Sacred Music Summer 2016 | Volume 143, Number 2
Editorial Place | William Mahrt ...... 3
Articles “Foretaste of the Heavenly Liturgy:” Ars Celebrandi and the New Evangelization | Bishop James Conley ...... 7 Introduction to the Organ for Pianists: A Report on Two Break-out Sessions During the CMAA Colloquium XXVI in St. Louis | Ann Labounsky ...... 17
Repertory A Syllabic and Metrical Dies iræ? | Terence Bailey ...... 22
Commentary Benedict’s Enduring Legacy: His Love for Beauty | Michael J. Ortiz ...... 35 Ad orientem | William Mahrt ...... 39
Reviews James Monti, A Sense of the Sacred: Roman Catholic Worship in the Middle Ages | Daniel J. DiCenso ...... 41 Gregorian Chant from the Monastic Choir of St. Peter’s Abbey, Solesmes, France | Mary Jane Ballou . . .46
Report The Twenty-Sixth Colloquium of the Church Music Association of America | Deacon W. Patrick Cunningham ...... 48
CMAA Announcements ...... 53 Formed as a continuation of Cæcilia, published by the Society of St. Cæcilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America since its inception in 1964. Office of Publication: 12421 New Point Drive, Richmond, VA 23233. Email: sacredmusic@musicasa- cra.com; Website: www. musicasacra.com
Editor William Mahrt Managing editor Jennifer Donelson Editor at large Kurt Poterack Ty pesetter Judy Thommesen
Church Music Association of America Officers and board of directors President William Mahrt Vice- president Horst Buchholz Secretary Mary Jane Ballou Treasurer Adam Wright Chaplain Father Robert Pasley Director of Publications Jeffrey Tucker Directors Jennifer Donelson, David Hughes, Susan Treacy, Edward Schaefer, Jonathan Ryan Directors emeriti Rev. Father Ralph S. March, S.O.Cist. †, Kurt Poterack, Paul F. Salamunovich †, Calvert Shenk †, Very Rev. Monsignor Richard J. Schuler †, Rev. Father Robert Skeris, Scott Turkington General manager Janet Gorbitz
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ISSN: 0036-2255 Editorial Place Sacrality and beauty in church architecture
by William Mahrt
acred, beautiful, and universal playing of rather loud music; the louder the were the qualities of liturgical music, the louder the people talk; the result S music set out by Pope St. Pius is a lively atmosphere that conveys a sense X in his motu proprio of 1903. of celebration and conviviality—although These are, however, qualities that pertain to intimate conversations are nearly impos- every aspect of liturgy, including vestments, sible. In the other case, the atmosphere is even sermons, but particularly architecture. rather quiet, and conversation is at a pre- The architecture of a church can convey the mium. In both cases, the place has been sense of order and beauty that is essential to designed intentionally to serve a particular its sacredness. This place must be set aside purpose. for the highest we humans can do—divine Patricia Snow, in an article, “Look at worship. Me,” addresses a similar concern when it There are right places for many things, comes to the architecture of a church: places that are often designed to serve their functions efficiently and purposefully. A For centuries, the Catholic Church has theater is designed so that a large number been a place of prayer and recollection, of people can all hear and see the action on deep reading and peaceful communion. the stage. The arrangement of a restaurant It has been a place of limited social inter- is designed to have a central kitchen pro- action, where the mind can wander and ducing food to be served to tables arranged the nerves relax; a quiet place, far from around the space. In some cases, the space the noise and incessant demands of the is central and there are many tables in close world. It has been a place where the poor proximity; in others the tables are distrib- have had access to certain luxury goods uted in rather diffused spaces, where only of the rich: great art and music, spacious- two or three tables can be seen at one time. ness and silence. If the rich have always The result is that in the large room, conver- taken expensive, unplugged vacations in sations from the other tables can be heard remote, unspoiled places, in our church- throughout, and the noise level is high. This es the poor, too, have had a place of re- is often on purpose, and it is aided by the treat from the world. The church’s thick
William Mahrt is the president of the CMAA and the editor of Sacred Music.
