easily enough (and has been well done by others38). However these were very important years for establishing parameters for translation, for evaluating texts, for experiencing what a vernacular liturgy could be like, as well as for assess- ing where some initiatives misfired and needed correction. Allow me to start with the “subtext.” It can be summarized in this sentence: “Eng- Participants fill St. Boniface Church to hear Steve Warner and the Notre Dame Folk Choir in lish is the new Latin.” While all liturgical “From Gethsemani to Galway: A Thirty-Year Journey of Song.” translations into the vernacular should be done from the Latin, in point of fact what became clear is that some vernacular texts translated after Vatican II into languages other than English were inspired by the ICEL English translations and were not as faithful to the Latin as was to be pre- sumed. Hence greater scrutiny would now be exercised over the ICEL English texts for at least two reasons: because of their influence on other translations and because faithful translations of the liturgy are required to reflect accurately the faith professed through the liturgy’s prayers. Let me turn to four projects and how I judge that they influenced the turn taken in the process and eventual approval of the new missal. Order of Christian Funerals. The first edition of the Rite for Funerals was published by ICEL in 1970, followed by a revised edition by ICEL in 1985. Some of the debates which ensued prior to the revised edition being approved both by the then-National Conference of Catholic Bishops (NCCB) and then by Rome in 1987 are well know. They numbered fewer than a dozen, and eventually the matter was settled, the texts were approved, and the revised funeral rites were implemented on All Souls Day 1989. In hindsight it is clear that Rome was exercising increased oversight over English language liturgical translations. Rites of Ordination of a Bishop, of Priests and of Deacons. The first Latin editio typica for the rites of ordination was issued in 1968 and subsequently translated by ICEL. Almost immediately

Pastoral Music • November 2011 29 the NCCB requested approval from Rome the granting of an imprimatur, this psalter stated were: to use the interim translation provided was not authorized for liturgical use. • that ICEL’s role was as a translation by ICEL in 1969, and permission was Starting in February 1996, the lead- agency, not an agency to compose granted. A revised translation was pro- ership of the NCCB and officials in the original texts for the liturgy; vided by ICEL in 1975, with the NCCB Congregation for the Doctrine of the • that the office of Executive Secretary again requesting Rome’s approval to use Faith undertook discussions in which of ICEL was different from that of the it. This was granted in 1977.39 A second the latter raised doctrinal issues related bishop members; editio typica (altera) of the ordination rites to the Psalter. As early as April of that • that ICEL employees should have was issued in Latin in1989,40 and this rite year, Cardinal Joseph Ratzinger notified fixed terms of employment, with the was then to be translated by ICEL. This the then-President of the NCCB, Bishop Congregation holding the right to time the process was protracted, involved Anthony Pilla, that the imprimatur was grant dispensations. ongoing discussions among the ICEL to be withdrawn. The Vatican assess- • that members of the ICEL Advisory constituencies, among whom were the ment stated through the Congregation Committee would now need to receive then-NCCB Bishops’ Committee on the for Divine Worship was that the text was a nihil obstat from Rome; Liturgy (BCL) and officials in Rome. In “doctrinally flawed.”46 After consultation • that the Statutes governing ICEL effect Rome rejected ICEL’s first effort with the bishop chairmen involved with needed to be revised within six at translation in a document dated 1997. the Psalter, the Administrative Commit- months. ICEL worked toward a revised text which tee of the NCCB, and all the bishops, the itself was debated by the BCL, its advisors, imprimatur was withdrawn in 1998. In effect, what resulted after this letter was and the bishops’ conference. The USCCB Not coincidentally, in 1995 the Congre- a less “American”-centered ICEL office approved the final text in 2002, and Rome gation for the Doctrine of the Faith issued and focus. The election of Bishop Arthur approved it for use starting in 2003.41 Norms for the Translation of Biblical Texts Roache from Leeds (UK) and the hiring The ICEL Psalter. Part of the original for Liturgical Use. While there could be a subsequently of Monsignor Bruce Harbert mandate for ICEL from as far back as number of reasons why the ICEL Psalter’s and now Monsignor Andrew Wadsworth 1964 was to prepare a psalter suitable for imprimatur was withdrawn, I suspect that (both from the UK) attest to this. liturgical use.42 But because of the heavy one of the dominant ones was that some 2. The publication of Liturgiam authen- demands involved in translating liturgical uses of inclusive language in translating ticam50 in April 2001 and its subsequent texts, the real work involved in preparing the Psalms would eliminate the possible Ratio Translationis51 (2007) replaced Comme such a psalter was not undertaken until understanding and use of a Psalm verse le prévoit (1969) to govern vernacular trans- 1978.43 In that year the Episcopal Board of to refer to Christ.47 For example, Psalm lations. That the document was ranked as ICEL appointed a subcommittee charged 8:5 in the ICEL Psalter translation reads: “the Fifth Instruction” for the Right Appli- with this task. It was composed of spe- cation of the Constitution on the Liturgy cialists in Hebrew language and poetry, What is humankind is ecclesiastical-speak for “Take notice and liturgical history, theology, music, English that you remember them, follow this one!” If Comme le prévoit was poetry, and literary and language theory. the human race the document that allowed for “dynamic that you care for them?48 In 1984 twenty-two psalms were prepared equivalence,” this new document was to and subjected to extensive consultation. In insist on “formal equivalence,” that is, For the same verse, the newly revised 1987 twenty-three psalms were published a more literal translation from Latin to and recently officially approved Grail as Psalms for All Seasons (Washington, English. That this document has been the Psalter reads: DC: NPM Publications). Subsequently object of much heated debate within our 52 four working groups were charged to [W]hat is man that you should keep Church for a decade is obvious. Whether complete the translation. This was done, him in mind, or not the entire document has been imple- and the texts were approved by the ICEL the son of man that you care for mented—and with strict consistency—is Episcopal Board and forwarded to the him?49 one question in that debate. For example, NCCB Ad Hoc Committee for the Review while Liturgiam authenticam allows for the of Scripture Translations. In 1995 Cardinal One underlying issue about the liturgical substitution of another word or phrase for William Keeler granted an imprimatur use of the psalter is Christological—that is, the term consubstantial in the Creed (nos. to the ICEL Psalter. While this text was any possible meanings which the psalms 21 and 53), in fact what we will all now printed “for study and for comment,” may have that will help us understand say is that Christ is “begotten, not made, one of the versions published by Liturgy who Christ is. consubstantial with the Father.” Training Publications was entitled Psalms ICEL Structural Changes. Allow me 3. It was also in that same year 2001 for Morning and Evening Prayer, with the to mention three changes which occurred, that the Congregation for Divine Worship psalms arranged for the four-week liturgi- starting in 1998, which have been very announced the formation of a committee cal cycle.44 In addition, all one hundred influential on the processes, policies, and named Vox Clara. This added, in effect, a and fifty psalms were published as The personnel involved in approving liturgi- new level of consultation in the process Psalter, with the subtitle “A Faithful and cal books. And at the end of each I will of evaluating and approving the liturgi- Inclusive Rendering from the Hebrew make an editorial comment. cal books. It comprises an international into Contemporary English . . . .”45 Among 1. In October 1998, the Prefect for committee of bishops from the English- other things which would recommend the Congregation for Divine Worship, speaking countries (presently chaired by this translation for liturgical use was that Cardinal Medina Estevez, wrote to the Cardinal George Pell), with a number of it was done in light of the need for psalms then-President of ICEL, Bishop Maurice non-bishop consultors. Its role is to give to be composed for singing. But despite Taylor. Among other things the Cardinal advice to the Congregation for Divine

30 November 2011 • Pastoral Music Worship regarding translations from Latin to English, thus its competency includes an evaluation of ICEL’s work.53

The American Process

Allow me now to return to what is an almost impossible task—to try to summarize the process of the American approval of English language liturgical translations of the Missal. I call this task almost impossible not only because of the size of the undertaking, given the number of texts to be translated, but also because of the number of people involved. Clearly, from 1993 onward the American bishops have been quite engaged in this process, starting with a vote at their November 1993 meeting to reject the first segment of what eventually would become the 1998 Sacramentary for Mass. In the fall of 1998 the bishops did vote to approve the revision of the presidential prayers of the missal, and they forwarded the Sacramentary to Rome for approval. That approval was A time apart: During the convention, people not granted. One reason given was that found time to make rosaries, knit, visit the the then-forthcoming third edition of the Marian shrine, or spend private time in prayer before the Blessed Sacrament. Latin Missale Romanum was expected to be published in the Jubilee Year 2000 (it was finally published in 2002) and that this new edition would need to be translated. The subtext, however, was that the Vatican had grown increasingly concerned about the accuracy of the vernacular English texts. Official notification of the rejection of the decade-long ICEL-led revision of the presidential prayers for the Roman Missal came in 2002. In that same letter, the Congregation expressed dissatisfaction that the ICEL Statutes still had not been revised (as first requested by Cardinal Jorge Medina Estévez, then-head of the Congregation, in 1998). This revision was finally accomplished in the fall of 2008. In effect the process by “the new ICEL” to retranslate the Roman Missal took the better part of this past decade. Some of you were asked by your bishops to serve as evaluators of the project. It is an understatement to say that its evaluation has been a major preoccupation of the American bishops. From the beginning, these ICEL texts had their critics for reasons well know to all of you—among them are verbosity and literalness. From the beginning, the ICEL texts have also had their supporters—a support often based (again) on the principle that “what we pray is what we believe” and that, therefore, these texts should be as accurate as possible. Allow me one example of a

Pastoral Music • November 2011 31 prayer that I will very much look forward The act of liturgy is nothing less than In the end it is about Maranatha—“Come to praying (perhaps even singing?) on giving voice to our faith in the triune Lord Jesus”—as we sing “O Lord at length Christmas morning. In the present Sac- God when words fail us, as all human when sacraments shall cease.” Then again, ramentary for Mass the “opening prayer” words eventually will. It is about giving some translate “Maranatha” as “The Lord reads: voice to our Christian faith in the face of comes”: The God in our midst here and our dying, rising, our needing to die to now. Who really knows? Or could it be Lord God, some things which are not life giving or both, or more? We praise you for creating man, life sustaining, and rising again and again I began this presentation by daring And still more for restoring him until one day we see God face to face. to invoke the first lines of the Gospel of in Christ. But when it comes to liturgical texts, St. Luke, dedicated to Theophilus. If you Your Son shared our weakness, I, for one, will be forever grateful that “google” Theophilus, in 0.13 seconds you may we share his glory. the ICEL translators decided to assign get 7,240,000 sites, one of which is titled the translation of the Exsultet from the “Who Is Theophilus?” Why? Because The new Missal prayer will read: Easter Vigil to Dame Maria Boulding of some argue he was a real person, and O God, Stanbrook Abbey, UK. She is the author of others say this was an honorary title for 54 who wonderfully created the dig- the book The Coming of God and a trans- an unknown person. Who really knows? nity of human nature lator of several of St. Augustine’s writ- Or could it be both, or more? and still more wonderfully restored ings, including On the Psalms. As Maria And isn’t that the mystery of it all! it, Boulding lay dying in Stanbrook Abbey We are about to embark on the imple- grant, we pray, on November 11, 2009, the assembled mentation of a missal whose English that we may partake in the divinity nuns and some friends (including Bishop translations are more accurate and which of him Arthur Roche) prayed over her the words therefore reflect more adequately the faith who humbled himself to share in of the Exsultet which she had translated of the Church. We should also continue to our humanity. for the revised Roman Missal. Every Easter work as hard as we can to produce aes- from now on we will sing these human thetically pleasing buildings and music Liturgical rhetoric and the Christian and yet stellar words translated by this for the liturgy. We should always work reality are always paschal. Even when humble monastic servant of her Lord: toward rites celebrated as decorously and liturgical language is decidedly incarna- beautifully as possible. But in the end, tional, as it obviously is at Christmas, it This is the night our task is not only to get the rites right; almost always refers to the way Christ’s when Christ broke the prison-bars in the end the task is to see how what we birth leads to his death and resurrec- of death celebrate in the liturgy helps us evaluate tion. Liturgy always celebrates paschal and rose victorious from the underworld. what really matters in life and ritualize triumph in the midst of what is some- and celebrate that. In the end, it is about times the much more obvious suffering, Our birth would have been no gain, getting life right. Or, at least, getting life diminishment, and loss. had we not been redeemed. O wonder of your humble care for us! less wrong. O love, O charity beyond all telling, All We Can Ever Expect to ransom a slave you gave away Notes your Son! All we can ever expect from a liturgical 1. See, for example, Rita Ferrone’s two O truly necessary sin of Adam, text is the least inadequate expressions articles in Commonweal: “It Doesn’t Sing: The destroyed completely by the Death which humans dare to use to worship Trouble with the New Roman Missal” and “Ro- of Christ! God in speech. All liturgical texts can man Missal Crisis,” Commonweal July 15, 2011, online version www.commonwealmagazine. be expected to do is to guide and offer O happy fault org/it-doesn, 1–5. and www.commonweal- insight. All translations fail to grasp that that earned so great, so glorious magazine.org/roman-missal-crisis, 1–2. Also the real rhetoric of liturgy and the depth a Redeemer! of Christian life are always about dying see Robert Mickens’s three-part article in The Tablet: “Unlocking the Door of the Vernacular,” and rising and how in and through the O truly blessed night, June 18, 2011, 11–12; “How Rome moved the liturgy we die and rise again and again. worthy alone to know the time and hour when Christ rose from the underworld! Goalposts,” June 25, 2011, 8–9; and “A War of That is a paschal process; it is not about Words,” July 2, 2011, 8–9. And see Cardinal speechmaking or debates about words, This is the night of which it is written: Roger Mahony, “A Graced Moment,” America phrases, capitalizations, or commas. All The night shall be as bright as day, 204:17 (May 23, 2011), 10–12; and the crystal any translation can try to do is to tether dazzling is the night for me, clear and concise address which Msgr. An- our imaginations and invite us to focus on and full of gladness. drew Wadsworth, executive secretary of the one or another of God’s attributes enacted International Commission on English in the among us liturgically through Christ in A liturgical translation doesn’t get any Liturgy, delivered last March at the Mundelein the enlivening and sustaining power and better than that! Liturgical Institute, “The Role of ICEL in producing Translations of the Roman Missal,” The action of the Holy Spirit. Liturgical texts Some of us, I suspect, are already Hillenbrand Distinguished Lecture, March 31, are not about mind control. They are weary with the apparent politics and the 2011, manuscript provided by the author. See about opening minds and hearts to what unbridled prose that have marked some also Frederick R. McManus, “ICEL: The First is really and always unfathomable. They of the journey toward the new Missal and Years,” in Shaping English Liturgy (Washington, are about turning minds and hearts—our its implementation. DC: Pastoral Press, 1990), 433–459; G. B. Harri- very selves—over to God again and again. Please take heart and have courage. son and Percy James, “Personal Reminiscences

32 November 2011 • Pastoral Music of the Early Years of ICEL,” ibid., 461–472; 14. The official title is The Instruction of Li- struction on the Application of the Apostolic Letter and John R. Page, “Weaving the Words of Our turgical Texts for Celebrations with a Congregation Summorum Pontificum of His Holiness Benedict Common Christian Prayer,” ibid., 473-489. (published in six languages) in Notitiae 5 (1969), XVI, Given Motu Proprio, April 30, 2011. And review the now-regularly-cited account 3–12, French translation. For an English trans- Online at http://www.vatican.va/roman_curia/ of the evolution of the translation of the Missal lation see Documents on the Liturgy 1963–1979: pontifical_commissions/ecclsdei/documents/ through the events related to ICEL from John Conciliar, Curial, and Papal Texts (Collegeville, rc_com_ecclsdei_doc_20110430_istr-univer- Wilkins in Commonweal: “Lost in Translation; Minnesota: The Liturgical Press,1982) no. 130, sae-ecclesiae_en.html. The Bishops, the Vatican and the English Lit- pp. 284–290. 27. See the document from the Congrega- urgy,” Commonweal December 2, 2005, online 15. See “Foreword,” in The Sacramentary, tion for Divine Worship, Quattuor abhinc annos version www.commonwealmagazine.org/lost- 12*. (October 3, 1984) and the apostolic letter of translation. 16. This work was spearheaded by Abbot John Paul II, Ecclesia Dei (July 2, 1988). 2. I use the term “new” as advised by Msgr. Andrea Mariano Magrassi, osb, deceased 28. A taste of this comparison is found in the Andrew Wadsworth, executive director of archbishop of Bari-Bitonto. See Nuovo Mes- USCCB Committee on the Liturgy Newsletter the ICEL Secretariat, who views the missal sale Quotidiano (Casale Mofferratto: Marietti, 43 (June-July, 2007), 23–28. The chart on page translation as not a revision but a totally new 1984). 27 is especially instructive. project. 17. That I was in sympathy with the latter 29.Text in Committee on the LiturgyNews - 3. Official English translation at http://www. observations is clear in my own Context and letter,op. cit., 20–22. The very fact that the pope vatican.va/archive/hist_councils/ii_vatican_ Text: Method in Liturgical Theology (Collegeville, issued such a letter is a signal to some that he council/documents/vat-ii_const_19631204_ Minnesota: The Liturgical Press, a Pueblo Book, was aware that the decision to issue Summo- sacrosanctum-concilium_en.html. 1994), 198–201. rum Pontificum would be controversial, not to 4. Annibale Bugnini, The Reform of the 18. See Second Progress Report on the Revision say contested. I myself find the letter weak in Liturgy 1948–1975, trans. Matthew O’Connell of the Roman Missal (Washington, DC: ICEL, cogency and in precision of language. (Collegeville, Minnesota: The Liturgical Press, 1990), 12. 30. Ibid., 21. 1990), 393–487. 19. The set of Hovda Lectures for this year 31. I also wonder whether picking and 5. See Piero Marini, A Challenging Reform: as well as those for most previous years may choosing would lead to the very thing which Realizing the Vision of the Liturgical Renewal, be found in pdf format at the NPM website: the pope noted earlier in this same letter, when trans. and ed. Mark Francis, John Page, and http://www.npm.org/Articles/hovda.htm. he referred to the perceived value of the Tri- Keith Pecklers (Collegeville, Minnesota: The 20. These are listed in Bugnini’s The Reform dentine Mass compared to some examples of Liturgical Press, 2007), 121–127. of the Liturgy, in the footnotes to each section the implementation of the new missal which 6. The Consilium for the Implementation of of the text. were decidedly troublesome. He said that the Constitution on the Sacred Liturgy was the 21. Placide Bruylants, Les oraisons du Misel the request for a limited use of the Tridentine Curial committee tasked with implementing Romain: Texte et Histoire (Louvain, Belgium: Mass “occurred above all because in many Sacrosanctum Concilium during and after the Abbaye du Mont Cesar, 1952). places celebrations were not faithful to the Second Vatican Council (1964–1970). 22. Antoine Dumas, “Les Sources du nou- prescriptions of the new Missal, but the latter 7. See Pope Benedict XVI, “Address to the veau Missel Romain, (I–VI)” Notitiae, no. 60, actually was understood as authorizing or Roman Curia Offering Them His Christmas pages 37–42; n. 61, 74–77; n. 62, 94–95; n. 63, even requiring creativity, which frequently Greetings,” December 22, 2005. English 134–136; n. 65, 276–280; n. 67, 409–410. Also led to deformations of the liturgy which were translation at http://www.vatican.va/holy_fa- cited as Notitiae 7 (1971), pages 37–42, 74–77, hard to bear. I am speaking from experience, ther/benedict_xvi/speeches/2005/december/ 94–95, 134–136, 276–279, 409–410. Also: “Pour since I too lived through that period with all its documents/hf_ben_xvi_spe_20051222_roman- mieux comprendre les textes liturgiques du hopes and its confusion. And I have seen how curia_en.html. Pope Benedict refers in this Missel Romain,” Notitiae 6 (1970), pages 194– arbitrary deformations of the liturgy caused speech to the addresses of Pope John XXIII 221; and “Les Prefaces du nouveau Missel,” deep pain to individuals totally rooted in the inaugurating the Council on Oct. 11, 1962, Ephemerides Liturgicae 85 (1971), pages 16–28. faith of the Church” (Letter, ibid., 21). and Paul VI at the conclusion of the Council, 23. See, for example, Lauren Pristas, “Theo- 32. See Claudio Crescimanno, La Riforma December 7, 1965, about the danger of what logical Principles that Guided the Redaction della Riforma liturgica: Ipotesi per us “nuovo” Pope Benedict now calls “the hermeneutic of of the Roman Missal (1970),” The Thomist 67 rito della messa sulle traccce del pensiero di Jo- discontinuity.” (2003), 157–195; “The Orations of the Vatican seph Ratzinger (Verona, Italy: Fede e Cultura, 8. For one example concerning the Ordo II Missal: Policies for Revision,” Communio 30 2009); and Mauro Gagliardi, Liturgia fonte di Missae see Alfredo Cardinal Ottaviani, -An (Winter 2003), 621–653); and “The Collects at vita: Prospettive teologiche (Verona, Italy: Fede tonio Cardinal Bacci, and a Group of Roman Sunday Mass: An Examination of the Revisions a Cultura, 2009). Theologians, The Ottaviani Intervention: Short of Vatican II,” Nova et Vetera 3:1 (Winter 2005) 33. See Jesuit Sacramentary (St. Louis, Mis- Critical Study of the New Order of Mass, trans. 5–38. souri: Institute of Jesuit Sources, 2001); and Anthony Cekada (Rockford, Illinois: TAN 24. See the insightful study by Patrick Jesuit Lectionary (St. Louis, Missouri: Institute Books and Publishers, 1992). Regan, “Paschal Vigil: Passion and Passage,” of Jesuit Sources, 2002). 9. See Bugnini, The Reform, 284–295. Worship 79:2 (March 2005), 98–130. Also see 34. See Statuta (Rome: Neocatechumenal 10. See my own “Overview of GIRM” in Christene Mohrmann, “Pascha, Passio, Transi- Center, 2008), especially Chapter 3, pages Liturgical Ministry 12 (Summer 2003), 121–132, tus,” Etudes sur le latin des chretiens, I (Roma: 34–39. here 122–123. Edizioni di storia e litteratura, 1961), 222. 35. If you “google” “To Jesus’ Heart All 11. Paul VI, apostolic constitution Missale 25. Benedict XVI, Litterae Apostolicae Sum- Burning,” in 0.27 seconds you get 2,240,000 Romanum, translation in The Sacramentary (New morum Pontificum motu proprio datae, AAS 99 hits—the fifth hit of which is 114 sung YouTube York, New York: Catholic Book Publishing Co., (2007), 777–797. Latin original online at http:// renditions. 1985), 9*. www.vatican.va/holy_father/benedict_xvi/ 36. For a discussion of the collect assigned 12. See Frederick R. McManus, “Pastoral motu_proprio/documents/hf_ben-xvi_motu- for the Fifteenth Sunday in Ordinary Time, Ecumenism: The Common Lectionary,” in The proprio_20070707_summorum-pontificum_ see, among others, Gerald Moore, Vatican II Eucharist. Toward the Third Millennium (Chicago, lt.html; English translation at http://www. and the Collects for Ordinary Time: A Study in the Illinois: Liturgy Training Publications, 1997), sanctamissa.org/en/resources/summorum- Roman Missal (1975) (San Francisco, London, 103–118. pontificum.html. Bethesda: International Scholars Publications, 13. Paul VI, Missale Romanum, 10*. 26. Pontifical CommissionEcclesia Dei, In- 1998), 252–276.