Sacred Music | Summer 2016 Volume 143, Number 2 3 walls and subdued lighting, her “precise- of the cross, and the worshiper follows the ly-paced” liturgies and the narrowing path through Jerusalem to Mount Calvary sight lines of her nave, drawing the eye within the walls of the church. When the to the altar and the tabernacle behind ceiling rises high, our attention is drawn it—everything in the church is designed upward, even out of the church to a tran- to ward off distractions and render man scendent direction, which points to heaven. “still and listening.” Everything is there A significant aspect of the function of to draw him into the Church’s maternal boundary is the portal, the doors. In great embrace, so she can fill him with God.1 churches, these are of monumental pro- portions and contain decorations enhanc- How has the architecture of a church ing their sacred character. Entering into been designed to serve the purposes of indi- the church through these portals is a trans- vidual prayer and of liturgy? First of all it formative experience—entering into the must be sacred. This means that while it sacred space, making the sign of the cross relates to the world around it, it must still with holy water, and seeing in an instant be distinct from it. There are several fea- the whole panoply of things that signal tures of a church building which create this distinctness. A church is set apart by boundar- How has the architecture ies between its sacred space and the secu- lar world around it. The most important of of a church been designed these boundaries is the walls of the church. That they define the sacred space is shown to serve the purposes of by the design of the interior of the walls: in a Gothic church, arcades, triforium, clere- individual prayer and of story, and vaults, establish a sense of order that intimates the order of the cosmos. The liturgy? windows contain images of sacred things, especially of saints, which transform the light entering the church as having a sacred the sacredness of the place. If we are for- function, particularly of reminding of the tunate, we have entered this same portal communion of saints. In a consecrated in the procession on Palm Sunday, which church there are consecration crosses upon celebrates Jesus’ entrance into Jerusalem. the walls that encircle the whole church: Then, each time we enter into the church, twelve crosses with candles, which are we are reminded of this entrance, and thus anointed by the bishop at the consecration the church becomes Jerusalem, which is of the church, marking the walls as sacred in turn a type of heaven. The presence of boundaries. Stations of the cross add to this saints in the windows, statuary, mosaics, and provide another sacred meaning: now and paintings place us in the midst of holy the aisles before the walls become a way ones, elevating our attention to holy things, confirming that we are entering into the 1First Th ings, 263 (May 2016), 23–30, here 28. place of the communion of saints. When a
4 Volume 143, Number 2 Sacred Music | Summer 2016 prelude is played on the organ before Mass, an internal symmetry, an axis within our those entering hear sacred sounds, giving consciousness, an internal focus which the aural confirmation of the sacredness of the architecture simply suggests to us, which is place. the place of “prayer and recollection, deep Within the church there is also a sense reading and peaceful communion.”2 of purposeful order, a hierarchy of sacred Crucial to that internal focus is silence. spaces. The aisles lead to the sanctuary, and Silent meditation in the place is a prerequi- if there is a communion railing, it sets off the site to the music of the liturgy. Out of silence sanctuary as a more sacred space. Within it music arises and it returns to it. Without is the focal point of all the sacred elements, that silence, the music has no anchor. the altar. If there is a tabernacle, the focus Music has the capability of evoking a of the sacred spaces draws the attention place, whether a cocktail lounge, a foot- to the presence of the Lord in the place, ball game, a church. Gregorian chant is which gives meaning to the other elements the epitome of music that belongs in the there. This focus is traditionally empha- sized by the fact that the church faces East, the direction Christ ascended into heaven and from which he will return—the loca- Music has the capability tion of the rising sun, which is a symbol of Christ, whose rising gives an intimation of of evoking a place, his return. The sacredness of the place is strongly whether a cocktail lounge, enhanced when the elements mentioned above are truly beautiful. Beauty is an a football game, a church. aspect of God and things of true beauty lead to God. Thus elements of beauty are crucial in the architecture of a church. An element of beauty is symmetry. Ele- church, that evokes the sense of the sacred ments in symmetry, the transepts, one to that belongs there. But sacred polyphony the North one to the South, the candles on and organ music also find their proper place the altar, three to the left of the taberna- in the church, in the liturgy celebrated in cle, three to the right, in the extraordinary the place. form a deacon and subdeacon in the sol- Aspects of the place are conducive to emn Mass on either side of the celebrant, the proper effect of music in the liturgy. two well-trained acolytes, moving in sym- The foundation of the musical liturgy is the metry—all these define an axis, a center, a chanting of the celebrant and ministers; it focus of the place. A beautifully symmetri- must have enough reverberation that sung cal environment reassures one of the order speech can be heard clearly without need- of things and is thus conducive to a sense of ing a microphone. Similarly, a resonant peacefulness. This peacefulness is enhanced acoustic is necessary for good congrega- by our sense of symmetry: the external symmetry around us suggests that there is 2Ibid.