Pastoral Music • November 2011 33 37. The Sacramentary Approved for Use in the this order from the order of bishops and the 45. The balance of the cover page states: Dioceses of the United States of America by the order of deacons. In the end, the translation “Intended primarily for communal song and National Conference of Catholic Bishops and Con- throughout the rites is “of priests,” despite recitation. This translation is offered for study firmed by the Apostolic See(New York: Catholic the fact that from the earliest data we have and for comment by the International Com- Book Publishing Co.,1985), 304. about ordination and certainly through the mission on English in the Liturgy” (Chicago, 38. One of the best is the succinct and clear patristic era both “bishops” and “presbyters” Illinois: Liturgy Training Publications, 1995). summary of the events, persons, and docu- were referred to as “priests,” largely because 46. See originsonline Volume 29, Issue 44 ments from the sixteenth century through 2007 of their role at the Eucharistic sacrifice. (1998), 1. by Russell Hardiman, “Classified Timelines of 42. For a very brief overview of the back- 47. See the “Foreword” by Francis Cardinal Vernacular Liturgy: Responsibility Timelines ground, see NCCB Committee on the Liturgy George to The Revised Grail Psalms: A Liturgical and Vernacular Liturgy,” Pastoral Liturgy 38:1 Newsletter, 31 (April 1995), 1437–1438. Psalter (Chicago, Illinois: GIA, 2010), xiii–xiv. (2007) reprinted from ResearchOnline@ND. 43. In 1967 the ICEL bishops drew up three 48. From Psalms for Morning and Evening 39. See Thirty-Five Years of the BCL Newslet- principles that would guide its later work: Prayer, 118. ter 1965–2000 (Washington, DC: United States 49. From Revised Grail Psalms, 13. Conference of Catholic Bishops, 2004), 588. 1. The best existing versions both critical 50. http://www.vatican.va/roman_curia/ 40. There were a number of significant and literary should be consulted. congregations/ccdds/documents/rc_con_ changes between the first and second editions 2. Greater freedom should be allowed in ccdds_doc_20010507_liturgiam-authenti- of the rite. For a succinct summary and a list of translating psalms than most of the books cam_en.html bibliographical references to other authors, see of the Bible because they are poetry and 51. Ratio Translationis for the English Language my own “Justification and Ordained Ministry” must be such in English and because they (Vatican City: Sacred Congregation for Divine in Giustificazione, Chiese, Sacramenti, Prospet- are meant for the frequent and inspiring Worship, 2007). tive dopo la Dichiarazione cattolico-luterana, ed. use of the people, choirs, and cantors in 52. The literature critiquing this document Ermanno Genere and Andrea Grillo. Studia An- the liturgy. is vast. Among others see Peter Jeffrey,Translat - selmiana (Rome: Anselmiana, 2003), 129–162. 3. Rhythm suited to the English language ing Tradition: A Chant Historian Reads Liturgiam Despite the title of the article and of the volume, should be used in the translation. Authenticam (Collegeville, Minnesota: The the article offers a liturgical theology of the Liturgical Press, 2005); and the series of essays rites of ordination by way of comparing the See Newsletter 31, 1437–1438. in The Voice of the Church: A Forum on Liturgical ordination rites in use after Trent with those 44. Psalms for Morning and Evening Prayer Translations, ed. Dennis McManus (Washing- newly composed after Vatican II. (Chicago, Illinois: Liturgy Training Publica- ton, DC: USCCB Publications, 2001). 41. See Rites of Ordination of a Bishop, of tions, 1995). The added note on the title page 53. In fact, a number of bishop members Priests, and of Deacons, second typical edition reads “The Four-Week Cycle of Psalms and were changed this year, with the present Ameri- (Washington, DC: United States Conference Canticles Arranged for Morning and Evening can bishop representative to the Episcopal of Catholic Bishops, 2003). Among the many Prayer and Including Psalms for Midday and Committee of ICEL, Bishop Arthur Serratelli, issues involved here was how to translate Night Prayer in a Study Translation Prepared now named as a member of Vox Clara. the Latin term presbyterorum, whose literal by the International Commission on English 54. The Coming of God (Collegeville, Min- meaning is “of presbyters,” to distinguish in the Liturgy.” nesota: The Liturgical Press, 1982).

Participants in the NPM National Catholic Handbell Festival (above) were directed in their performance (below) by Janet Van Valey

34 November 2011 • Pastoral Music We Are the Young . . .

n the convention evaluation, youth and young adult partici- Opants were asked to comment on the parts of the program designed for them. Some of the older adults also chimed in and offered their comments. Here’s a sampling of what they had to say.

The young adult meet-ups were a great addition to the convention. I think they provided a much-needed opportunity for young adults, especially those who may be attending the convention by themselves, to meet and network.

The youth room was hands-down my favorite part of NPM! . . . The talent at the mic (on open mic night) was amazing! There was a quiet, shy girl the entire week . . . who signed up and, in my opinion, stole the show. I wish I could have taken the chance to get to know her better during the week.

Does “young at heart” qualify for this section?

My granddaughter attended all the events and was so impressed that she has asked to attend the convention next year. . . . Thank you for making her first convention experience a great one.

I brought three of my high-school-age children who are involved in the music program. They enjoyed the events they attended, but you need more options for Below: Youth interns receive directions on the first day of the convention this age group in order to gain greater participation.

It was wonderful to meet others my age in my ministry.

Young adults need more of a forum, like the youth, but not totally separate from the total NPM experience.

Youth need mentoring and practical ways to connect with experienced pastoral musicians. We don’t always need to be separated.

The young adult meet-ups were the most fun and best thing I’ve ever been part of

Pastoral Music • November 2011 35 at an NPM convention. . . . These events gave me the opportunity to be social with people my own age throughout the whole convention and definitely enhanced my experience.

The youth room was a great place for us to hang out and meet other people our age. The jam sessions were an amazing time as well!

It would be nice if there were adult versions of some of these . . . .

I really missed a contemporary musical event in the evening. It didn’t have to be “Rock the [Whatever],” but there was a very inadequate focus on and amount of attention paid publicly to contemporary liturgical music.

I wish that adults working with youth were allowed to attend some of these things and listen to what the youth had to say. Almost all of us are youth certified and understand the rules for being with kids, so that should not be an issue.

I hope that we continue to grow this program; I’d love to see more available for this age group so we can grow together in our ministries. It’s much easier to relate to your own challenges with your own cohort.

36 November 2011 • Pastoral Music Beyond Songs: Singing the Liturgy

By Paul Ford

hat an honor to have been asked Inwood reminds us that music makes to give a plenary address at this texts special. It unifies (more or less) as to Wconvention! I have been com- pitch and pace. It heightens the meaning ing to these meetings since 1985 in Long of a text (or it may obscure it). It slows Beach, California. My previous claim to us down, ever so slightly. And its most fame at an NPM convention was riding important function is to create the condi- in the elevator at Long Beach with Father tions in which God can speak to us, and Joseph Gelineau, sj. Little did I imagine we can listen. Because it’s not the music then that I would be addressing a conven- that’s important but what follows the final tion someday. note. I’m dedicating this presentation to I’m inspired in this talk by a letter to Nathan Mitchell, a great friend of all the editor of Notitiae, the journal of the of ours and a great inspiration. I’m also Congregation for Divine Worship and remembering Father Paul Wellington, a Dr. Paul Ford the Discipline of the Sacraments. You now-deceased priest of the Covington can almost smell the burning Olivetti Diocese, who was recovering his health typewriter of Annibale Bugnini when he in the California desert when he taught Job, describing creation “when the morn- was answering this question: “Many have me in seventh grade. He called on me to ing stars sang together and all the divine inquired whether the rule still applies do something that I’ve not stopped doing: beings shouted for joy” (Job 38:7). (And if that appears in the Instruction on Sacred lead music at Mass. What an incalculable you do—since you do—all seven readings Music and the Liturgy, 3 Sept. 1958, no. gift we give to youngsters by recognizing at the Easter Vigil, you are very familiar 33: ‘In low Masses religious songs of the and encouraging their musical gifts. with Baruch, with all the stars “shining people may be sung by the congregation, So: Don’t just sing at Mass; sing the and rejoicing” together.) We sing because without prejudice, however, to the prin- Mass! This is one of the hallmarks of the angels and the saints sing: The Book ciple that they be entirely consistent with the reform of the liturgy. To sing a new of Revelation is full of their songs. We the particular parts of the Mass.’”1 And song to the Lord, we need to relearn the sing because lovers sing. Bugnini replies: “La formula è superata!” basic language of the liturgy—the psalms We sing because exiles and prisoners (“That rule has been superseded!”) He and the canticles. We need to relearn the sing. Many of us have had the experience continues: basic style of the liturgy, which is call of the opera Dialogues of the Carmelites by and response. And the basic sound of the François Poulenc. In its extraordinary last What must be sung is the Mass, its Or- liturgy: It’s essentially vocal, essentially act, when the nuns of Compiègne are dinary and Proper, not “something,” no matter how consistent, that is imposed modal, basically syllabic sound. taken up to the scaffold, as they ascend on the Mass. Because the liturgical ser- But I thought it might be helpful for us the stairs, they sing the Salve Regina. And vice is one, it has only one countenance, to review for a minute why we sing at all. then comes the plunging sound of the one motif, one voice, the voice of the We sing because God sings (Zephaniah guillotine, as each one is beheaded, until Church. To continue to replace the texts 3:17). We sing because Christ sings (Mark there is no one left to sing the song . . . until of the Mass being celebrated with motets 14:26; Constitution on the Sacred Liturgy a young veiled novice, Blanche, from the that are reverent and devout, yet out Sacrosanctum Concilium, 83)—he’s singing crowd completes the Salve and walks up of keeping with the Mass of the day right now, and he introduced into this the scaffold to die with her sisters. And . . . , amounts to continuing an unac- silent planet the song of heaven, which we we all know the story of the scrawny ceptable ambiguity: It is to cheat the join every time we raise our voices to sing priest Maximilian Kolbe in Auschwitz, people. Liturgical song involves not mere melody, but words, text, thought, “Holy, holy, holy.” We sing because the who gave his life for another prisoner and the sentiments that the poetry and stars sing. You remember God’s voice in by going into the hunger bunker. There music contain. Thus texts must be those he reminded the other prisoners to sing of the Mass, not others, and singing Dr. Paul Ford is a professor of theol- once more the songs that they learned in means singing the Mass not just singing ogy and liturgy at St. John Seminary, kindergarten, that had been with them all during Mass.2 Camarillo, California, and a member of the their lives. He had to be finished off with Collegeville Composers Group. This article an injection of carbolic acid. Basic Language is an edited form of his plenum presenta- We sing ultimately because everything tion on July 20 at the 2011 NPM Annual sings (Psalm 150:6; Daniel 3:52–90). But So we don’t just sing at Mass; we sing Convention in Louisville, Kentucky. what does music do? My dear friend Paul the Mass. And the basic language of

Pastoral Music • November 2011 37 the liturgy is the psalms and canticles. sentially in the forty years this document be rekindled in you as you lead us in There are 150 psalms and 75 biblical has been in existence: prayer.” canticles—Old and New Testament. On Liturgy is not automatic. From begin- Sundays, we sing 124 of these psalms; on Since the celebration of Mass by its na- ning to end, we are setting each other up weekdays 128. And the most important ture has a “communitarian” character, to respond. But the work of liturgy—the psalm for understanding what psalms are both the dialogues between the Priest call-and-response style of liturgy—is not all about and why they are essential at and the assembled faithful and the just a game; it is sustaining. And it’s to acclamations are of great significance; Mass is Psalm 70. Its opening is one of the that call-and-response form that we need for they are not simply outward signs refuge prayers of our Jewish brothers and of communal celebration but foster and to return. I don’t know how many of you sisters which became the opening verse for bring about communion between Priest have celebrated, prayed, or even agonized any celebration of the liturgy of the hours: and people. through the “Great Litany” by Bernard “O God, come to my assistance! O Lord, Huijbers. Kevin Donovan translated the make haste to help me.” Verse eighteen It’s one group, one assembly, one congre- text into English beautifully for a book of Psalm 104 “explains” that these two gation that sings together. The Instruction called Sing the Mass.5 The eighty petitions lines are like a crack in the rocks, deep continues: of this litany cut through all the crap, all within which the rock-hyrax (rock-badger the polite language that we sometimes or “rabbit” in some translations, about The acclamations and responses of the use because we think God can’t take what the shape and twice the size of a guinea faithful to the Priest’s greetings and we have to say. We’re too nice at liturgy pig) wedges itself when threatened by prayers constitute that level of active sometimes. predators. Psalm 104 says: “The trees of participation that is to be made by the In our call to God, we need to learn the Lord drink their fill, the cedars he assembled faithful in every form of the again the language of the psalms: The planted on Lebanon. There the birds build Mass, so that the action of the whole psalms are given to us as a complete community may be clearly expressed their nests; on the treetop the stork has her language, a complete toolbox whereby and fostered.4 home. For the goats, the lofty mountains; we open up our hearts to God. for the rock-hyrax the rocks are a refuge.” So as we get used to the new Missal, So that little animal escapes predators it’s going to be important that our presid- Basic Sound by crawling in between the rocks. Treat ers—our priests and deacons—sing the yourself to singing the following. Of all greetings, so that the response comes The essential and basic sound of the the Psallite antiphons, this has gone the back (after the shock people receive from liturgy is essentially vocal, essentially deepest in me so far. hearing their presiders sing) strongly and modal, basically syllabic—yes, but some- accurately. times neumatic and even melismatic. The call and Years ago, I was blessed to be part of what response of lit- was called the New Camaldoli Chant urgy is somewhat Symposium.6 In two meetings, we came like a volleyball up with this definition of the essentially game, but we’re verbal quality of liturgical music: “While it not trying to set can have regular rhythm, harmonization, up the other side and accompaniment, chant is an essen- and spike the ball tially vocal music, a music arising from over the net! We’re the text, a music that is in the air of work trying to elicit the and home and school and—yes—church.” response of others. Most of us know the essentially modal Music and antiphon text from Psallite, © 2005, The Collegeville Compos- As Yves Congar music of the liturgy—the “schoolyard ers Group. Published and administered by Liturgical Press, Collegeville, reminds us, “The taunt tone”: Do-la, do-la, do-la-re-do-la MN 56321. All rights reserved. Lord be with you. (fa). We all know the other tone of the And with your Mass—the “backyard swing tone”: So- So if you’re under siege from tempta- spirit” is a prayer. The presider—the la, la-sol, so-la, la-sol (so-la-ti / la-so-mi). tion to tell someone off, to silence the bishop, priest, or deacon—is singing: Most presiders can do either of these, alarm clock, to go visit the refrigerator, “The Lord, who is the Spirit given you in joined by the preface tone (see below). to go shopping “to see what I want”—or baptism and confirmation, be rekindled in We know that modal music in free whatever your favorite deadly sin is—our you as you pray.” And we sing in response rhythm “wears longer” and “delivers” cry should be: “O God, come to my assis- to the ordained: “And the Lord, who is (or at least “can deliver”) the text unob- tance! O Lord, make haste to help me.”3 the Spirit given you in your ordination, trusively.

Basic Style

The second thing we must remind ourselves of is the basic style of liturgy: call and response. From the General Instruction of the Roman Missal (GIRM) comes this statement, which has not changed es-

38 November 2011 • Pastoral Music The music of liturgy is basically syllabic, sometimes neumatic, sometimes melismatic. Of these three basic kinds of chant, the melismatic (one syllable sung to many notes) is the most resistant to translation into a percussive and Ger- manic language like English. Yes, we are used to singing long, melismatic Hosan- nas, Alleluias, and Amens (Hebrew words still); and none of us can resist the (still Latin) Glorias of “Angels We Have Heard on High.” But English is most at home in syllabic chants and in neumatic chants (a neume in this sense is one syllable sung to two or three notes) of the authentic 7 repertory. Two newly certified directors of music ministries (Katie Barton and Joanne Werner) are flanked by (l–r) Cardinal Daniel DiNardo, Mr. Michael Batcho, and Dr. Robert Wolf. The Shape of the Mass

All of our gathering culminates in the collect prayer. Then we sit, and God renews the divine promise to be true to his Name—YHWH—and his Name means “I shall be there for you. As who I am shall I be there for you.” And that Name is our essential nourishment: “Human beings don’t live on bread alone but on every word that comes from the mouth of God” (Deuteronomy 8:3; Matthew 4:4). Now that’s either empty ideology or it’s absolute truth, and most of us know from experience that it’s absolute truth. And that renewal of the promise sends us to the Eucharist. God says: “I will be there for you.” And God is so there for us that, under the signs of bread and wine, we are nourished on the very Body and Blood of Christ and are turned into God’s delivery system, sent back to the world to deliver to the world the truth of God’s Name—that God is with us.

Pastoral Music • November 2011 39 Here are two of the consequences of of forgiveness and all was well . . . until the use of the psalms. In the 1570 Missale believing that the Word is important at next Sunday. The composers of the Psal- Romanum, the numbers aren’t bad: nearly liturgy. The first is this: Don’t extinguish lite group have tried to put this idea into twenty-four percent of the psalter. But the candles at the ambo at the end of the music in a Communion song: “Let the also note that, in 1951, the text of the Old liturgy of the Word. The Word hasn’t word make a home in your heart, growing Testament apart from the Book of Psalms stopped resounding in that room, has it? deep within you, bringing you to life. Let proclaimed at these Masses was less than As the Orthodox and the Eastern Catholics the word make a home in your heart.”8 one percent. do, return the Book of the Gospels to the It is a prayer that the Word, become the altar because it’s that Gospel Book that Body and Blood of Christ under the signs Amount of the Bible Used in the Roman tells us who Jesus is going to be at this of bread and wine, may be at home in our Missal (1947 ed.) on Sundays, Vigils, and particular Eucharist. hearts (see below). Major Feasts That’s the mystery that we’re a part total verses verses used % used in Bible in Missal in Missal of: helping the Word get into the heart, The Word in the Heart Gospels 3,779 848 22.4% helping the heart sing the Word and Epistles/ 4,178 461 11.0% Colossians 3:16–17 is an extraordi- become the Word. In a very familiar Acts/Rev narily important passage for musicians: passage in the General Instruction there is Psalms 2,520 596 23.6% “Let the word of Christ dwell in you this amazing statement: “In the Mass is OT 25,044 255 1.02% richly, as in all wisdom you teach and spread the table [note the singular] both after 1951 98 0.39% admonish one another, singing psalms, of God’s Word and of the Body of Christ, hymns, and spiritual songs with gratitude and from it [singular again] the faithful In the revised Lectionary for Mass, on the in your hearts to God. And whatever you are to be instructed and refreshed.”9 other hand, on Sundays and major feasts, do, in word or in deed, do everything in The following charts show the amount we sing more than half of the psalter, the name of the Lord Jesus, giving thanks of the Scriptures used at Mass in the Mis- and in the entire Lectionary we use 584 to God the Father through him.” Every sale of 1570 (and updated versions) and in percent of the Book of Psalms!10 (There’s time the Church comes to bless an organ, the Lectionary for Mass of the Roman Missal obviously a lot of repetition.) Why do other instruments, new hymnals, or a new of 1970, revised 1981. Note particularly we use these texts so often? Because the missal, this is the text that is proclaimed. The premise of this passage is that the Word is outside of us, and until it makes a home in our heart, we are incapable of singing. We all need domestication by the Word when it makes a home. Some of us just need redecoration; some of us need to be taken down to the studs and started over again by the Word of God. “Let the Word of God dwell in you richly.” But we musicians know something that perhaps even Saint Paul didn’t know: Song helps the Word make a home in the heart so that the heart can sing. All of us have had the experience of having a song come to mind at certain times, especially difficult times. There’s a true story of a little boy in central Minnesota, who was scolded by his mother as he left church on a particular Sunday—a scolding that was overheard by the parish priest. “You were terrible at Mass today!” the mother scolded. “You couldn’t settle down; you were bothering me. You’re standing in the corner, young man, until I tell you that you can come out.” So she got him home and stood him in the corner of the living room, as she went to the kitchen to prepare lunch. And she began to hear singing. She left the kitchen and went over to the entrance to the living room. From the corner came a tiny voice: “Be with me, Lord, when I am in trouble. Be with me, Lord, I pray.” Being a good Catholic mother, she swept her son into the arms

40 November 2011 • Pastoral Music Church thinks that the Book of Psalms is really important!

Amount of the Bible Used in the Roman Mis- sal (1970/1981 eds.) on Sundays, Vigils, and Major Feasts / Weekdays, Memorials, etc. total verses verses used % used in Bible in Missal in Missal Gospels 3,779 2,184/3,393 57.8%/89.8% Epistles/ 4,178 1,063/2,296 25.4%/54.9% Acts/Rev OT 25,044 932/3,378 3.7%/13.5% Psalms 2,520 >1,420/>14,720 >56.3%/>584%

After all, it’s the Book of the Word of God that is being used to respond to the Word of God. Only the Word of God is adequate to respond to God’s Word. And that much-neglected Introduction to the Lectionary for Mass teaches us that “the liturgical celebration, founded primarily on the Word of God and sustained by it, becomes a new event and enriches the word itself with new meaning and power. Thus in the Liturgy the Church At Wednesday Morning Prayer, cantor Jennifer Hartage-Moran gestures to bring the faithfully adheres to the way Christ congregation into the psalm refrain. himself read and explained the Sacred Scriptures, beginning with the ‘today’ of his coming forward in the synagogue and urging all to search the Scriptures.”11 (This, I might point out, is a teaching that is not yet fulfilled in most places. How many Catholics still behave as if all they have to be present for at Mass is the offertory, the consecration, and the priest’s communion [Baltimore Catechism No. 3, question 932]?) There’s a reciprocal relationship between word and event: Word becomes sacrament, and sacrament enriches our encounter with the Word. Father Joseph Lionel, a young Indian priest, has argued for a rediscovery of the unity of sacred Scripture and liturgy, claiming that the celebrant of the liturgy is minister of the Word at all times during the liturgy, “not only when he reads and preaches.”12 And we musicians are ministers of the Word to our brothers and sisters. That same Introduction to the Lectionary tells us that “the Word of God unceasingly calls to mind and extends the economy of salvation, which achieves its fullest expression in the Liturgy. The liturgical celebration becomes therefore the continuing, complete, and effective presentation of God’s Word. The Word of God constantly proclaimed in the Liturgy is always, then, a living and effective word through the power of the Holy Spirit. It expresses the Father’s love that never fails in its effectiveness toward us.”13

Pastoral Music • November 2011 41 Where do we get this theology? From, Word—especially the Gospel—is the cask banquet in which Christ is consumed, among other places, Saint Basil of Cae- in which the Holy Spirit ferments the Eu- the memory of his passion is recalled, the serea, who wrote: “The Father speaks his charistic wine. For that reason, the single mind is filled with grace, and a pledge of Word on his Breath.”14 Without the Holy most important weekly choice you make future glory is given to us”).20 That’s the Spirit, we cannot understand the Word, is the choice of the Communion song. summary of sacramental theology. That’s we cannot receive the Word, we cannot what the Eucharist is about; that’s what hear the Word. And the great poet and Gospel/Communion all the sacraments are about. doctor of the Eastern Church, Deacon Because Communion is the fruit of the Ephrem the Syrian, tells us: In our tradition, there is something proclaimed Word, especially the Gospel, called the “Gospel Communion.” James the Communion song ideally “quotes” the There is fire and Spirit McKinnon writes about it in his magnifi- proclaimed Word, especially the Gospel. in Mary’s womb; cent book The Advent Project.18 The early It must at least be seasonally relevant, there is fire and Spirit in the river long enough and interesting enough to in which you were baptized. Church tried unsuccessfully to marry bear the weight of repetition. Its style Fire and Spirit in our own baptism, what we sang at Communion time to the in the bread and in the cup, Gospel of the day or another important needs to be processional (more inspiring fire and Holy Spirit. reading, so that every Christian, as she of movement than of meditation) and In your bread is hidden the Spirit walked up the aisle to receive Commu- responsorial (sharing the burden of the who is not eaten; nion, was singing the words of promise text and music alternately, between the in your wine dwells the Fire that were being delivered on at this liturgy. whole assembly and the cantor, choir, that cannot be drunk. Look at the Graduale Romanum (Roman or instruments). Its text needs to have a The Spirit in your bread, the Fire Gradual): 900 neumatic and melismatic biblical density and richness to it so that in your wine, chants; the Graduale Simplex (Simple Grad- it can reflectas fulfillmentwhat the liturgy a remarkable miracle that our lips of the Word announced as promise.21 have received.15 ual): 450 neumatic and syllabic chants. What do the Graduals tell us about Saint Augustine tells us that all the the texts of the Communion chants? Of The Spirit and the Bride words consecrate, not just the words “This the 163 communion songs of the Roman The mystery we are about is the nuptial is my Body” and “This is my Blood.” In Gradual, only eight songs refer to the Body mystery of the Word and his Bride. “The his commentary on John, chapter fifteen, and Blood of Christ. All of these songs Spirit and the Bride say: ‘Come.’ How he writes: were realigned as a consequence of our new lectionary so that, as the Ordo cantus happy, those invited to the wedding feast 22 Now you are clean through the word which missae says, “Chants closely related to the of the Lamb.” I have spoken unto you. Why does He not readings should, of course, be transferred say, You are clean through the baptism for use with these read- wherewith you have been washed, but ings.”19 Of the sixty-two “through the word which I have spoken communion songs of the unto you,” save only that in the water Simple Gradual, only four also it is the word that cleanses? Take songs refer to the Body away the word, and the water is neither more nor less than water. The word is and Blood of Christ. Of added to the element, and there results the 618 communion songs the Sacrament, as if itself also a kind of of the lost Antiphonary of visible word.16 the 1998 Sacramentary, only sixty-eight There’s something nuptial going on. Here songs refer even indirectly to the Body is our Bridegroom. Where does all this We can amplify what Augustine says, and Blood of Christ. come from? Look at John 3:27–30, in which because in the Eucharist especially the Why this infrequency? Because Com- John the Baptist explains his role: “No one Word is not only visible and audible, munion is about more than the real pres- can receive anything except what has been it is also tastable, touchable, smellable, ence of Christ’s Body and Blood. It is about given from heaven. You yourselves are my sensible. Wisely, then, did Louis-Marie how this Food and Drink are meant to witnesses that I said, ‘I am not the Messiah, Chauvet say of the sacraments that they forgive our sins, restore us to community, but I have been sent ahead of him.’ He are the “Word of God at the mercy of the and to prepare us for life eternal, among who has the bride is the bridegroom. The Body.”17 So I dare to say that the liturgy many other things: “O sacrum convivium, friend of the bridegroom [that is, the best of the Word—especially the Gospel—is in quo Christus sumitur, recolitur memoria man], who stands and hears him, rejoices the oven in which the Holy Spirit bakes passionis ejus, mens impletur gratia, et fu- greatly at the bridegroom’s voice. For this the Eucharistic bread. The liturgy of the turae gloriae nobis pignus datur” (“O holy reason my joy has been fulfilled. He must

42 November 2011 • Pastoral Music increase, but I must decrease.” Our job is to sing the Bridegroom’s song to his Bride and her song to her Bridegroom, just as the heavens sing God’s song in Psalm 19:1–6:

The heavens proclaim the glory of God and the firmament shows forth the work of his hands. Day unto day takes up the story and night unto night makes known the message. No speech, no word, no voice is heard yet their span extends through all the earth, their words to the utmost bounds of the world. There he has placed a tent for the sun; it comes forth like a bridegroom coming from his tent, rejoices like a champion to run its course. At the end of the sky is the rising of the sun; ValLimar Jansen (right) leads the choir in “Catholic and African American: Singing the to the furthest end of the sky is Spirituals.” its course. There is nothing concealed in the chants of the new Roman Missal. for the Second Vespers of Corpus et Sanguinis from its burning heat. 8. “Let the Word Make a Home in Your Christi. Heart,” music and antiphon text from Psallite, © 21. There are many resources for such What are we about? The world is a wed- 2005, The Collegeville Composers Group, pub- songs. I, of course, recommend the “Song for ding, friends, and we’re inviting people to lished and administered by Liturgical Press, the Table” which is at the heart of the Psallite the closest intimacy possible with the very Collegeville, MN 56321. All rights reserved. project. There are also Samuel Weber, osb, The Son of God and with everyone, ultimately, 9. GIRM, 28. Simple Gradual: The St. Louis Gradual, available in the life of the world to come. 10. This Lectionary, by the way, is something at http://archstl.org/worship/page/institute- we ought to boast about—our friends in sister sacred-music; Christopher Tietze,Communion Notes denominations have embraced our Lectionary Antiphons for the Easter Season (Chicago, Illinois: and made it their own. World Library Publications, 2010); Adam 1. See also Sacred Congregation of Rites, 11. Lectionary for Mass: Introduction, 3. Bartlett, et al.,Simple English Propers, available De musica sacra et sacra liturgia (September 3, 12. Joseph Lionel, Liturgical Hermeneutics of at http://musicasacra.com/simple-propers-of- 1958), 14b, 30. Scripture in the Prefaces for Sundays of Lent in the the-mass-ordinary-form/; and, of course, By 2. Original Italian is in Notitiae 5 (1969), 406; Editio Typica Tertia of the Missale Romanum, Flowing Waters (Collegeville, Minnesota: The English translation in the Bishops’ Committee licentiate dissertation, Liturgical Institute of the Liturgical Press, 1999). on the Liturgy Newsletter August-September( University of St. Mary of the Lake, Mundelein, 22. By Flowing Waters, 294. 1993). Illinois, 2009. 3. In the Psallite project, we have set these 13. Introduction, 4, emphasis added. two verses to music as “God, come to my aid 14. St. Basil of Caeserea (330–379), Against (II)” in Psallite: Sacred Song for Liturgy and Life Enemies 3, 4; On the Holy Spirit 16, 38; 18, 46; (Collegeville, Minnesota: The Liturgical Press, 19, 49. 2008). 15. St. Ephrem the Syrian (c. 306–373), De 4. General Instruction of the Roman Missal Fide, X, 8. (GIRM), 34–35. English translation © 2010 16. St. Augustine, Tractates on the Gospel of International Commission on English in the John, Tractate 80 (John 15:1–3), 3. Liturgy, published 2011, USCCB Publishing, 17. Louis-Marie Chauvet, The Sacraments: Washington, DC. The Word of God at the Mercy of the Body (Col- 5. Sing the Mass: A New Source-Book of Litur- legeville, Minnesota: The Liturgical Press, gical Music for Cantor, Choir, and Congregation 2001). (London, UK: Geoffrey Chapman, 1975). 18. James W. McKinnon, The Advent Project: 6. The New Camaldoli Hermitage is in Big The Later Seventh-Century Creation of the Roman Sur, California. Mass Proper (Berkeley, California: University 7. Of the authentic musical repertory in By of California Press, 2000). Flowing Waters (Collegeville, Minnesota: The 19. Documents on the Liturgy 1963–1975: Liturgical Press, 1999), only forty-four of the Conciliar, Papal, and Curial Texts (Collegeville, 680 chants in By Flowing Waters have melismas, Minnesota: The Liturgical Press, 1982), edited and none of the 360 songs in the Psallite project and translated by Thomas C. O’Brien, no. have melismas except on worlds like Hosanna 4298. and Alleluia. And there are very few melismas 20. St. Thomas Aquinas, Canticle Antiphon

Pastoral Music • November 2011 43 Local Folks Do Well: Voces Novae, Creative Motion, and a Louisville Bowtie

By Sylvia Marcinko Chai

ne of the guiding tenets for the “Stand up everyone,” said Frank. “We local committee at any NPM are going to do some breathing exercises.” Oconvention is: “Spotlight and Off we went on a riotous journey. utilize local talent in the region where “Put your pinky finger in your belly- each convention is held.” This year’s se- button and reach your thumb up to touch lection of Mr. Frank Heller, iii, founding your sternum. The sternum connects to artistic director and conductor of Voces the ribs, which go over the lungs. We all Novae—Louisville’s unique, semi-profes- know about using our lungs for breath- sional choral ensemble—points out the ing. Now put your hands on either side value of this guiding tenet. Mr. Heller may of your waist under your rib cage. This not have a national reputation that makes lateral space needs filling for good breath him a household word, but the Voces Novae support.” We did some exercises to dem- choral concert and the workshop sessions onstrate activating this area. led by Mr. Heller provided an insight “Now touch your thumb to your belly into the effects of using the concepts of button and reach your pinky down. This “Creative Motion” to provide nuance and pelvic area needs to fill with air. It’s your artistry in our music. ‘inner-tube.’ Your voice needs to float on What caught my attention at the this inner-tube.” We practiced engaging concert itself, on Wednesday night at St. this area with a few exercises and could Boniface Church, was a fullness of sound hear and feel the difference. that seemed to embody a wider range of Frank’s goals for his singers are to: timbre and expressiveness and a wider pallet of color than most choral groups • Empower and inspire every singer Frank A. Heller, iii achieve. There was an immediacy in the to sing with confidence and aware- choral sound that arrested my atten- ness; tion, a freshness, a buoyancy. The group • encourage singers to discover, ex- mountain watching a bird soar, or running included a full spectrum of ages, yet the plore, understand, and trust their across the beach and into the water, or sound was always alive, vital, full, even on voice; taking in a deep breath and blowing out a pianissimo, and the audience responded • and share in the artistic experience. your birthday candles. The anticipation very enthusiastically to the concert. body reflex helps us spring to inhale. He wants to teach singers to understand “Put Your Pinky in Your and use their voices efficiently and build Knowing the Score Belly-Button” an awareness of how their voices work and respond. So he focuses on exploring The next day, in the workshop session on conducting, Mr. Heller talked about I decided to go to both workshop ses- vocal production through an awareness the way he analyzes a musical score. He sions offered by Mr. Heller to get a handle of how to use breath, the placement of looks at the natural elements of the music. on how Frank was able to achieve this tone, the use of body balance, and the He looks at the melody and gets a sense sound with his choir. The first session synergy of all three. of the phrases. He studies the harmony was labeled “Vocalizations for the Choral Mr. Heller had us experience the pat- for shades of harmonic color. Then he Singer.” tern of the breath as we breathed in, filling all the available air spaces laterally and studies the rhythm to hear the heartbeat Ms. Sylvia Marcinko Chai is the direc- exhaling in a vertical pattern. Next he said of the piece. tor of music at James A. Haley Veterans we should learn to engage the “anticipa- He believes that the essence of music Administration Hospital in Tampa, Florida, tion body” to help us breath correctly. can be described as four traits of energy. and Spanish Choir Director/Organist at How do you engage this mechanism? The mental element can be analyzed by the Church of the Incarnation in Tampa, Think of facing the door and greeting studying the various parts of the music Florida. your sweetheart, or standing on a high and how the parts make up the whole.

44 November 2011 • Pastoral Music One can focus one’s mind in analyzing the music mentally. What is the physical essence of the music? Does it make you want to move to the beat, sway, soar, or expand in a grand phrase? What about the emotional impact of the music? What feelings come to the surface? Identify them. What about the spiritual impact of the piece? What are the core values, what is the truth that is expressed, and how does the piece of music touch one’s inner depth of being? Three expressive values determine the articulation of the music. Should the edges of the body get involved with the articulation of the music? That is to say, is there a lightness that needs to be expressed through the fingers, or feet, or head? Is there emotion that needs to be expressed from the heart? Does the music have a sense of expansiveness that requires expression using the whole body? A conductor needs to study each piece of music to determine its fundamental uniqueness and also decide which of these characteristics predominates and bring that energy, trait, or element to life in the music.

Creative Motion

So far, you might say, what is so different about Frank Heller’s methods? The difference is his understanding and use of the concept of “creative motion.” “Creative motion” describes the efficient use of physical, mental, spiritual, and emotional energy as these energies move naturally in the body. It is in all of life’s experiences. It is the natural response of the human body to pitches, melodies, rhythms, harmonies, and expressive qualities. Creative motion in music is based on four fundamental tenets:

• The whole body is the instrument. • Motion is the internal release of energy. • Motion frees the physical body. • Movement is the body’s follow- through of the internal expression.

Creative motion invokes the intuitive side of music, specifically the body’s response to musical sound. The key to this discovery is the realization that the natural energy paths which music follows in our body are the same whether we are listening to, singing, conducting, or playing music. Dr. Philip Brisson (right, in bowtie), organist at the Cathedral of the Assumption, assists Creative motion teaches us to find Mark Waller during his lunchtime organ recital on the Cathedral organ.

Pastoral Music • November 2011 45 these paths by becoming aware of pulse, ebb and flow of phrase, melodic shape, harmonic shifts, and the emotional content of music. As these skills become our own, the result is beautiful, free, and flowing performances, characterized by the utmost efficiency and minimum amount of muscular force. The Creative Motion Alliance, Inc., sponsors an annual music conference, where participants can learn more about this approach to music. This year, their sixty-first annual conference was held at the end of July. One of the areas they address is how to balance performance and perfection. Certain barriers inhibit Above: Institute leaders Lillie Feierabend (Music Education Morning) and Eliot Kapitan the free flow of energy. It is important (Pastoral Liturgy Institute, with Mary Jo Quinn, scl). Below: Workshop leaders Rev. Rick to overcome inhibitions caused by gaps Hilgartner (left), Rev. Anthony Ruff, osb (right), and Joe Simmons (lower right). in experience, training, or by excessive criticism. Participants gain tools for re- ducing stress and facing auditions with confidence. Participants also learn secrets of artistic expression and body energy awareness. They learn to develop inner awareness in order to improve outward performance. For more information, go to www.cre- ativemotion.org.

Spunky Bowtie

Another Louisville musician who arrested my attention was Dr. Philip Brisson, director of music and organist at the Cathedral of the Assumption in Louisville. With his spunky bowtie—a Louisville tradition taking its cue from Louisville’s famous Kentucky Derby, at which the flowered hats of the ladies and the men’s bowties have become an honored tradition—Phillip Brisson performed magnificently at his noontime organ recital. Later, at his workshop session on conducting from the console, Philip outlined the basics: Make sure the choir can see you, determine what is essential, be free to edit and arrange the organ score, and prep the choir to be responsive. As with any two-person job being done by one person, conducting at the console and example, shaking the fingers in a “come it all done together on the first, second, playing are both going to be done less here” motion can indicate “more.” or even third try. effectively. But life is not always fair. Reading a handout and hearing it Dr. Brisson also elaborated on these discussed is one thing; doing what the Just a Few basics: Look at the choir before you start. handout describes is quite another. Philip Be an actor, and elicit the emotion you went the extra mile by making sure each These are just a few highlights from my want on your face. For instance, if the pitch person attending his session had a chance experience of the Thirty-Fourth Annual is flat, the director should straighten up to come to the organ and try conducting Convention of the National Association to convey the message. Gestures should the assembled group from the console of Pastoral Musicians, but they are worth mimic what is desired in regard to breath- while playing an anthem. Then he had mentioning as a way to express the riching, entrances, cutoffs, tempo and tempo the patience to go slower and give extra ness and local flavor available at an NPM changes, dynamics, and expressivity. For chances to those who had difficulty getting convention.

46 November 2011 • Pastoral Music Pastoral Leadership for Managing Change

By Dolly Sokol

In our own time, many of us are per- hange and transition happen in life; sonally familiar with the changes and whether in our secular or spiritual transitions which came about through the Clife, our families, our work organi- various decrees and subsequent practices zation, or our church organization, change flowing from the Second Vatican Council: happens. And Catholics are not immune the restoration of the adult catechu- to change and transition. In fact, Catholics menate; the full, conscious, and active are a people with a past steeped in change participation of the assembly of believers; and transition. The stories of the Hebrew the use of the vernacular in worship; the Bible declare that God’s work of salvation affirmation of gifts and the expansion of is changing and transitional: The pivotal liturgical ministries; the restoration of the narrative of change and transition tells permanent diaconate; the renewed vision of God’s leadership of the Israelites out of Catholic social teaching; and so much of slavery in Egypt, through the wilder- more. These changes moved the Catholic ness, to the Promised Land. This epic community to transition gradually into journey was not just the transition of an a new way of being Church, a renewed individual; it was the transition of a people Catholic culture journeying toward the and its culture, with all the pain and joy kingdom of God. Catholics are indeed a that it brings. people with a past steeped in change and In the New Testament our most sacred Dr. Dolly Sokol transition. and pre-eminent image of change and But Catholic organizational and cul- transition is Christ’s Paschal Mystery. tural change is not just a phenomenon His life, death, and resurrection serve and deliberately. Finally, paschal spiritual- of the past. Catholics are a people liv- as our path to the “new beginning,” the ity is ordered toward self-giving love that ing in the midst of constant change and heavenly banquet, the kingdom of God. is lavish and does not count the cost. This transition today. As the world constantly Living Christ’s Paschal Mystery through spirituality is rooted in change and transi- changes, so do our parishes—their people, the cross calls not only for the conversion tion. We do not simply move from being practices, pastors, and politics. Our lead- of the individual but also for the transi- unbaptized into being baptized but from ers are changing. Our Catholic population tion of the Christian community and its being unbaptized into participating in a is changing. Our spiritual practices are culture into a paschal people. Catholic paschal culture of self-sacrifice, changing. The way we pray together Rita Ferrone recently wrote of the im- love, and openness to continual change ritually has changed and continues to plications of living a paschal spirituality.1 and transition for the sake of spreading change through the implementation of She says, first, that living a paschal spiri- the Gospel. the General Instruction of the Roman Missal tuality means that salvation in Christ is The early Church also lived with and soon through the texts and chants of an event that transforms us. It is dynamic. change and transition. From the struggle the new English translation of the third We participate in the paschal event by of Gentiles to be accepted as Christian edition of the Roman Missal. These changes remaining open to change and continuing believers without first becoming Jews to within our Church are calling for another conversion. Second, paschal spiritual- the choosing of seven deacons to serve the cultural transition in the Catholic Church ity invites us to replicate the pattern of community needs; from house churches, community. Whether the changes of today Christ’s self-giving sacrifice, consciously catacombs, and persecution to favored weaken or strengthen us as a Church status, basilicas, and organizational hastening the day of the Lord’s coming Dr. Dolly Sokol is the executive director structure, the Church struggled with will depend on the way we as leaders help of development for the Archdiocese of Santa what it was to be and how it was to be the Catholic people and culture transition Fe, New Mexico. She holds a doctorate in organized. Over the centuries, multiple into another “new beginning.” organizational development and a master’s Church councils, political alliances, deci- degree in business management. This sions, and decrees with their benefits and Where Is God in Change? article is an edited version of her plenum corruption all brought about change and address on July 21, 2011, at the NPM An- transition in the Christian people and their In times of change and transition, every nual Convention in Louisville, Kentucky. culture. generation has probably asked: “Where

Pastoral Music • November 2011 47 is God in change? Is God causing change, our understanding of God. • The goal of change is outcome-fo- protecting us from change, or empow- Theological reflection such as this may cused: Basically, we need to get from ering us to respond to change?” These assist us, as pastoral musicians and lead- here to there. For example, I was just questions are worth some theological ers, in strengthening our own spiritual laid off and I need to get a job; on reflection. In his book, When God Speaks integrity as we help our people transition November 27, 2011, all English-speak- through Change, Craig Saterlee offers food to this new Catholic reality. There are ing Roman Catholics will use the new for theological reflection as communities hundreds of books on theological reflec- English translation of the Roman Mis- learn to re-shape and re-form their iden- tion, but allow me a moment for those sal. (Speaking of “outcome-focused,” tity in response to change.2 who may not be familiar with this process Cardinal Joseph Bernardin once said Ronald J. Allen, professor of preach- to present a short overview. As many of to his master of ceremonies, as they ing and New Testament at Christian you know, there are three basic steps in were arriving in their car for an arch- Theological Seminary in Indianapolis, theological reflection: dealing with the diocesan event: “Our goal is to return suggests that from a theological perspec- experience, reflection on the experience, to this car as soon as possible.” Now tive, change and transition cause people and response to that reflected-on experi- that’s outcome-focused.) of faith to experience two types of crises: ence. • Change is relatively quick, that is, crises of understanding and crises of deci- So, in solitude, remember when you the external event of the change can sion.3 Crises of understanding occur when first really experienced an invitation to happen rather quickly. On November people question the existence, identity, change regarding the Roman Missal and 26, 2011, Catholics will use the current and nature of God. People might say: “If on the way that invitation grabbed hold translation of the Roman Missal. On God is all-knowing and understanding, of you. What did you think? How did November 27, 2011, the new Roman why is God allowing this to happen?” you feel? Next, reflect on your reactions Missal will be used. “Why isn’t God intervening and correct- to this experience through the lens of ing this situation?” People question God’s our Catholic faith and culture, through Change, then, is a shift in an external will and even God’s existence in a crisis of the lens of today’s societal values, and situation. understanding, often because God doesn’t through your own unique life’s journey. What is “transition”? Transition is the seem to be acting in the way that people With time and prayer, you will come to psychological reorientation that people were expecting. your own response as a pastoral musician make in response to change. For an indi- Crises of decision arise when people and leader about this change and transi- vidual, transition is a personal journey do not know how to respond, when the tion. of reorienting and reintegrating. For an way they want to respond differs from the organization, transition can be a signifi- way they are told or expected to respond. Change and Transition cant culture shift. People might say: “I am being asked to support this change, but I am not sure that So far, we have been using the words • Transition is experience-oriented; it I agree with it. Am I being duplicitous in “change” and “transition” somewhat is not focused on the facts or the working to implement this change?” synonymously, but they are not really “what” of the change but on the ex- Dr. Allen reminds us that crises of the same, and pastoral leaders like us perience of changing, such as how the understanding and crises of decision are need to understand this in order to help English-speaking Catholic community linked together. Our understanding of our people. The following definitions experiences liturgy on November 27 God influences how we make decisions and distinctions are drawn from the and beyond. to respond to change and transition. We work of William Bridges, a well-known • Transition is psychological; it is a may respond one way if we trust a God organizational development consultant way for people and organizations to who is with us in suffering, bringing life and author.4 internalize an external change, such out of death and light out of darkness. What is “change”? Change is a shift as feeling comfortable and confident We may respond in another way if we in an external situation. For example, operating a new data management are convinced that God is distant and the English-speaking Roman Catholic system. indifferent to the created world. We may Church will soon be receiving a new • Transition is process-based; it hap- respond in another way if we conclude English translation of the Roman Missal. pens in stages or phases. Transition that change and transition are the result Change is the “what” of what is happen- by its very nature is not an “on-off” of divine judgment. We may respond in ing. switch but a dimmer. An example: yet another way if we believe that there learning how to work well with the are strong Christian values at stake that • Change is event-oriented, that is, new pastor. are worth the work of transition. something is happening in an organi- • Transition is slow and gradual; it From a theological perspective, how we zation that is calling for a change. For takes time for an individual or a cul- decide to respond to change and transition example, my company has purchased ture to grow into the experience of is shaped in part by our understanding of a new data management system; our changing. For example, how will the God. If our basic understanding of God parish has a new pastor; we have a Catholic people of God experience our as faithful, loving, and present remains new English translation of the Roman culture of Catholic ritual prayer one unshaken by change and transition, we Missal. or two years after the Roman Missal will be able to discern and decide how • Change is situational. We find our- implementation? to respond. At the same time, we need to selves in a different situation than we recognize that any change and transition were previously. For example, the mu- So, in summary, change is movement will mostly likely challenge and enrich sic and liturgy budget has been cut. from the old situation to the new situa-

48 November 2011 • Pastoral Music tion. With change, we naturally focus on the outcome that the change produces. Transition is different. Transition is an internal, psychological process that has to be experienced by individuals and communities in order to move through change and make the change effective. In fact, when a change happens without people being led through transition, change can simply be the rearrangement of deck chairs. Throughout this past winter and spring and going into this fall, most of our dioceses and parishes have been in change management mode. We know the external change goal; we are focused on preparing, educating, and planning for this change. It is appropriate that change management plans come chronologically before transition. However, a transition management plan is needed, once the change plans are finalized. As you might suspect, transition takes longer than change. So we need to begin making our transition plan now, even though we will not begin to implement it until November 28 and beyond. Remember that transition is a process by which people discern what they need to let go of so that they can move into the new reality brought on by the change. So transition starts with an ending and ends with a beginning.

Three Phases of Transition

To help us develop our transition management plan, let’s take a look at a three- phase transition process as described by William Bridges in his book, Managing Transitions.

• Phase I—Ending • Phase II—The Neutral Zone (Re-Pat- terning) • Phase III—New Beginning

Let’s look at each phase in depth as we prepare pastorally to lead our people through this transition. One thing to

At the Thursday night Convention Mass. Top: Mark Walker conducts the Convention Choir and instrumentalists. Center left: Deacon Scott Haner proclaims the Gospel. Center right: Archbishop Joseph E. Kurtz preaches the homily. Lower left: Representatives of the Asian community present the gifts. Lower right: Psalmist Martha Richardson invites the congregation to respond. Bottom: Priest concelebrants listen to Archbishop Kurtz’s homily.

Pastoral Music • November 2011 49 remember is that these phases are not chronological; one doesn’t necessarily end before the next phase begins. The phases are more like a Neapolitan milk shake. Chocolate, vanilla, and strawberry ice cream are present from the beginning, but our goal is not to eat chocolate before beginning the vanilla and then the strawberry. Our process is to taste and re-taste any of the three flavors throughout the dessert experience. That’s what a shake is all about, and the same is true of transition. Even though there are three phases, any one can reappear at any time. Phase I. In the ending phase, it is important to for all of us to put into words what exactly is ending. Who is losing what? For example, the change may be that “our pastor is retiring after forty channels: conversations, teaching, bul- knowledgeable about liturgy and music, years of serving our parish.” That’s the letins, preaching, newsletters, website, why do we have to make these changes “what,” the change. But the transition Facebook, tweets, e-mails, and so on. to the liturgy?” Or, maybe not so subtly: ending phase may be that “I am losing • Be attuned to and look for losses “Jim, you are always changing our liturgy, a good friend and a respected leader; I people are experiencing; acknowl- why are you doing this to us?” What do don’t know if I can experience such a great edge that these may be true losses you say? How do you say it? That’s your relationship with a priest again.” The loss for people. “elevator speech.” Without putting down is that this relationship is ending. • Don’t make light of people’s experi- the past, communicate why we need to Here are some losses you might see ences, and avoid saying: “It’s not that change. when our people and our worshiping big a change.” That’s like saying: “Your Bridges says that “the single biggest culture begin experiencing ending: loss gall bladder operation is not that big reason organizational changes fail is of familiarity and ease; loss of a vision or a deal; you really don’t need it any- that no one has thought about endings a dream; loss of a communal identity, as way!” As pastoral ministers, we need or planned to manage their impact on they once knew it. Remember about eight not to argue, not to minimize, but to people.” As pastoral leaders in a time of years ago, when the revision of the General listen and understand the experience change, we need to expect and be prepared Instruction of the Roman Missal indicated of loss. for the impact of ending. that extraordinary ministers of Holy Com- • Accept any kind of grieving as a Phase II. The second phase of a tran- munion were no longer permitted to pour natural process, and do not name a sition, is the re-patterning phase or, as the sacred Blood into cups nor distribute person’s experience as “acting like a Bridges calls it, the “neutral zone.” This the Hosts into ancillary vessels? What loss bad Catholic.” phase is an in-between time when the did some of these ministers experience? • Without putting down the past, old is gone but the new hasn’t found a It isn’t so much the changes themselves communicate why we need to home as yet. It can feel like things are “up that we resist; it’s often the losses and change. for grabs.” It’s a period of adjustment. endings that we have to experience and This neutral zone has been described as the transition that we are resisting. That’s In some Roman Missal workshops being placed between two trapezes. We why—as much as we are saying in our we’ve done with priests around the are about to let go of the first trapeze but pre-change Roman Missal workshops how United States, we’ve asked them to com- don’t have a firm grip on the second as much better the outcome of the change pose an “elevator speech” to answer the yet. It’s the feeling that Linus has when his will be—it does little good without deal- “why we need to change” question that blanket is in the dryer: There is nothing ing directly with the losses and endings often comes in this first phase of transition. familiar to hold on to! that some people may experience during The idea for an elevator speech seems to Futurist Marilyn Fergusen has said the transition. have arisen in the 1980s in corporate life. about this second phase: “It’s not so much So how can we as pastoral leaders Imagine you happen to get on the elevator that we’re afraid of change or so in love help people manage the endings that alone with the president of your company. with the old ways, but it’s that place in be- will be experienced on November 27 and You have the thirty seconds that it takes tween that we fear.”5 That’s why pastoral beyond? Here are a few ideas: for the elevator to get from the first to leaders need to be attuned to the concerns the fiftieth floor to communicate to the of people living in the neutral zone. • Communicate exactly what is over president why your organization needs As you might suspect, the zone is a and what is not: The use of a previous to make a significant change. space and time in which anxiety rises and edition and translation of the Roman So this is one part of your pastoral motivation weakens. Leaders need to ap- Missal is ending. The core of our faith leadership homework: Imagine that one preciate and encourage every attempt that and belief is not ending. of your parishioners approaches you in people make to reach out for that other • Communicate the changes in differ- the parking lot after Mass on November trapeze. As musicians, we have a special ent ways and through a variety of 27 and asks: “Barbara, you’re always role to affirm the assembly, ministers, and

50 November 2011 • Pastoral Music our parishes into a new beginning! Let’s conclude with the words about patient trust from another great pastoral leader, Pierre Teilhard de Chardin, sj:

Above all, trust in the slow work of God. We are quite naturally impatient in everything to reach the end without delay. We should like to skip the intermedi- ate stages. We are impatient of being on the way to something unknown, something new.

And yet it is the law of all progress that it is made by passing through some states of instability— presiders as they reach out to express our Mystagogy and the and that may take a very long time. common prayer in new texts, chants, and New Beginning melodies. Affirmation is one of our best May God lead us through this change tools to use in the neutral zone. and transition into new life, new hope, Phase III. That is why I believe How else do we help our people move and deeper self-giving love through our mystagogy is key to transitioning from Lord, Jesus Christ! through this neutral zone? Certainly we the neutral zone to the final phase, called need to continue communicating. People the “new beginning.” Bridges says that will still be asking why. People may be in this final phase of transition a new un- confused, especially the 2011 Christmas derstanding, a new attitude, and, in fact, assemblies. How will you help them to a new identity emerge. However, a new pray? How will you let them know what beginning will only take place after people has been happening? have come through the wilderness of the We also need to continue listening and neutral zone and experienced themselves empathizing. Some may tell us they have as a new people. That means a recognition been waiting for forty years for this type that the ending was real, that we can’t stay of prayer to return to the Catholic Church. in the wilderness indefinitely, and that Others may be struggling and looking for we need to make a go of it. That means a path to acceptance. that Catholics will need to reflect on their Notes As our assemblies learn to pray and new experiences of praying the Mass after sing the liturgy in new ways, we need to November 27 and beyond. A transition 1. See Rita Ferrone, Liturgy: Sacrosanctum invite them to reflect on how their sung to a new understanding, a new attitude, prayer is shaping anew their relationship Concilium in the “Rediscovering Vatican II” a new spiritual identity as a worshiping series (Mahwah, New Jersey: Paulist Press, with God, with each other, and with the culture, and a new beginning cannot be 2007). See also “Study Guide: Finding the world. Remember, our goal is not just to forced. Yes, the words may change, but Heart of the Matter: The Spirituality of the get from one set of words and tunes to the transition resides in people’s minds Constitution on the Sacred Liturgy” in Pastoral another. We as leaders are challenged to and hearts. Liturgy 40:2 (March-April 2009). transition a people and a praying culture New words and music alone will not 2. Craig A. Satterlee, When God Speaks through Change: Preaching in Times of Congre- into a renewed Catholic identity. enable this “new beginning” to happen. gational Transition (Washington, DC: Alban Through ritual repetition, through listen- Institute, 2005). ing, prayer and meditation, journaling, 3. See, e.g., Ronald J. Allen, Preaching and the sharing, and theological reflection, after Other: Studies of Postmodern Insights (Atlanta, experiencing the depth and breadth of Georgia: Chalice Press, 2009). the new English translation of the Roman 4. See William Bridges, Managing Transi- Missal over time, we will be able to dis- tions: Making the Most of Change, third rev. ed. cern more clearly the mysteries that God (Cambridge, Massachusetts: Da Capo Press, wishes to make known to us, and through 2009); Transitions: Making Sense of Life’s Changes, this discernment, discover our place in rev. ed. (Da Capo Press, 2004); and The Way of Transition: Embracing Life’s Most Difficult Mo- this renewed Roman Catholic Church ments (Da Capo Press, 2001). and its worshiping culture. Mystagogy 5. Marilyn Ferguson, The Aquarian Con- will lead us to a new beginning. In fact, spiracy: Personal and Social Transformation in Our let’s meet together next year at the NPM Time (New York, New York: Tarcher/Penguin, Annual Convention in Pittsburgh and 2009; orig. 1987). Quoted in Bridges, Managing share how mystagogy helped transition Transitions, 39.

Pastoral Music • November 2011 51 Notes from the Booth A Mystical Experience in an Oasis within the Marketplace

By Tony Barr

he obfuscating name over my gentle glow of companionship, something electro-magnetic flux, a light so intense booth reads “Jabulani Music.” mystical seems to happen. A spark of light that there could only be light and nothing T This is a great lead-in for ensuing and recognition leaps between us, tales else. So far, Genesis gets it right: “And God speculative conversations and my oc- are enkindled and swapped, and experi- said: ‘Let there be light’. . . . And it was casionally befogging responses, such as ences traded. evening and morning, the first day.” my all-time conversation crusher: “I was Still, it was a pretty long day: It took born in the same village as the Venerable Astrophysics and the Light about 400,000 years for this ensuing Bede—how about that!” (As if anyone surge tide of electrons to cool down suf- gives a hoot.) The “Jabulani” banner, As a retired post-grad theologian, I’m ficiently for shadows to form. And only proudly displayed in the exhibit hall at now reading astrophysics. Why in the in this shade, away from the light, could NPM conventions, has meant various heavens should I be doing this? Does the resultant dust of the upheaval begin things to me. At NPM Chicago (2009), my “Jabulani” suddenly mean “quanta devia- to coalesce into molecules and minerals. current home town, it meant “land of hope tions”? Actually, my curiosity about the Over a further period of time, this dust, and glory” or, from another perspective, subject was raised by the countless refer- now formed into minerals, would become “land of plenty.” In Detroit (2010), it meant ences to “light” throughout the Scriptures. stars—suns—some of which would beget “the booth next to the garbage can.” And So I began to ask: What is light? planets, all the time responding, of course, more recently, at this year’s convention John speaks of light. In his Gospel, to both the laws of gravity (which, sur- in Louisville, it came to mean “God is in he states clearly that “God is light.” On prisingly, bend time and space) and the this place.” several occasions in the Johannine writ- repelling forces of antimatter (which keep Among booth owners, I’m a bit of an ings we hear that we are “children of the planets from bumping into each other) to oddity. Sure, I arrive each year with the light.” But, I asked myself: “What exactly form into constellations and galaxies. That mindset of becoming filthy rich: “Restore is light?” Theology is short on answers process took merely a further 400 million our fortunes, O Lord” (Psalm 126:5). But here; the dogmatics duck the issue. As- years. Imagine that! “And it was evening in reality, I invest more energy in meet- trophysics more than sheds light on the and morning, the second day.” ing people, inviting them to enter my subject, with an explosion of knowledge Now this is where Isaiah hits the as- booth—“Jabulani, cave of dreams”—to which, to me, marks a different approach trophysical mark: “A people in darkness take the weight off their feet, have an to life and reality. has seen a great light.” This was a light imaginary hot cup of tea (ah, if only!), Einstein speaks of light. Around fifteen which had by now long cooled down, no and then to share stories about who we billion years ago, from an infinitely small longer as intense, glimpsed through the each are (or would like to be!). In the but incredibly hot spot, there was a bit of filtration of shade, just a piece of (cosmic) a bang. This was followed by an eruption cake! Well, perhaps not so. Scientists try of subatomic particles which, in the first to explain to us that this indescribable Mr. Tony Barr is a composer, hymnal three minutes, became atoms, expanding “something” that we call “light” is both editor, and multi-media resources publisher in every direction with incredible speed. pure spirit and rock-hard substance. That and producer who served as the music This bit of a bang is inadequately called is, as a “wave-form,” light is indivisible director for the St Thomas More Centre for “the Big Bang” because its echo still spirit (and therefore one with God?), but Pastoral Liturgy parish church in north resonates to this day in the background, as “substance” it is particle laden, consist- London (1974–1980). During his work in behind the chatter of radio signals which ing of electrons, photons, and an associ- developmental studies (1974–1984) with pulse continuously from the stars to bom- ated soup of physical wonders spinning the Anglican missionary United Society bard our ears (or, at least, my dog’s). in anomalous ways. for the Propagation of the Gospel (USPG), Reflecting on the Big Bang reminds And each one of us belongs to this he developed a continuing interest in the me of those fateful words on the cover light, each a part of it. We crave it; we music, culture, and spirituality of Native of Hitchhiker’s Guide to the Galaxy (in depend on it for our very existence. This American Indians. He currently serves as which we learn that the meaning of life is well expressed in the words of Psalm director of liturgy and music for the Parish is forty-two): “Don’t Panic.”1 Immediately 104: “You take away their breath, and of St. Bede in Ingleside, Illinois. following the Bang was an outburst of they perish”—take away the light, and

52 November 2011 • Pastoral Music we no longer exist. In light’s long cooling down period, the nutrients, minerals, and vitamins so crucial to life were formed. We are truly children of stardust. “Children of stardust?” How could we be so lucky? Can we now just zoom off into space and check it all out? Well, maybe not, but every single atom in our bodies—the calcium in our bones, the carbon in our genes, and the iron in our blood—was created from a collapsing star billions of years ago. All, that is, except the atoms of hydrogen and one or two of the next lightest elements: They were formed even earlier, shortly after the Big Bang began 13.7 billion years ago. So: “Jabulani, gateway to the heavens”? The planets formed as molten rock, not yet solid. Many would spew out great masses of liquid fire and suffer from cata- clysmic impacts. Hot magma was ejected Scenes from an Exhibit Hall into space, solidifying as planetary satel- lites or moons. Earth is believed to have birthed two moons, which at an early age collided to become one, the impact producing a jagged mass on the dark side, pushing the minerals toward the side facing earth. How long was the cooling period? Life on earth has been detected for around 4.5 billion years. Rocks found in Greenland have been dated to be around 3.8 billion years old. Water had always been present beneath the surface, sealed in the molecules of rock. The cooling released these molecules to the surface. An atmosphere formed, “separating the earth from the heavens.” At the same time dry land was emerging, while the waters evaporated and cooled. “And it was evening and morning, the third day.” So far, three very long days.

Claiming the Light

Are you with me so far? Or are you hung in hyperspace hoping Star Trek’s “Enterprise” will come to the rescue? I’m getting there. Remember: “Jabulani—in- stant illumination, stellar awareness.” Perhaps we now know what or, rather, how light is. Light was in the beginning, light was the beginning. Yet “beginning” has two meanings: either the start of a process or the constant ongoing development of that process—an ever-forming act, the struggle of all to become born (Romans 8). More than seven days after that first day (seven days which have lasted well over 400 million years), we find ourselves waking up each morning, hoping for a “nice day.” Opening the drapes, we hear

Pastoral Music • November 2011 53 a small, tiny voice inside us plead- beyond the world, a gateway to a ing: “Please let the sun shine.” Our distant reality in terms of both space spirits rise or fall depending on and time. Small as it may be, my this one fundamental observation. booth’s CDs and booklets reflect a Without sunlight (this pale dilution vision of a future yet unattained. of the birth of Creation), we fear But here, among this inexhaustible the return to primordial darkness. ebb and flow of conventioneers, Light is not the first element of one or two or ten or twenty would Creation, it is Creation, from which perhaps stray and seek a moment of everything has come to be. rest and calm (unexpectedly setting Visitors to my booth may well their controls for the heart of the appear star-stricken to hear all of sun, to quote Pink Floyd), untram- this. “How did our hearts burn meled by the tables of merchandise within us?” asked the disciples looming threateningly around us. returning from their road-to-Emmaus opposite me. Simple yet fundamental For the record, “Jabulani” is a Zulu experience. But I wouldn’t have told communication ensues about who we word meaning, among other things, anyone as much as this. Life is too short are, what we do, how we look ahead and “home of light, house of joy, place of (“and long is the road,” according to Huub dream about things. Pierre Teilhard de safe refuge of peace, and happiness.” Oosterhuis2). We would talk about light as Chardin wrote that hope and a limitless But I like its simpler meaning—“house the defining feature of our brief relation- future are the basic requirements of reli- of song”—because it is a name which ship. The chemical responses to attraction, gion.3 A scientist might describe our inter- can only sing itself, a song to unlock the which initiate the gestures of welcome, action as an emanation of electromagnetic frozen doors of time and space, a bridge are all generated by the electromagnetic impulses; it is certainly true that tangible to span the chasms of darkness, so that particles which form our being, which in was the light which sparkled between us we may all be bathed in a stream of new turn are part of the spectrum familiar to in our laughter and the intensity of the and unending light. all musicians. conversation. “Familiar to all musicians?” Excuse If God is truly present in this one me? Well, as musicians we have a special person, then how much more so in this claim on light and the beauty which light exhibit area and convention hall, full of reveals. The electromagnetic spectrum is a more than 3,000 people. I’m reminded Notes sliding scale of descending wave lengths. of the gathering song (canon) of Antoine Light is found in the upper levels, sound Oomen4: 1. Douglas Adams, The Hitchhiker’s Guide in the lower regions. We depend on sound to the Galaxy (Del Rey paperback, 1995, orig. to express our gift of music. But that which This house-full of people, do You pub. 1979). The phrase “Don’t Panic” appears is born of our imagination, the music it- know them all? on the original Hitchhiker’s Guide; see page 3. I would hope so. self, is the product of “imagining” which The answer “Forty-two” is on page 180. Have You taken count? Do You know 2. Huub Oosterhuis was a pioneer of the claims a place higher up the spectrum, in us by name? vernacular liturgical movement in the Neth- the regions of light and even beyond. Then You are the Only One. erlands. He is a poet by nature and draws on In one of his talks at the 2009 NPM An- the imagery of the Scriptures for his inspiration nual Convention in Chicago (Rosemont), A hall full of so much goodness, a hall and subject matter. As an integral part of the commenting on the texts of the new Roman resounding in light: How could God not be Dutch School, Huub wrote the texts which Missal, Mike Joncas spoke extensively here? “Unseen, yet ever-present, ever ac- were set to music by whichever Dutch School about beauty, with special reference to tive among us,” according to Oosterhuis. composer (among them Oomen, Huijbers, and the external as seen and the internal as A living body, gently browsing, grazing Löwenthal) he felt could best bring his text to perceived. The external comes from the at the edge of my booth, puzzled by the life. electromagnetic spectrum, where the name “Jabulani”: somehow seeming to 3. See Pierre Teilhard de Chardin, Human Energy, trans. J. M. Cohen (New York, New voice of God spans the entire realm of mean “Shekinah, the hidden presence of York: Harcourt Brace Jovanovich, 1962), 164. beauty, and the internal depends on our the ever-present one.” See also The Phenomenon of Man (San Francisco, own receptors of beauty—that place deep John Donne grasped that “No man is California: Harper Perennial Modern Classics, within each of us where beauty resonates an island,” and the renowned Suquamish 2008), 291. in our being. Light distilled is the source of Chief Sealth (Seattle) stated: “We did not 4. Antoine Oomen is one of the leading all beauty for us—an incredible melody, a weave the web of life, we are but strands liturgical composers in the Netherlands. When moving poem, a powerful painting, or the in it.” Each “flickering flame” (Roger he was twelve, he became college organist at reflection of light across a crystal plain. Waters)5 in this room is but one member Ignatius Chapel in Amsterdam until invited to of a family, a local church community, a become organist for the Student Church. It was larger vicariate, an entire diocese, and a there that he first met the poet Huub Ooster- And God Is Light? huis, for whom he continues to compose. vibrant city, struggling to emerge from 5. Roger Waters was a founding member Sitting in my booth, opposite my new darkness into the clear, radiant light of the of Pink Floyd, who later became the band’s friend and across our imaginary cups of One described in a preface of the Roman lyricist and principal songwriter. The song tea, I could detect intuitively the energy, Missal as “dwelling in unapproachable “Flickering Flame” appears in his solo album the light, flowing between us. God is light. light.”6 by the same name (2002). And here I am, being drawn into the light My booth has now become a window 5. Preface to Eucharistic Prayer IV.

54 November 2011 • Pastoral Music Catechesis and the New Translation of the Roman Missal: “Help Me to See”

By Jerry Galipeau

have spent the better part of the past Catechesis and Our Role two years traveling throughout the as Parish Leaders IUnited States, speaking with bishops, priests, deacons, diocesan leaders, litur- It has come as no surprise to me that gists, musicians, catechists, and people authors and publishers, diocesan offices, like me—“pew Catholics”—about the and national organizations have created implementation of the new translation a vast amount of material over the past of the Roman Missal. Every Tuesday and several years to help us catechize our pa- Thursday on my blog, I have tried to share rishioners about the new translation of the my own reflection on the new translation. missal. You and I have been served well. I don’t know how you feel about this, We have resources at our disposal from but at this point I am looking forward to the United States Conference of Catholic November 27. Bishops, Liturgy Training Publications, To be honest with you, for the past ten ICEL, the Federation of Diocesan Litur- months I have been struggling with and gical Commissions, The Liturgical Press, thinking about what to say to you today. NPM, GIA, OCP, and WLP, among others. As a dedicated member of this association I hope you have spent many months and since the late 1970s, and having attended this entire NPM convention discovering most of the conventions over the years, ways that you can use these materials to I have been wondering what would be catechize the people of your parish. most helpful for me to say to you at this, It would not be a good use of our time the final plenum presentation at the final Dr. Jerry Galipeau for me to outline the specific ways and NPM convention before the implementa- suggest specific models for you to use to tion of the English translation of the third assist in the catechesis that must occur edition of the Roman Missal. For me—as for the implementation to take root. You for many of us—this transition will mark the implementation of and transition can find these ways and models in many the single most important liturgical de- into the new translation of the missal. I’d places. However, from my experience velopment in our ministerial lives. like to do this by looking at three areas throughout the United States, I would like For this final plenum on the new where catechesis can serve. The first has to offer just three general principles: translation, NPM has asked me to talk to do with our responsibilities as parish about the way that catechesis will serve leaders to catechize our parishioners 1. Do not be afraid to share the actual about and into the new translation. The documentation related to the transla- second involves the way that art—specifi- tion change. Dr. Jerry Galipeau, author of the Gotta cally our art, the musical arts—serves the 2. Listen to your parishioners. Sing, Gotta Pray blog, is an associate catechetical endeavor. The third area is 3. Present a consistent message. publisher at World Library Publications, one which I believe may be vastly more the music and liturgy division of the J. S. important than the first two and is based Do not be afraid to share the actual Paluch Company in Franklin Park, Illinois. on the reality that the best catechesis on documentation related to the change. He earned his doctor of ministry degree, the liturgy is good liturgy. But we cannot When I first began speaking to people with a concentration in liturgical studies, know that reality until we, as clergy and about the new translation, I found my- from the Catholic Theological Union at pastoral musicians, allow the liturgy to self presenting my own interpretation Chicago in 1999. This article is a printed catechize us, to bring us to reach into of the two major documents that have version of his plenum address on July 22, the depths of the mystery we celebrate shaped the translation process since the 2011, at the NPM Annual Convention in in order to bring us closer to the living Second Vatican Council. After doing this Louisville, Kentucky. God. at several places, I decided that Catholic

Pastoral Music • November 2011 55 Father Paul Colloton (center) presents the 2011 Koinonia Award to members of the Louisville Core Committee. people are certainly intelligent enough to the characteristics or the nature of his thoughts and feelings. to see these documents for themselves the various vernacular languages is to Present a consistent message. Time and make their own interpretations. So I be sober and discreet. and time again, across the country, I have began sharing pertinent paragraphs from When Catholics (particularly those in listened to the concerns expressed by Comme le prévoit (the 1969 document that the pews) see the differences in the guide- parish leaders—priests, deacons, music helped guide the translators following the lines, they at least see for themselves this directors, and catechetical directors. Council), paragraphs like this one: dramatic shift. Of course, whether or not Many of them want to be able to answer they find the new guidelines satisfying in parishioners’ questions simply and as 12. c. The translator must always keep any way is another story. But that is not the helpfully as possible. One of the chief in mind that the “unit of meaning” is concerns is that they feel that all members not the individual word but the whole point. The point is that it is important to reveal what John Paul II—and those with of the parish staff be on the same page; passage. The translator must therefore there should be consistency. One of the be careful that the translation is not whom he surrounded himself—expressed religious sisters on the parish staff at my so analytical that it exaggerates the in Liturgiam authenticam and elsewhere: importance of particular phrases while Our current vernacular translation has own parish told me that she would love it it obscures or weakens the meaning of been, in some ways, an impediment to a if every member of the staff could have a the whole. more authentic renewal. Again, we may copy of the five most common questions not agree with this perception, but we are about the new translation and that each Then, to show people the dramatic shift obliged to share these texts. would also have a succinct, common set in translation guidelines, I began to share Listen to your parishioners. I have of answers to those questions. My friends, sections from Liturgiam authenticam, para- volunteered, as a member of my parish’s there is enough polarization in the Church graphs like these: liturgy committee, to help with the cat- without our parish leaders creating more, echesis on and implementation of the new so present a consistent message. 6. Nevertheless, it has been noted that translation in my own parish. What we translations of liturgical texts in various Catechesis: Our Role as localities stand in need of improvement decided early on was that the committee through correction or through a new and our parish leaders would do every- Musicians Is Really about Art draft. The omissions or errors which thing in our power to be a listening ear affect certain existing vernacular trans- for our parishioners. We know that there My friends, at sessions for musicians lations—especially in the case of certain are several people in our parish who are on the new translation that I have led in languages—have impeded the progress vehemently opposed to this new transla- the past two years, there is one major of the inculturation that actually should tion; they have expressed the belief that point that I keep emphasizing with these have taken place. Consequently, the they see it as nothing but a move toward musicians, and that is something that we Church has been prevented from laying retrenchment. A few weeks ago, one sometimes forget. “Playing Masses” can the foundation for a fuller, healthier and person—a member of our parish choir— sometimes become utilitarian. I know more authentic renewal. sought me out before Mass and said: “I this so well. When I was a full-time The translation of the liturgical texts have read all the information about this director of music and liturgy, too often of the Roman Liturgy is not so much a new translation, and I think it is nothing what I did was simply play the notes. work of creative innovation as it is of but a bunch of crap; a further attempt by What we sometimes forget is that we are rendering the original texts faithfully the Vatican to control more and more of artists. And art functions in ways that can and accurately into the vernacular lan- parish life and the liturgy. I, for one, plan serve to catechize people at depths that guage. While it is permissible to arrange to make my feelings known publicly.” I no other kind of catechesis can hope to the wording, the syntax, and the style thanked him for telling me and I said that accomplish. I have found that the notes in such a way as to prepare a flowing I hoped that the information we would become art when I am fully aware of all vernacular text suitable to the rhythm be sharing together as a parish might that is going on in my own life. of popular prayer, the original text, insofar as possible, must be translated help give him more information about I’ll never forget what happened one integrally and in the most exact man- the changes. I don’t think this person will Sunday morning about fifteen years ner, without omissions or additions ever be satisfied with the information. But, ago. At the time, my family was living in terms of their content, and without at the very least, he knows that someone through the serious illness of my sister, paraphrases or glosses. Any adaptation has listened to him and has not dismissed Joanne. Joanne had a severe and chronic

56 November 2011 • Pastoral Music progressive form of multiple sclerosis. It was about at that time that my little sister Joanne, who had once been a gymnast, had to accept the fact that she would never walk again; it was at that time that she was confined to a wheelchair. I remember the week that this happened. On that Sunday morning, I was driving the half-hour or so to my parish to play and sing at the 7:30 am Mass. That particular Mass had been the so-called “quiet Mass” in that parish since the parish was founded. When I had arrived at the parish several years earlier, it was my task to bring that Mass in line with the others and to introduce singing. There had always been leftover resent- ment from the many who still wanted their “quiet Mass.” So this was the kind of Mass at which I sort of just “played the notes,” without putting much of myself into it. Well, it so happened that during the preparation rite on that particular weekend, I was to sing and play David Haas’s “You Are Mine.” The parish had not yet been taught the piece, so my little solo was designed to get it into their ears before they were taught it. While I was driving to Mass that morning, all I could think about was my sister and what it would be like for her to be in a wheelchair. My heart was heavy, to say the least. Well, I played and sang “You Are Mine” at that Mass. I guess I didn’t think too much about it until I reached the words in the final two verses: “All the blind will see, the lame will all run free, and all will know my name,” and “I will call your name, embracing all your pain; The convention banner is passed by Dr. Judy Bullock, chair of the 2011 Local Committee, to stand up, now, walk, and live.” I knew Mr. Herb Dillahunt, chair of the 2012 Local Committee in Pittsburgh. that my sister would never know that physical healing in this life but as I sang those words, I knew that in the life to come, in the resurrection on the last day, she would know that healing; she would indeed stand up, walk, and live. After Mass, while I was undoubtedly playing some bombastic organ postlude, I sensed the presence of someone standing behind me. At that 7:30 Mass, it usually meant it was someone who, when I finished, would tell me: “You play that pipe organ too loud!” But not this time. The woman said: “Hi, I don’t usually talk to people here. My husband and I have been attending the 7:30 Mass together for about thirty years, but we are ‘in-and-out’ kind of Catholics. Anyway, I just had to say something to you. You see, we were here last Sunday. It’s all part of our usual Sunday routine. We are early risers. My husband goes out early to get some donuts and the Sunday

Pastoral Music • November 2011 57 Chicago Tribune. We sit, have coffee and vited to give one of the presentations at The Celebration of the Liturgy donuts, read the Sunday paper, then it’s a parish mission in one of the suburban and Its Power to Catechize Us off to church. When we got home after Chicago parishes. There were about 350 Mass last week, he wasn’t feeling well, parishioners in attendance. My presenta- Finally, I’d like to talk about the and by Sunday night he was so ill that I tion was to focus on the new translation. absolute necessity for us to allow the brought him to the hospital. I have spent For the majority of people, this was the celebration of the liturgy to catechize us the whole week pacing the halls there, first time they were being exposed to the as musicians and clergy—to form and waiting for test results. Yesterday I found new texts. I moved through my usual reform us. out that my husband has a very serious catechesis on the new translation, how I’d like to tell you about something that cancer. When I woke up this morning, we got where we are, why we are where happened to me on Sunday, January 18, there were no donuts, there was no Chicago we are, and so on, and then I moved into 2009. I’ve already shared one story about Tribune. I sat at home, wondering whether talking about the fact that there was much my sister Joanne. Joanne died in Febru- I should come to Mass without him. Well, more chant in the new missal than in our ary 2001. In early January 2009, another I came anyway, and when I walked in current Sacramentary and that our bishops younger sister—my sister Janet—was here, I sat down in my usual place, only were asking us to learn the chants of the diagnosed with an incurable and un- my husband was not next to me in his new Roman Missal. An elderly woman in treatable cancer. When she shared the usual spot. I kept reaching for him. I just the front row raised her hand and, with devastating diagnosis with me, the image sat there and I said to God: ‘God, I need an angry tone, screamed out: “For good- that entered my mind was the memory of you to say something to me.’” The woman ness sake, we are not chanters, we are my parents standing at the casket of my then looked right into my eyes and said: Americans!” sister Joanne less than ten years earlier. I “Then I heard you sing the words, ‘Do not I immediately began to sing the Snow just couldn’t imagine my mom and dad be afraid, I am with you.’ I knew, then and adaptation of the Lord’s Prayer, and ev- going through that unfair pain again. there, that God was speaking directly to eryone joined in. When we finished, she That Sunday after I heard of Janet’s me through you.” looked at me and said: “Okay, maybe diagnosis (January 18, 2009) happened Folks, I am convinced that what oc- one!” to be the Second Sunday of Ordinary curred on that Sunday morning signaled Many of the people at that parish said Time. I went to Mass that Sunday a very a real transition for me; a move from just sad and hurting man. When I sat down “playing the notes” to being an artist. And that they had come to the mission session with a lot of fear. They were afraid that before Mass, I asked God to help me; I I am one hundred percent convinced that asked God to speak to me during Mass, this happened because I brought my sister their Mass was going to change dramati- cally. I decided to use the late Richard to move my heart toward some kind of Joanne’s illness into Mass with me that understanding. And all through that Sunday. Proulx’s Gloria Simplex as the first musical setting of the Gloria these people would Mass, I waited, and I waited. There was Paul Tillich, one of the most influential something about the prayer over the gifts Protestant theologians of the twentieth ever sing. So we began singing, and when we finished this chant setting, I that caught my attention but, to be frank, century, said the following in an address my pastor prayed the prayer too quickly. that marked the opening of the new gal- was amazed at how the fear and anxiety with which many had arrived at the ses- At the end of Mass, I was disappointed leries and sculpture garden at the New and was close to despair. York Museum of Modern Art in 1964: sion turned into a kind of “I think we are going to be okay” kind of feeling. It was The next morning, when I went to the office, I tracked down my friend and The artist brings to our senses and the music; it was the fact that these texts colleague Michael Novak. Michael’s wife, through them to our whole being some- were being paired with the musical art thing of the depth of our world and of that made all the difference in the world. Judy, had been living with cancer for sev- ourselves, something of the mystery Folks, we musicians are very blessed dur- eral years. Mike is a cantor at Milwaukee’s of being. When we are grasped by a ing this time of transition. As I said, we Cathedral of St. John the Baptist, and he work of art, things appear to us which have art on our side. The dialogues and conducts the men’s choir there. I asked were unknown before—possibilities of newly composed or revised acclamations, him how he did it. He asked me what I being, unthought-of powers, hidden in I predict, will be loved by our choirs, our meant, and I explained about my sister’s the depth of life which take hold of us.1 cantors, our instrumentalists, our clergy, diagnosis and my experience at Mass the and our people. day before. I asked him how he went to My friends, as we prepare for the Mass every Sunday with the weight of implementation of the new translation, Perhaps the greatest challenge that his wife’s illness on his mind and heart. I we musicians must remember that we the new translation presents is for our mentioned the fact that there was some- have art on our side. From the moment bishops and priests. True, they practice thing about the prayer over the gifts that I heard the musical settings of the Mass their own art—the ars celebrandi, the art of had caught my attention. So, he grabbed that our composers had crafted, I knew celebration—but their texts, particularly the Sacramentary from his shelf, and we that we musicians and the people in our the presidential orations, are quite awk- looked up the prayer over the gifts for the pews were going to be just fine with this ward and stilted in some places and quite Second Sunday in Ordinary Time. This is new translation, at least with our sung beautiful and inspiring in other places. what we found: parts. As a matter of fact, it has been the While we musicians are quite blessed musical settings of the Masses that I have with the gifts that composers have given Father, found have the real power to help change us, those entrusted with proclaiming may we celebrate the Eucharist peoples’ hearts. these new texts will need our prayers and with reverence and love, About sixteen months ago, I was in- support more than ever. for when we proclaim the death

58 November 2011 • Pastoral Music of the Lord you continue the work of his redemption, who is Lord for ever and ever. Amen.

That was it for me. It wasn’t until after the celebration of that Mass, in a marvelous moment of mystagogy with Michael, that I discovered that God was touching my heart. When we proclaim the death of the Lord, in the very act of celebrating Mass, God continues the work of his redemption— redemption in my own heavy heart and in the life of my sister Janet. You and I need to be, as Father Ed Foley often says, shaken out of our own ritual stupor, and we need to allow the liturgy to do what the liturgy does. For too long we have, with all the best intentions, nar- rowed our understanding—and perhaps the potential power of the liturgy—by defining liturgy solely as the “work of the people.” Friends, the liturgy, first and foremost, is the work of God. Every single time, without exception, every single Mass, without exception, God wants to work a miracle of transformation on each and every one of us. On Pentecost Sunday, two years ago, I was substituting at the piano at my own parish. The lector was struggling through the first reading and was having trouble with some of the pronunciation. When she reached the line, “We are Parthians, Above: St. Francis of Assisi School Orff Ensemble. Medes, and Elamites, inhabitants of Meso- Below: Signing one another with the cross as a commitment to ministry. potamia, Judea and Cappadocia, Pontus and Asia, Phrygia and Pamphylia,” she struggled with that last place. Instead of “Pamphylia” she said “Paraphrasia.” (For a second I wondered if that’s the place where the folks who created Comme le prévoit live.) Well a few days later, I was relating this rather comical liturgical moment to my colleagues with whom I ride in a carpool. One said: “You know, you were probably the only one in the church that even noticed. It’s sad that Catholics often don’t even pay attention.” And I thought this was one of the sad- dest commentaries that I have heard. My friends, sometimes this happens to us, and I know, because I have been there. For instance, during the opening prayer or “collect,” I have found myself paying no attention because I am wondering if Phyllis the cantor is going to mess up the second verse of the responsorial psalm like she did the last time she sang it. Folks, God wants to work on us when that opening prayer is prayed. We need to pay much, much more attention to these newly translated prayers. This new

Pastoral Music • November 2011 59 “sacral vernacular”—this new sound of They went south. plea to his father, our people are pleading praying—demands much, much more The ocean lay beyond high sand with us: “Help me to see.” For us, it is not active listening. And if we ever hope to dunes, waiting. the ocean that we are leading people to see. have a chance to catechize those whom When the child and his father finally We are leading people to see something reached the dunes God entrusts to our care, we musicians that sparkles more than any ocean could after much walking, ever hope to sparkle. We are helping them and clergy need to be more attentive; the ocean exploded before their eyes. we need to let the celebration of good And so immense was the sea and its to see, to be stunned by, to be struck dumb liturgy catechize us. I have asked people sparkle by a small glimpse of a world beyond our across the country—the clergy in par- that the child was struck dumb by the own understanding. Through our music, ticular—this question: “Do you believe beauty of it. through our catechesis, through our art, that God continues the work of salvation And when he finally managed to we are giving people a glimpse of that when you pray the opening prayer?” The speak, great mystery, that magnum mysterium, answer had better be “yes.” trembling, stuttering, that new day, the banquet that is to come. he asked his father: My friends, as a Catholic sitting in the “Help Me to See” “Help me to see!” pews, I join my voice with the people of your parishes, and, like that little boy, I Friends, our hope is that this new To conclude this final plenum of the look into your eyes and I echo that plea: translation will do something more than 2011 NPM Convention, I’d like to share a “Help me to see . . . help me to see.” provide new words that are closer to the passage from a little book that has helped original Latin. My hope is that it will, me through this time of transition. It is one in some new way, “shake us out of our Notes of my favorite passages from Eduardo ritual stupor.” This is a unique moment, Galeano’s fine book,The Book of Embraces. 1. Paul Tillich, “Address on the Occasion of a moment when people will be asking This short passage is entitled “The Func- the Opening of the New Galleries and Sculp- questions about the Mass, a moment of tion of Art/1.”2 ture Garden of the Museum of Modern Art,” potentially enormous liturgical renewal. 1964. Diego had never seen the sea. And, just like the child who was led to the 2. Eduardo Galeano, The Book of Embraces, His father, Santiago Kovadloff, ocean by his father, our people are looking trans. Cedric Belfrage with Mark Schafer (New took him to discover it. for us to lead them. Like that little boy’s York: W. W. Norton and Company, 1989), 17.

60 November 2011 • Pastoral Music Professional Concerns

By Jon McMahon

ship. The degree of importance of each operations and making their own deci- Church Employee factor varies depending on the occupation sions about how to get the job done. and the context in which the services are 4. Continuing relationship. An em- or Independent performed. It does not matter that the ployee has a continuing relationship with Contractor? employer allows the employee freedom an employer. A continuing relationship of action, so long as the employer has the may exist where work is performed at Part One right to control both the method and the frequently recurring intervals. An inde- result of the services. pendent contractor ordinarily is hired to When a church or synagogue hires a Some of the twenty common law fac- do a particular job and then moves on to do person to perform a particular job, such tors are listed below and are especially work elsewhere for another organization. as organist, an important question arises: relevant to our discussion about a church To this editor this is the strongest argu- Is the person an employee ment in favor of an organist’s or an independent contrac- having real employee status: tor? Serious tax and other Nearly every independent financial consequences contractor’s job is seen as may result if a person is having a terminating end misclassified. Most per- point, a job well-done and sons retained to do the finished, a good-bye and day-to-day work of any thank you. However, a organization, including a regular organist or music church or other religious minister is never hired with institution, are considered termination in mind. employees. 5. Set hours of work. The IRS views indepen- An employee has set hours dent contractor arrange- of work established by an ments with suspicion and employer. An independent scrutiny because of previous abuses and organist’s relation to an employer (for contractor is the master of his or her own an underlying viewpoint that persons “organist” you may substitute “director time. who are working for an organization of music ministries,” “music minister,” 6. Work done on employer’s premises. should be considered employees for income “choir director,” “musician,” etc.). An employee works on the premises of tax purposes. 1. Instructions. An employee must an employer or works on a route or at a comply with instructions about when, location designated by an employer. An Twenty-Factor IRS Test where, and how to work. Even if no in- independent contractor ordinarily sets structions are actually given, the control his or her own place of work. The IRS uses a twenty-factor test factor is present if the employer has the 7. Order or sequence set. An indi- to determine whether a person is an right to give instructions. Independent vidual who must perform services in the employee. These factors will indicate contractors direct themselves concern- order or sequence set by an employer whether sufficient control is present to ing when, where, and how to do their looks like an employee, subject to direc- establish an employer-employee relation- work. tion and control. 2. Integration. An employee’s services 8. Payments. An employee is paid by are integrated into the business operations the hour, week, or month. An indepen- Mr. Jon McMahon is the organist at because the services are important to the dent contractor is paid by the job or on a St. Luke Catholic Church in San Antonio, success or continuation of the business. straight commission. Texas, and the Sunday music director for This shows that the employee is subject 9. Expenses. An employee’s business the Oblate School of Theology in San An- to direction and control. expenses are customarily paid by an tonio. He is also the editor of The Alamo 3. Services rendered personally. An employer. This shows that the employee Tracker, the newsletter of the Alamo AGO employee renders services personally. is subject to regulation and control. An Chapter. A slightly different form of this This shows that the employer is interested independent contractor ordinarily pays article appeared in the March 2011 issue in the methods as well as the results. In- for any business expenses. of The Tracker. The second part of this dependent contractors are generally free 10. Tools and materials. An employee article will be in the January 2012 issue of to hire assistants or to subcontract their is furnished significant tools, materials, Pastoral Music. work, since they are directing their own and other equipment by an employer

Pastoral Music • November 2011 61 (examples in a church: organ, computer, and is responsible for its satisfactory Example 1. A church organist who books, music, uniform or vestment). completion or is legally obligated to make holds the position of director of music 11. Profit or loss.An independent con- good for a failure to complete it. ministries, minister of music, or a similar tractor can make a financial profit or suffer position, who works thirty-five or more a financial loss; whereas an employee The IRS has attempted to streamline hours a week, and who works under the ordinarily does not suffer any financial these questions and considerations. direction of the church authorities is prob- losses associated with the work. For example, see IRS Publication 15-A, ably is an employee. 12. Works for more than one person “Employer Supplemental Tax Guide.” Example 2. An organist or other musi- or firm.An independent contractor offers In this publication, the IRS sets forth the cian who works for six area churches when and ordinarily provides services to two employee versus independent contractor their regular organist is sick or on vacation or more unrelated persons or firms at the analysis. The publication also notes that (and offers services to other churches) is same time. an individual may request a specific de- probably an independent contractor. 13. Right to fire.An employer can fire termination from the IRS by filing Form Example 3. An organist who regularly an employee. An independent contractor SS-8. plays at one or two Masses every week typically cannot be terminated so long and may play regularly at other churches as he or she produces a result that meets Examples in a Church Setting would probably be viewed by the IRS as an the specifications of the contract for the employee of the church. services. Here are three examples of situations in 14. Right to quit. An employee can quit which organists and other musicians may his or her job at any time without incur- find themselves. In some cases, the IRS ring liability. An independent contractor would view the musician as an employee, The second part of this article will appear in usually agrees to complete a specific job in others as an independent contractor. the January 2012 issue of Pastoral Music.

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62 November 2011 • Pastoral Music h y m n a l s

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mance Issues Editor: Quentin Faulkner; Goodbye, Marie! Welcome, Meg! and In-House and Associate Editor: Elea- nor McCrickard. WL500019. 168 pages, Dr. Marie Kre- In her place, softcover, $58.00. mer, recipient we welcome of this year’s Margaret (Meg) This is the first volume of what prom- Virgil C. Funk, Matuska as our ises to be the definitive Urtext edition of Jr., Steward- new music re- the complete organ works of Bach. The ship Award, has view editor. preface explains that this is to be first a been the music Born in the year practical edition with a format oriented to review editor that NPM was the needs of the modern player. At the same for Pastoral Mu- founded, Meg time, it is a scholarly resource for history, sic and Notebook grew up in Willoughby Hills, Ohio; context, and performance practices. This since June 1988. she now lives in Cleveland’s Broadway clean edition succeeds in both areas. Her involvement with pastoral music Slavic Village neighborhood. After The principal editorial team consisted and with NPM goes much further back undergraduate studies at Benjamin T. of well-known scholars: Christoph Wolff, than that, though. As a teenager, Marie Rome School of Music at The Catholic consulting editor, George B Stauffer, served as organist for Monsignor Mar- University of America in Washington, general editor, Quentin Faulkner, perfor- tin B. Hellriegel (1890–1981), one of the DC, she completed her studies at The mance-issues editor, and Wayne Leupold, leaders of the liturgical renewal in the Cleveland Institute of Music, and she publisher. They were joined by numerous United States. She has been a member now works as the director of music colleagues and students who evaluated of NPM since its inception and has ministries at Communion of Saints this volume. Modern scholarship is dem- served the association in many ways: Parish in Cleveland, a community onstrated by the inclusion of relevant as a workshop presenter, convention that worships at two sites—one in East historical information, a clear description coordinator, DMMD Board member, Cleveland and the other in Cleveland of the editorial process, performance NPM Board member, and patient Heights. A member of NPM’s Director practice information, and the inclusion advisor. We thank her here for her of Music Ministries Division (DMMD), of chorale melodies of Clavier-Übung consistent and dedicated hard work Meg chairs the Choir Directors Steer- III with source information. Generous as our music review editor for nearly ing Committee and is a member of the facsimiles, including four in color, are twenty-five years. NPM Council. generously reprinted, showing Bach’s notation and corrections. Although many of his works for manuals and pedal were originally on two staves and employed There is also a division dedicated to various clefs to avoid ledger lines and Organ congregational song, with twenty-seven save paper, here only treble and bass clefs collections authored by contemporary All the organ items reviewed in this issue are used along with modern three-staff hymn writers in current publication. Most are from Wayne Leupold Editions. Wayne notation. Variants are included within the of these are hymn texts, but more than a Leupold Editions, Inc. has much to offer main text rather than in an appendix. few include newly composed tunes and/or when it comes to high quality materials BWV numbers are shown on the first choral arrangements. The following is a for organists. Since 1988, the company page of each piece, and measure numbers sampling of publications which may be has published excellent editions of the in small type at the start of each system. of interest for students and teachers of the standard organ literature; transcriptions Where applicable, a small marker placed organ. A complete catalogue is available for organ; original music for organ solo, in ms. 1 alerts the player to specific per- on the company’s website, which is well duet, organ plus another instrument; formance issues which are discussed in organized and easy to navigate: www. and choral music. Over the years, the the Editorial Report at the end of the vol- wayneleupold.com. company’s output has expanded to in- ume. Editorial marks such as added rests, clude numerous teaching materials both articulations, and ornaments are largely for individual organ study and for gen- Johann Sebastian Bach—The avoided, and those that do appear are eral audiences of all ages. Most recently, Complete Organ Works Series printed in smaller type. A good example a book department was developed, and 1: Volume 8, Clavier-Übung III of this would be in the fugue that ends it offers a growing collection of books the Clavier-Übung III. In ms. 3842, where dealing with history, scholarship, and Consulting Editor: Christoph Wolff; the two-part texture is notated on the bass biographies related to the organ world. General Editor: George B. Stauffer; Perfor- staff, the treble staff measures contain no

64 November 2011 • Pastoral Music rests. The layout is easy on the eye and allows for fewer and more convenient page turns than some older editions. The appendix in this volume contains the prelude and fugue (BWV 552) with the original two- staff notation. Heather Martin Cooper

Organ Education Recitative

Organ Teaching Methods. There are fifty products in this portion of the Wayne Le- upold Editions catalogue. Distinguished among these is the First Organ Book (third edition, ed. Wayne Leupold, WL600053, $38.00). About 200 pages in length, this book offers a thorough introduction to the organ for students who have approxi- Submissions Invited mately three years of previous keyboard study. The book is in four sections: 1) RODGERS NORTH AMERICAN introduction to the organ and basic music history; 2) a comprehensive method for or- CLASSICAL ORGAN COMPETITION gan including legato technique for pedal, manual, and trios and an introduction THE COMPETITION: to the articulate style; 3) a large, graded The Competition is sponsored by Rodgers Instruments Corporation for the purpose collection of pieces from all historical of encouraging the development of young organists in North America. styles; and 4) a glossary and information on registration and MIDI. Discover the APPLICATION REQUIREMENTS: Basics and Discover the Organ are two You must submit an application form, available on the Rodgers website at www. method series which may be used in rodgersinstruments.com/competition. By Feb. 1, you also must submit your perfor- preparation for the First Organ Book. The mance recording on CD or cassette tape of two mandatory pieces and a selection six Annotated Performer’s Editions are of your choice. You must reside in North America, and the competition is limited to excellent editions of standard repertoire. individuals aged 35 or younger as of March 1, 2012. They offer plentiful historical background for each work and the composer that will Applicants may choose to compete at either the upper or lower division level, with open new doors for student organists and appropriate required pieces for each. Please visit www.rodgersinstruments.com/ perhaps their teachers. Also notable are competition to view the repertoire requirements. the six volumes of Historical Techniques and Repertoire. The Wayne Leupold web- Cash prizes will be awarded in both divisions. In the upper division, the prizes will site describes this series this way: “This is be $3,000 for first place, $2,000 for second and $1,000 for third. In the lower a series of volumes, each of which deals division, prizes will be $1,000 for first place, $500 for second and $250 for third. with a specific national school of organ music within a specific historical period. SCHEDULE: . . . It is the intent of this series to explore Feb. 1, 2012 Deadline to submit applications in some depth the tremendous breadth March 2012 Regional competitions and variety of styles of music and perfor- April 27, 2012 Final competition - public performance at mance practices that exist for the organ Kutztown University in Pennsylvania from the last six centuries.” These are substantial collections containing relevant performance practice information and a Submit application with recording to: Additional information is available at North American Classical Organ Competition www.rodgersinstruments.com or contact healthy portion of music. Rodgers Instruments Corporation Rodgers at 503-648-4181 or 1300 NE 25th Avenue, Hillsboro, Oregon 97124 [email protected]. The Organ Demonstrators Series features (Must be postmarked by February 1, 2012.) compositions designed to introduce the organ to audiences of various age groups. The catalogue currently lists thirty-nine titles, most of which are targeted to one of the following: lower elementary (grades K–2), upper elementary (3–5), middle school (6–8), and high school or adults. A few are appropriate for all ages.

Pastoral Music • November 2011 Most are multi-movement works based for Organ and Narrator. Bernard Wayne Why the Chimes Rang. Music by Robin on a familiar tune, with each movement Sanders. WL600196, $11.25. Here the fa- Dinda, text by Raymond Macdonald Alden, highlighting a particular family of stops miliar story is retold in text and music. drawings by Mayo Bunker, edited by Wayne or other feature of the organ. For the first four movements, the narrator Leupold. WL600107, $17.00. A charming Here are brief reviews of nine titles part is read while the organ is playing. Christmas story, written more than one in the series. None would take long to Two copies are needed for performance. hundred years ago, is retold in this demon- perform, and each may be do-able in Designed for upper elementary school strator. The twenty-one illustrations come conjunction with an evening social, school students. from the original book. Six movements assembly, or—for the ambitious—follow- with several optional shorter interludes ing Sunday worship. Common to all of The Transportation Age for Organ and are based on “Ding Dong Merrily,” “West- these is a part for narrator, who guides Optional Narrator. Carson Cooman; narra- minster Chimes,” “Kling Glochchen,” and audience listening and may recount a tion by Richard Leach. WL600202, $8.00. This “I Heard the Bells on Christmas Day,” with tale. The music is generally not difficult. demonstrator serves as Volume IV in The musical references to “Carol of the Bells,” In some cases, children may be able to Organ Music of Carson Cooman series. In Sowerby’s “Carillon,” and Vierne’s “Caril- perform the organist or narrator part. addition, it coordinates as supplementary lon de Westminster.” Minimal easy pedal The narrator part and pictures may be solo material for the WLE graded method parts. Organ chimes are not indicated in reproduced unless otherwise indicated. series Discover the Organ, level 3A. A child registration marks. One could possibly could easily read the narrator part, which embellish this work by incorporating bells How the Organ Sings. Austin Lovelace. consists of one or two sentences preced- of any kind. Marked lower elementary, WL600139, $10.00. Based on America, this ing each movement. Various modes of this would appeal to audiences of all ages is a variation set with a part for optional modern transport are highlighted in the and could be included in an Advent or narrator. After the introduction, the audi- five short movements. For middle school Christmas recital. ence is prompted to sing the first verse of through adult. the hymn. Each variation is then played, Jacob’s Ladder: A Biblical Sonata prefaced by a description of what may for Organ and Narrator. Larry Visser. be heard. Designated for middle school The Misfortune of a Wise Tortoise WL600198, $12.50. Brief narrations come students, this demonstrator would not for Organ and Narrator. Godwin Sa- directly from Genesis. Five variations on bore older children or adults. Permission doh. WL600207, $11.25. This one may the African-American spiritual “We Are is not given to reproduce the narrator part, particularly interest a developing child Climbing Jacob’s Ladder” demonstrate so two copies may be needed. organist, but the African folktale retold the organ from flutes through strings, in this demonstrator requires dramatic, principals, reeds, and full organ. Upper Melodia and Major Octave Go to Pre- imaginative reading by the narrator, who elementary. school. Music and text by Martha Sobaje, should perhaps be an adult. The musi- Heather Martin Cooper drawings by Kitty Fischer, ed. Wayne Leu- cal variations are based on the simple pold. WL600193, $16.95. Geared toward folk song that goes with the tale. One of lower elementary students, the pieces in these is a pedal solo. For lower and upper Books this demonstrator are based on nursery elementary. rhymes such as “Twinkle, Twinkle, Little Mystical Body—Mystical Star” and “Pop Goes the Weasel.” Eleven The Child’s Book of Beasts: An Enter- Voice: Encountering Christ in cartoon pictures enhance the story. The tainment for Organ and Narrator. Music the Words of the Mass audience will need to be able to read the by Richard Proulx, verses by Hillaire Bel- lyrics as it sings “Old MacDonald Played loc, drawings by Kitty Fischer. WL600051, Christopher Carstens and Douglas Martis. the Organ.” $22.50. An additional copy will be needed Liturgy Training Publications, 2010. ISBN: for the narrator, whose rhythmic part is 978-1-56854-932-3. 262 pages, paperback, Zacchaeus: A Biblical Sonata for Organ written on a rhythm staff above the organ $16.95. with Very Easy Pedals and Narrator. Larry part in the score. This is a longer work Visser. WL600222, $16.25. The narrator than the others reviewed here. Sixteen Mystical Body, Mystical Voice: Encoun- introduction in this demonstrator, which beasts are described in thirteen move- tering Christ in the Words of the Mass is offers a quick description/demonstration ments, which may be played effectively written in the classic style of sacramental of the organ, could easily be adapted and even on a modest-size instrument. The theology—well-written, with academic used with other titles in the series—such composer notes: ”This ‘entertainment’ and scholarly characteristics. Gauging the as those that follow—which may not . . . was constructed in the spirit of musi- “End Notes” of each chapter, it is likewise include a verbal presentation of sounds cal fun and was originally commissioned well researched and rooted in the vast ar- of the organ. All sing the children’s song for outdoor performance. The charming ray of both historical and contemporary “Zacchaeus Was a Wee Little Man,” then drawings included here will greatly en- scholars of the Church. they are asked to listen for the tune in the hance this concept.” Proulx also suggests As we prepare to receive and imple- six variations that follow. The story is a possible grouping of five movements for ment the Roman Missal, third edition, narrated with brief passages from Luke shorter organ demonstrations. Delightful this book, divided into two parts, assists which are read before each movement. poetry and drawings are matched by the reader in stepping back by taking a For lower elementary. Proulx’s imaginative, well-crafted music look at the “big picture” of the Church’s for performance that will be enjoyed by liturgy. Thus, this work excavates the The Good Samaritan: A Parable-Suite people of all ages. depths of understanding the Eucharist by

66 November 2011 • Pastoral Music revealing the richness of it in the context this book that one does not tamper with accompanying stylized language. That of the whole of sacramental theology. In the words of our sacred liturgy. In tandem said, the audience may perhaps be a bit doing so, it sets the stage for grasping with the theological principle of lex orandi more limited than the one for which the the theology which shaped the reclaimed (law of prayer), lex credendi (law of belief) book is being promoted. liturgical theology of Vatican II. exists the principle of lex dicendi (law of James Bessert Part I, “Liturgical Primer,” neatly speaking), since we always translate from packaged in three chapters, provides an editio typica. This would appear to be At the Supper of the Lamb: the framework for understanding the in keeping with the fundamental lens of principal theological and sacramental Catholic doctrine stated by Blessed John A Pastoral and Theological underpinnings which “re-formed” pres- Paul II—the originator of this third typi- Commentary on the Mass ent liturgical and Eucharistic theology. cal edition of the revised Roman Missal Obviously, these principles produced the process. Paul Turner. Liturgy Training Publica- Roman Missal of Vatican Council II, which On its back cover, the book promotes tions, 2010. ISBN: 978-1-56854-921-7. 163 remains at the heart of the present new itself as designed to “help Church leaders pages, paperback, $16.95. translation. and the faithful to receive and implement Part II, “Language of the Roman Mis- the third typical edition of the Roman At the Supper of the Lamb extends an sal,” springs from the final chapter of Part Missal.” From the viewpoint of a direc- invitation for the reader to walk through I, “Use of Words in the Church’s Liturgy.” tor of a diocesan office of liturgy—this the Mass from start to finish—and, ide- This section walks systematically not only reviewer’s perspective—while it is a great ally, to come to a greater awareness of through the intricate facets in the transla- contribution and resource for preparation the Church’s Eucharistic liturgy and tion process of the Roman Missal but also, and implementation of the third edition, the realization of how privileged it is to in chapters five through seven, the four- one would need a familiarity with sacra- receive the summons to the Supper of fold structure of the Mass. This analysis mental theology to make full use of the the Lamb. Systematically, Father Turner leads to a final chapter—“Mystagogical book. Otherwise a reader may struggle takes the structure of the Order of Mass Catechesis”—why words really matter. to appreciate fully Mr. Carstens’s and from the Roman Missal, third edition, A profound awareness which surfaced Father Martis’s significant contributions. weaving the ritual words, rubrics from for this reviewer is the clear message in The Church has a rich theology and an the General Instruction of the Roman Missal,

Re ect and Celebrate Advent and Christmas with Re ections for Advent the Church Fathers and Christmas These selections from the writings These prayerful meditations for of the Fathers of the Church Advent and Christmas center on provide prayerful meditations for cultivating the gift of self, and Advent and Christmas and help invite us to pray, re ect, discuss, readers prepare for and celebrate and respond. the Birth of Christ. 7-132, 12 pp., $3.95 No. 7-115, 148 pp., $6.95 Catholic Household Christmas Novena Blessings and Prayers This collection of meditations (Revised Edition) and prayers from Pope Benedict Catholic Household Blessings XVI re ects on Christmas and the and Prayers is a family themes of the coming of the Lord— resource for exploring the anticipation, silence, and joy, and Catholic tradition of prayer. leads us on a nine-day journey Hardcover: toward our Savior’s birth. No. 5-645, 528 pp., $34.95 7-126, 81 pp., $5.95 Paperback: No. 7-046, 528 pp., $24.95

Modern Questions. Gospel Answers. Available at www.usccbpublishing.org

Pastoral Music • November 2011 67 and background information, and he ends Handel’s Messiah: twenty, orchestra of about thirty-five), as each section with questions for discussion Comfort for God’s People well as by forces as large as thousands in and reflection. the choir and hundreds in the orchestra. With the inclusion of the texts from the Today there has been a conscious return revised English translation of the Roman Calvin R. Stapert. Eerdmans, 2010. to Handel’s orchestration, the use of Missal, this book incorporates the com- ISBN: 978-0-8028-6587-8. 173 pages, eighteenth-century instruments, and a prehensive contributions of the significant paperback, $14.95. scaled-down choir. liturgical documents that have surfaced Stapert provides background on the over the past decade, such as the revised Calvin Stapert, professor emeritus of music forms used in Messiah—recitative, General Instruction of the Roman Missal and music at Calvin College in Grand Rapids, aria, and chorus. Handel’s solution to the the instruction Redemptionis Sacramentum has given us a practical guide to this setting of this biblical story was to set (2004) and accompanied them with cita- enduring choral masterpiece. The book each unit of text, or each “scene,” in a tions from the Constitution on the Sacred aims to increase understanding of the progressive order, starting with recitative Liturgy Sacrosanctum Concilium. These work from three different perspectives, and then moving through aria to chorus. are further complemented by historical all leading to a greater understanding of The cumulative effect of this sequence is and scriptural background and writings the work. not only musically effective but reinforces of the Fathers of the Church, as well as In his first section Stapert traces three the climax toward which texts typically Eastern, Western, and even Orthodox histories: of the oratorio up to Messiah, progress. This holds true for the first of theology, prayers, and practices—not to of Handel up to Messiah, and of Messiah the three parts of Messiah. mention the various missals which have itself. Stapert discusses both opera and Chapter Seven begins the analysis of been handed on throughout the ages. oratorio development in Italy during the Messiah itself with “Part the First—The The questions at the end of each section late renaissance and early baroque periods Coming of the Messiah.” Stapert presents are intended for discussion and reflection in music. Since oratorio did not exist in each recitative, aria, and chorus by scene, based on the reader’s experience of liturgy England because opera was unknown, number, and title, providing the text and within a given community. These are not Handel was the inventor of the English the theological message of each selection. academic inquiries, wondering about the oratorio. He goes on to weave the musical and reader’s comprehension of the material Stapert reminds us that Handel began textual thread Handel was using to cre- presented, but, this reviewer believes, to study law but, within a year, was play- ate this oratorio, highlighting the salient they probe and challenge the reader to ing violin and harpsichord in the opera characteristics of each selection. Struc- examine present practices and come to orchestra in Halle. He traveled to Italy, tural elements, tone painting, texture, a better understanding of solid, liturgi- where he composed Catholic church tempi, rhythmic and melodic features, cal practices. In other words, priests, music in Rome as well as secular Italian key signatures, and recurring motives, deacons, liturgy planners, and liturgical cantatas and operas. Handel arrived along with an examination of the Biblical ministers are called to a new intention to in England for the first time in 1710. In text, are provided. The flow and unity of make stronger connections to lex orandi, 1732 he composed his first English ora- the oratorio is reinforced by underlining lex credendi. torio, Esther, revising and expanding this similarities such as the opening notes On the back cover of this book, LTP genre from six scenes to three acts, which of “But who may abide,” “And he shall signals that the intention of Father Turner required eleven additional numbers and purify,” and “O thou that tellest.” There is in this work is to “help you understand the the insertion of two anthems he borrowed a glossary of terms as well as an extensive parts of the Mass so that you may enter and reworked. He used his star soloists section of notes, with both primary and them more intentionally and prepare for from the Italian opera and combined them secondary sources listed. them effectively.” As one who works in with impressive choruses in the style of Handel’s revision of certain arias is a diocesan liturgical office, I would defi- English ceremonial anthems. Now the chronicled. Handel wrote a substantial nitely recommend this practical, pastoral stage was set for Messiah. revision to aria number six, “But who guide for priests, pastoral leaders, liturgy In discussing the history of Messiah, many abide,” because of his wish to take and music planners, faith formation lead- Stapert compares it to Handel’s other advantage of a famous alto castrato, Gua- ers, and anyone who desires to come to oratorios. He then focuses on the libret- tano Guadagni. Information such as this a deeper appreciation of the Church’s tist, Charles Jennens, a wealthy, Oxford- is helpful when preparing the work, and liturgy and prepare for the reception educated, classical and Shakespeare it brings the work alive for the singers. and implementation of the new Roman scholar. As was Handel’s custom, having Throughout this analysis Stapert Missal. Some favors that I would ask of received the Messiah libretto from Jennens cites biblical and Handel scholars and Father Turner for this book’s next print- on August 22, 1741, he worked quickly, historians, including Jens Peter Larsen, ing would be: (1) a more detailed Table of finishing the work by September 14. The Dietrich Bonhoeffer, Donald Burrows, Contents; (2) any new material to supple- first performance, well received, took Donald Grout, George Marsden, Roger ment what is yet to be discovered in the place in Ireland on April 10, 1742. It was Bullard, and others. Their insights lend full printing of the English translation of received indifferently in its first London great depth to the analysis. the Roman Missal; and (3) the revelation of performances, however, and Jennens was This book emphasizes the depth and the membership of Pope Paul VI’s “Study disappointed because he felt that Handel breadth of Messiah, and its value is raised Group.” composed the piece too quickly. Yet Mes- in intensity if you are able to listen to the James Bessert siah has never left the classical repertoire. work with your score sitting open next It has been performed according to eigh- to you as you read. When examining a teenth century standards (choir of about work that is as familiar as Messiah, one

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LicenSingOnline.org | [email protected] | 800-452-9805 is always surprised to recognize a new he relates listening to rock music with deeper reading on the arts and theology, aspect or characteristic of the work. This the Ignatian exercises of repetition and you will want to explore Jeremy Begbie, book accomplishes that and more. I rec- imagination. This is where it becomes Resounding Truth, Beholding the Glory; Cal- ommend this book for those who will be personal for Nantais, a rock music fan vin Stapert, A New Song for an Old World; performing portions of Messiah or those and a former Jesuit. While I applaud the William Dyrness, Visual Faith; Roy Anker, who appreciate the work; you may just way he’s integrated rock and prayer in his Catching Light; Andy Crouch, Culture be inspired to program one or more of the own life, I don’t know that all readers will Making; and James K. Smith, Desiring the arias or choruses in the coming months. find his arguments convincing. His case Kingdom. But Rock-a My Soul is certainly As those in attendance at the Louisville feels overstated at times, but there are a good place to start the journey. Convention this past July can attest, sing- many good ideas to ponder—especially Greg Scheer ing the “Hallelujah Chorus” will never go the connection between imagination and out of style. spirituality. Weaving Faith and Experience: Kathleen DeJardin Next follow sections on social justice A Woman’s Perspective and rock music, race and racism, and a Rock-a My Soul: An Invitation series of essays culled from his previous Patricia Cooney Hathaway. St. Anthony to Rock Your Religion publications. This is interesting reading, Messenger Press, 2010. ISBN: 978-0- which seeks to apply his theories to real 86716-904-1. 127 pages, paperback, $11.95. David Nantais. Liturgical Press, 2011. world situations. For example, he shows ISBN: 978-0-8146-3354-0. 162 pages, ways in which rock music “rages against Weaving Faith and Experience is one of paperback, $15.95. the machine,” as it were, to fight for the eight works in the “Called to Holiness: cause of the poor and the environment, but Spirituality for Catholic Women” series David Nantais joins a growing move- capitulates to the machine in its marketing intended to champion the concept of ment of artist-theologians who make of merchandise and its resource-hungry lifelong faith formation of adult Catholic a strong case for the arts—in this case concert tours. He views early Pink Floyd women. This series is a rich resource for rock music—as an important voice in visionary Syd Barrett through the lens parish faith formation administrators theological discourse. While others in of early Church visionaries, St. Teresa of such as me, who continually seek new the movement focus on musical theology, Avila, and Ignatius of Loyola. He urges ways to inspire parishioners to keep historical analysis, and cultural critique us to hear Slayer’s Christ Illusion as a growing in their knowledge and under- from a Christian worldview, Nantais con- prophetic call to the Church to rid itself standing of our Catholic faith, beliefs, and tributes a uniquely Ignatian perspective of hypocrisy, and he pronounces a Bruce practices. that examines the role of rock music as a Springsteen concert a “profound liturgical In her introduction, the author writes form of prayer and reflection. His personal experience.” Whether or not you come to that “Weaving Faith and Experience explores anecdotes and passion for music are a the same conclusions as the author, it cer- Christian faith as growth in a personal winsome argument that rock music isn’t tainly makes for stimulating thinking. relationship with God, a falling in love an enemy of Christianity but a possible The final chapter, “Finding Who I Am,” with God that finds practical expression avenue to deeper spiritual understand- is what Nantais calls his “theo-musical in the way we choose to live” (pages xxi- ing. autobiography.” From the nostalgic rec- xxii). Nantais begins with a history of the ollections of unwrapping new arrivals From the conclusions of the Second bad blood between the Church and music. from the Columbia record and tape club, Vatican Council, Hathaway reminds read- He uses the writings of Plato, Augustine, to the way music became his comfort and ers that although sacred places, devotions, Aquinas, and Luther to show how a foun- companion during times of anxiety and and activities such as liturgy and sacra- dation was laid for the Church’s current angst, his personal encounters with music ments are all opportunities to experience ambivalence toward rock music. Music are engaging and convincing in a way God, “all of life—family, work, social and too often inflamed the passions of the that is sometimes absent from the more political involvements—provide a context flesh and was therefore to be handled very didactic sections of the book. His journey for God’s visitations to us as well” (page carefully, if at all. It is, then, no surprise with faith and music comes to a head when xxi). that rock music and its association with his spiritual director encourages him to Based on her own research and that of sex, drugs, and rebellion was considered explore ways of integrating his love of psychologist Daniel J. Levinson, in “Sea- an enemy of the Christian life. rock in light of his spirituality, leading to sons of a Woman’s Life,” Hathaway cat- But Nantais argues rock music is, in what the author calls “the real me.” This egorizes the stages of a women’s life into fact, in a unique position to bridge our final chapter drew me in strongly enough four seasons and then projects a woman’s misguided spirit/flesh dualism. Like the that I found myself wishing Nantais had developmental stage and life goals into spirituals, blues, and black gospel that written the book backwards—starting one of the four, based on chronological laid the foundation for rock music, this with his personal journey and then slowly age: spring encompasses ages seventeen is music that integrates body and spirit. unpacking his experience for the rest of to twenty-eight; summer is twenty-eight Its strong beat connects to the rhythms of us. to thirty-nine; autumn is found in ages our bodies, yet it also provides a place of Rock-a My Soul is an engaging, if quirky, forty to sixty-four; and winter marks transcendence deep in our spirits. addition to the growing body of literature ages sixty-five and beyond. Each stage Nantais continues this line of rea- dealing with the arts and theology. If you or season is then assigned a “season of soning, proposing that “music is like are trying to figure out how to connect faith” as well: interpersonal/reflective, an ‘aural icon’ that can help facilitate a rock and faith in your life, Nantais blazes paradoxical, intentional, and trusting. spiritual experience.” More specifically, a trail to follow. If you are interested in Each season, Hathaway says, contains

70 November 2011 • Pastoral Music stable periods in which women live out to move beyond these stages. the decisions they have made and then Undoubtedly, younger readers or transitional periods when they question discussion group participants, such as whether they want to change or modify myself, will come away with a greater Membership Items their choices to further their dreams. awareness of these impending stages and Just over one hundred pages in length, different perspectives on what is to come, NPM Baseball Cap Weaving Faith and Experience is not a as well as a greater appreciation for the Beige cotton, blue bill and trim, ad- quick read but more of a study resource, struggles women in their lives may be justable. Item #GIF-1...... $12.00 perhaps best taken up in a group setting currently facing. NPM Travel Mug with a learned facilitator. Each of the Angela Johnson Stainless steel exterior, anti-splash lid, chapters concludes with valuable “Food non-skid base. Item #GIF-2...$10.00 for Thought” questions, brief reflections, and a short prayer. About Reviewers NPM Swivel Clock The main thrust of the book addresses Adjustable head, quartz analog move- women in the “autumn” of their lives. Rev. James Wm. Bessert, a priest of the ment, solid base, silver color. Hathaway says: “We do not enter these Diocese of Saginaw, Michigan, and direc- Item #GIF-4...... $10.00 years with a ‘clean slate,’ so to speak, tor of the Saginaw Office of Liturgy, serves but as women formed by the dreams we on the NPM Council. NPM Lapel Pin pursued, the choices we made, the suc- Item #GIF-5...... $4.00 cess we celebrated, and the wounds we Ms. Heather Martin Cooper, NPM- Specify Member or DMMD endured during the spring and summer CAGO, is the director of liturgical music of our lives” (page 21). at St. Monica Parish in Creve Coeur, Gift Items The three themes that the author ex- Missouri. NPM Cookbook: With Lyre, Harp, and plores for women at this stage is that they Spatula “Pastoral musicians should realize that half of their life is over, that Ms. Kathleen DeJardin is the director of make excellent cooks, for cooking and they should be looking inwardly more at music ministries at Holy Trinity Catho- music making have so much in com- this stage than at any other time in their lic Church (Georgetown), Washington, mon.” Richard Gibala lives, and that it is time to become their DC. Item #GIF-3 Single copy.... $6.00 own person. More than thirty pages are devoted to Ms. Angela Johnson is a writer and Catho- A Pastoral Musician’s Book of Days lic Faith Formation administrator. the examination of polarities described Information, enjoyment, and a source in Levinson’s work: young/old, destruc- of prayer. Gordon E. Truitt Mr. Greg Scheer is minister of worship tion/creation, masculine/feminine, and Item # GIF-6 Single copy....$15.00 attachment/separation. Hathaway goes at the Church of the Servant in Grand to great lengths to illustrate how God is Rapids, Michigan, and music associate St. Cecilia The patron saint of musi- working in us through these polarities to at the Calvin Institute of Christian Wor- cians. World Library Publications. Michael “guide us to greater wholeness and holi- ship. O’Neill McGrath, osfs ness” and a “more genuine experience of Poster # GIF-7 Single copy..$15.00 God” (pages 50–51). Hathaway also makes lengthy refer- Publishers All God’s Critters Got a Place in the ence to the writings of Church mystics Choir Based on the popular song. World Saint Teresa of Avila and John of the Cross, Liturgical Press, PO Box 7500, Colleg- Library Publications. Michael O’Neill which, if an individual reader isn’t already eville, MN 56321-7500. (800) 858-5450; McGrath, osfs familiar with these Spanish mystics, could web: www.litpress.org. Poster # GIF-9 Single copy..$20.00 prove somewhat challenging. I think this book could be most fruitful Liturgy Training Publications, 1800 N. Choir Prayers and More Choir Prayers if taken up in an intergenerational group Hermitage Avenue, Chicago, IL 60622- Prayers to help choir members focus on setting, where several women of various 1101. (800) 933-1800; web: www.ltp.org. the liturgical seasons during weekly ages and circumstances would support rehearsals. Pastoral Press. Jeanne Hunt and encourage one another not only to St. Anthony Messenger Press, 28 W. Item #PR-5 Single copy.....$7.95 accept that God is with us even when we Liberty Street, Cincinnati, OH 45210- Item #PR-6 Single copy.....$7.95 find ourselves in challenging times but 1298. (800) 488-0488; web: www.catalog. also to keep moving through the different americancatholic.org. Prayers of Those Who Make Music stages and circumstances that Hathaway For all who love music: psalms, po- highlights, such as empty nesting and Wayne Leupold Editions, Inc., 8510 Triad ems, prayers. LTP. Compiled by David the retirement years. While Hathaway’s Drive, Colfax, NC 27235. (800) 765-3196; Philippart questionnaire participants paint these web: www.wayneleupold.com. Item #PR-7 Single copy.....$5.00 stages as being somewhat daunting and Bulk discounts available emotionally troublesome, and while she Wm. B. Eerdmans Publishing Co., 2140 encourages readers to seek lasting peace Oak Industrial Drive NE, Grand Rapids, in knowing that God is with them, other MI 49505. (800) 253-7521; web: www. Order: www.npm.org women might seek a more active approach eerdmans.com.

Pastoral Music • November 2011 71 Calendar

Concerts and Festivals New York FLORIDA February 2, 2012 NEW YORK Brass Celebration featuring the New York Sym- Southwest Ranches phonic Brass. Works by Bach, Gabrieli, Sweelinck, January 20–21, 2012 and Tallis. Information at www.saintpatrickcathe- Children and Christian Initiation. Teaches what the New York dral.org. RCIA says about children of catechetical age; ex- November 6 plores the child’s conversion process in the context St. Patrick Cathedral Organ Recital Series features New York of real family life. Reflection, faith sharing, liturgi- Stephen Davies, director of music, St. George February 19, 2012 cal celebrations, and presentations. Sponsored by Church, Bickley, London, UK. Information at www. St. Patrick Cathedral Organ Recital Series features the Archdiocese of Miami and Forum. Place: St. saintpatrickcathedral.org. Joseph Arndt, director of music, Grace Church, Mark the Evangelist Catholic Church, Southwest Newark, New Jersey. Information at www.saintpat- Ranches. Contact Forum. Phone: (202) 884-9758; New York rickcathedral.org. e-mail: [email protected]; web: www.naforum.org. November 16 Sacred Music in a Sacred Space features Paul PENNSYLVANIA MARYLAND Jacobs, organist, in a program featuring Demes- sieux, Elgar, and Boulanger. Place: Church of St. Pittsburgh Baltimore Ignatius Loyola. Information at (212) 288-2520; November 20 March 8–10, 2012 e-mail: [email protected]; web: www. Music in a Great Space. Dongho Lee, organist, Mid-Atlantic Congress for Pastoral Leader- smssconcerts.org. co-sponsored by the Organ Artists Series. Place: ship. Theme: “Witness Hope!/¡Sea Testigo de la Shadyside Presbyterian Church. Phone (412) 682- Epseranza!” Sponsored by the Archdiocese of New York 4300; web: www.shadysidepres.org. Baltimore and the Association of Catholic Publish- November 20 ers. Place: Baltimore Hilton Hotel. General session St. Patrick Cathedral Organ Recital Series features Pittsburgh speakers: Most Rev. Gerald Kicanas, Rev. James Kenneth Corneille, director of music, Church of December 11 Martin, sj, and Dr. Adele Gonzalez. Master classes St. John and St. Mary, Chappaqua, New York, and A Service of Nine Lessons and Carols. Featuring and breakout sessions. Information: http://midat- Peggy Jon Steckler, flute faculty, College of Mount the pastors and Chancel Choir. Place: Shadyside lanticcongress.org/. Saint Vincent, Riverdale, New York. Information at Presbyterian Church. Phone (412) 682-4300; web: www.saintpatrickcathedral.org. www.shadysidepres.org. Baltimore March 15–17, 2012 New York Pittsburgh New Ways Ministry’s Seventh National Sym- December 11 January 22, 2011 posium: “ From Water to Wine: Lesbian/Gay Sacred Music in a Sacred Space: Christmas Music in a Great Space. Kelly Lynch, soprano. Catholics and Relationships.” Major speakers: Concerts: Joyeux Noel! Features the St. Ignatius Faculty member, Chatham and Seton Hill Universi- Bishop Geoffrey Robinson, Luke Timothy Johnson, choirs and orchestra. Repeated December 18. Place: ties, and a member of the Shadyside Presbyterian Patricia Beattie Jung, Richard Rodriguez, Kathleen Church of St. Ignatius Loyola. Information at (212) Church Chancel Choir. Place: Shadyside Presby- Kennedy Townsend. Bishop Geoffrey Robinson 288-2520; e-mail: [email protected]; terian Church. Phone (412) 682-4300; web: www. will facilitate a pre-symposium retreat day. Work- web: www.smssconcerts.org. shadysidepres.org. shop topics: marriage equality, transgender issues, youth and young adults, lesbian nuns and gay New York priests/religious, Latino/a issues, African-American December 15 Conferences issues, and coalition building. For more informa- Thirty-Second Annual “A City Singing at Christ- tion, phone (301) 277-5674; e-mail: info@NewWays mas.” Features St. Patrick’s Cathedral Choir, CALIFORNIA Ministry.org; web: www.NewWaysMinistry.org. directed by Dr. Jennifer Pascual; Young People’s Chorus of New York, directed by Francisco Elk Grove NEW YORK Núñez; Connecticut Chamber Choir, directed by November 11–12 Constance Chase; the cathedral organs and the Focus on Initiation: Catechumenate. Elements Syracuse New York Symphonic Brass. Information at www. of formation that mark the period: catechesis January 27–28, 2012 saintpatrickcathedral.org. grounded in liturgical celebrations, the Liturgy of The Evangelizing Parish: Vision, Passion, Practice. the Word, discernment of the Christian way of life, Develop the vision and practice of evangelization New York participation in the Church’s apostolic mission. and explore how this creates parishes of mission. January 22, 2012 Concentrate on this aspect of initiation through Contact Forum. Phone: (202) 884-9758; e-mail: Sacred Music in a Sacred Space features Christo- presentations, celebrations of the rites, and small [email protected]; web: www.naforum.org. pher Houlihan, organist, in a program of works by group discussions. Sponsored by the Diocese of Bach, Ravel, Liszt, Saint-Saëns, and Vierne. Place: Sacramento and Forum. Place: Good Shepherd Please send announcements for Calendar to: Dr. Church of St. Ignatius Loyola. Information at (212) Catholic Church, Elk Grove. Contact Forum. Gordon E. Truitt, NPM, 962 Wayne Avenue, Suite 210, 288-2520; e-mail: [email protected]; Phone: (202) 884-9758; e-mail: [email protected]; Silver Spring, MD 20910-4461. E-mail: npmedit@npm. web: www.smssconcerts.org. web: www.naforum.org. org.

72 November 2011 • Pastoral Music

a n n u a l and o n e - t i m e c o p y r i g h t permissions

Many Songs Many Publishers OneLicense.net log on and take the tour t o d a y ! www.onelicense.net 35th Annual Convention

July 23 –27, 2012 Pittsburgh, Pennsylvania David L. Lawrence Convention Center

“Renew the Face of the Earth” Psalm 104:30

Plenum Speakers

Ronald Raab, csc J. Michael Joncas Kevin Irwin Barbara Reid, op Doris Donnelly . . . and more! www.npm.org

Photo of Pittsburgh courtesy of Greater Pittsburgh Convention & Visitors Bureau Commentary Sing a New Song

By the Participants

he major benefit I received from this conven- Mass setting that works for my congregation . . . a good tion is affirmation and being with people who sense of what direction our Catholic music is heading have the same passion I do . . . some insight into . . . sharing stories . . . knowledge . . . major inspiration the Mass changes . . . information on the aging . . . a good, positive attitude . . . playing handbells with voiceT (the number one workshop I wanted to attend) others around the nation and forming a huge bell choir . . . a renewed sense of purpose and the knowledge that . . . choir tips . . . energy . . . use of music in the liturgy . . . we are all in this together, heading in the same direction inspiration to create and share Christian music . . . being . . . an enlarged sense of the magnitude and majesty of reminded that I’m not alone out there . . . like being on a our Faith and our Church . . . spiritual refreshment . . . spiritual retreat . . . spending a whole week getting my a lot of new music and a new confidence to explain the battery recharged and renewing the excitement in my Roman Missal changes to my parish . . . renewing old ministry . . . personal transformation . . . making new friendships . . . music education . . . spiritual-personal connections with other church musicians . . . a better development in faith and music ministry . . . good liturgy understanding of what is expected of us as music min- insights . . . realizing how important my ministry is to the isters . . . hearing from some of the very best presenters people and to my parish . . . energy from talented people and clinicians in the field . . . a whole lot of fun singing . . . learning musical skills for myself and for my children’s in four-part harmony with 3,000 people . . . unexpected choir . . . listening to all the beautiful singers and arrange- opportunities for spiritual growth . . . a more thorough ments . . . resources . . . encouragement . . . refreshment knowledge of what is happening in the Catholic Church for the soul . . . composers’ insights . . . choral concerts since I am not Catholic (in fact, ordained clergy, church and ideas for my choir . . . workshops . . . camaraderie musician and organist in a Lutheran Church) yet I teach in with wonderful musicians . . . coming away spiritually two Catholic schools . . . this convention was a reminder uplifted and renewed in ministry for a challenging year to me of why I love the Church and why I love music . . . learning how to register and work the organ properly . . . this convention was about as perfect as possible for me . . . wonderful skills, ideas, and music that I can take . . . a break from the norm . . . how to be a better ensemble back home and use . . . inspiration from plenum speak- (voices and instruments) leader . . . the opportunity to ers . . . opportunities to hear from people with a longer sing and pray with lifelong friends . . . a convention that history in the liturgy and find new resources from them balances all our needs and is very carefully and thought- . . . perspective . . . cantoring techniques . . . exposure fully put together . . . some great insight on working with to new ideas . . . willingness of event leaders to address youth . . . knowing that I’m not the only youth singing personal issues . . . motivation to go back and continue in the church . . . learning about Latin rhythms, how to working in my parish . . . applying all that I learned accompany a tune, how to blend with voices and other from the cantor workshops . . . the opportunity to see instruments . . . learning how to bring two separate com- and hear the composers I’ve been singing all these years munities together . . . the feeling of love and the presence . . . practical workshops . . . insight . . . learning what of the Holy Spirit with everyone singing . . . realizing that other parishes are doing both musically and liturgically each of us is working to build up the Church and God’s . . . it felt right, where I’m at with the Church and with people . . . many blessings being in such a spiritual atmo- music, not too far to the right or to the left . . . renewed sphere . . . basic cantor certification . . . peacefulness and feeling of validation in my ministries as a deacon and an calm . . . prayerfulness . . . great ideas for my children’s ensemble musician . . . as a new composer, it was great choir . . . encouragement . . . joy. to meet with “my” people and put faces with names . . . a renewed sense of optimism . . . experience . . . finding a t future conventions we should have more or better exhibitors . . . exhibitors for Christian for- The comments reported here were drawn from the online Amation resources . . . exhibitors who can help with evaluations provided by participants in the 2011 NPM An- our questions . . . repertoire to review . . . free octavos . . . nual Convention in Louisville, Kentucky. singing . . . spontaneous singing . . . encouragement to

Pastoral Music • November 2011 75 people to bring their instruments and jam . . . recorded to water coolers . . . women’s bathrooms . . . opportuni- sessions . . . coffee . . . free food . . . recycling containers . . . ties to move outside the convention center . . . time for food options in the convention center . . . more resources showcases . . . time for focus groups and interest sections for small choirs . . . children’s choir resources . . . children’s . . . time for workshops . . . sharing of resources, ideas, performances . . . youth group performances . . . young and practices . . . diversity . . . roundtable discussions on adult events and activities . . . choir festivals . . . mentoring specific topics . . . places to eat . . . places for breakfast youth . . . youth programs as part of mainstream events ...... moderately priced hotels . . . balance between chant youth events that others can attend . . . concerts by youth and contemporary music . . . time . . . free time . . . time . . . hymn festivals . . . repeated events . . . ethnic/cultural between sessions . . . down time . . . silent time . . . things events . . . musical events during daylight hours . . . late- for fun for spouses and families . . . inspiration and cre- night concerts . . . private voice lessons . . . accessible wi-fi ativity . . . clearer signs . . . more of the same. . . . guitar lessons . . . pre-convention tours . . . small group showcases . . . diversity among the participants (we were mostly Caucasian) . . . downloadable handouts available nd less or fewer walking between breakout ses- before the convention . . . printed handouts . . . organiza- sions and the main hall . . . running around . . . tion of travel for people with disabilities . . . percussion A“graduate level” speakers who talk above their . . . balanced music . . . variety of styles . . . contemporary audience . . . “feel-good” plenum addresses . . . basic level, music . . . traditional music . . . familiar music at Mass generic topics . . . talk about the new missal translation . . . music in the public domain . . . use of the organ ...... Mass settings . . . events in one day . . . standing dur- guitar music . . . serious music . . . cowbell . . . authentic ing Communion . . . air conditioning . . . multiple events singers . . . praise and worship events . . . intercultural scheduled at the same time . . . overlapping daytime liturgies . . . children’s liturgy . . . daily Mass at the con- events . . . late-night events . . . evening events off-site vention site . . . Eucharistic adoration . . . liturgies led by . . . publisher-driven events . . . midnight exhibits . . . all youth . . . opportunities for evening prayer . . . attention plenum showcases in one day . . . clumping of “minor” to Scripture . . . simple examples of liturgical prayer that showcases . . . sessions during lunchtime . . . days (maybe a a parish could replicate . . . prayer before each session three-day convention) . . . genre wars . . . dangerous hover- . . . “meaty” sessions like the Hovda lectures . . . pastoral rounds . . . people pulling suitcases . . . shrill sales people liturgy institute offerings . . . opportunities to hear what . . . ladies’ perfumes and men’s colognes . . . rudeness to other parishes are planning . . . opportunities to network each other . . . bad example . . . distracting toddlers and by region . . . social opportunities . . . room to move in young children at workshops . . . uncomfortable chairs . . the convention hall . . . brighter lighting in the main hall . time for questions in workshops . . . anti-clericalism ...... gathering space outside the main hall and the exhibit theorizing . . . business meeting at the opening . . . talking hall . . . workshops about technology (websites, Facebook, by attendees at musical events . . . break time between Finale, etc.) . . . workshops on ministry and music for the sessions . . . free time . . . crowding in the exhibit hall . . . small rural parish . . . workshops for choir and cantors long plenum talks . . . long morning prayer . . . time spent . . . for clergy . . . for high school music educators . . . for in singing at prayer services . . . theologically questionable adults who work with adolescent music ministers . . . talks and workshops . . . industry labs . . . time spent on for ensembles . . . workshops on children’s choir . . . on youth—spend more on the elders among us . . . adult- aging gracefully as a director of music ministries . . . on driven showcases and liturgies—gear more things to the how to be a better choir director . . . on liturgical history youth . . . youth-only events . . . waiting in lines . . . bus . . . on liturgical education . . . on liturgical dance . . . on rides . . . East Coast venues for the conventions . . . people how to form a chapter . . . on how to form and sustain playing their own improvisation on “Be Not Afraid” on a liturgy committee . . . on management issues . . . on every possible piano they can find . . . problems providing liturgical planning for the year . . . on music education an adequate number of handouts . . . unfamiliar music at . . . on the music of the Eastern Catholic churches . . . re- Mass . . . negativity toward the Church . . . less personal peated workshops . . . practical workshops . . . hands-on opinion and more attempts at unity in musical practices workshops . . . advanced workshops for music directors within the Roman Catholic Church . . . commercialism ...... more specific (narrower) topics for workshops . . . foreign-language singing . . . wasted paper . . . amplification longer workshops . . . new workshop topics . . . volunteer . . . chant . . . praise and worship music . . . traditional music choir opportunities . . . concerts and musical events at the . . . unrealistic music for directors with small ensembles convention center . . . classical style concerts . . . balance . . . poor quality music . . . bickering over musical styles . . . humor . . . places to check bags . . . organization of . . . distracting “environmental music” in the hallway . . . buses . . . plans in case of rain . . . seating room . . . trained music . . . music in 6/8 . . . entertainment . . . discussion people at the information desks ...... informed people about the Extraordinary Form . . . food . . . heat . . . cow- who can talk about NPM, DMMD, and the like . . . Taizé bell . . . stuff on Friday . . . long psalm verses at morning . . . concern for the homeless and the needy . . . access prayer (there’s nothing else to complain about!)

76 November 2011 • Pastoral Music Relive the Notre Dame Folk Choir From Gethsemani to Galway Theconcert Notre Dame at Folk NPM Choir in Concert Louisville! A breathtaking, live performance the University of Notre Dame folk Choir from The University of Notre Dame’s iN CoNCert

beloved Folk Choir directed by from Steven Warner and Karen Schneider Kirner and recorded at St. Boniface Church in Louisville, Kentucky to at the 2011 National Pastoral Musicians’ Conference. Relive this Gethsemani exquisite concert in its entirety and enjoy the rich additional vocals of Galway the audience of NPM members who were an integral part of this grand event. The choir will whisk you away through an outstanding Karen SchneiderSteven Kirner, C. Associate Warner, Director repertoire chronicling their thirty years of music and ministry. You will be delighted to hear pieces originating from the choir’s first performance at the Abbey of Gethsemani to one of their most recent tours in Ireland. A powerful addition to your listening library! 007297 CD ...... $17.00 Available this November. Preorder today!

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