Sacred Music | Summer 2016 Volume 143, Number 2 5 tional singing; without it each singer feels importance of what is about to take place. alone and the singing is disappointing. It suggests to those in the church that Special places for music are import- trivial conversation is not appropriate in ant. For antiphonal liturgical chanting of church. Even so, this is not always effec- a monastic community, facing choir stalls tive. How many church organists have been best express the antiphonal disposition chagrined by the loud conversations that around an axis. For a choir singing poly- take place after the end of Mass? The con- phonic music, a choir loft may be best. There gregation turns its back on the tabernacle, and then the presence is forgotten. I have always thought that an organ prelude and postlude should convey a sense of the sacred and encourage meditation and discourage conversation, though it sometimes does not work. Special places for music The beauty of the music, as well as of all of the elements of the architecture convey are important. a sense of transcendence, of elevating the consciousness to higher things. All of this is consistent with human psychology: the experience of God is deep and concentrated; the purpose of the architecture is to concen- trate the focus of the worshiper, so that he is sound carries over the whole church more able to direct his attention to God, to reflect effectively than when the choir is on the upon his presence in the liturgy, in the tab- main floor of the church. There a choir can ernacle, and in the heavens, of which the sing elaborate and beautiful music, some- church is a microcosm, and to participate in what out of sight of the congregation, so the offering of the sacrifice of Christ to the that the music does not come off as a con- Father. cert, but carries the congregation with it, upward. Technicalities of conducting and other practical aspects of performance are better not seen by the congregation, espe- cially when the director throws his Liber Usualis at one of the singers. The location of the organ at the back of the loft may provide the optimal acoustic for the sound of the organ to be heard. An important function of the organ is to play a prelude and postlude; these convey a sense of the sacred throughout the space. Par- ticularly upon entering the church, excel- lent organ music can call attention to the
6 Volume 143, Number 2 Sacred Music | Summer 2016 Articles “Foretaste of the Heavenly Liturgy:” Ars Celebrandi and the New Evangelization Plenary Address to the CMAA Colloquium, St. Louis, June 24, 2016
by Bishop James Conley
am very grateful and quite hum- you and to share some reflections with you bled to join you for the Church this morning. IMusic Association of America * (CMAA) Sacred Music Collo- quium XXVI. Your fellowship, your dedi- As some of you know, I have spoken cation to sacred worship, and your faith are a lot about the way in which the via pul- a witness to the meaning and power of the chritudinis, or the way of beauty, can be a sacred liturgy. response to the ugliness of our times—and This morning, I would like to talk with to what Pope Francis has aptly called the you about the role of the ars celebrandi (the “culture of the provisional,” a culture that art of beautiful liturgical celebration) and dominates the modern Western worldview. its relationship to the new evangelization. Beauty serves a critical function in the new And I would like to speak to you about the evangelization of contemporary culture.1 power and meaning of directing beautiful And, as many of us here know, the via liturgical celebration toward the beautifi- pulchritudinis, also has a vital role to play cation, the Christification, if you will, of in the renewal of sacred liturgy. In truth, the world—a method that the church has the new evangelization and the new litur- always called mystagogical catechesis. gical movement are inseparable. It is diffi- I would like to mention that I am nei- cult to see how we can have one without ther a musician nor a liturgical theolo- the other. The reason for this is clear. The gian. I am a priest and a bishop who simply loves beautiful and sacred liturgical wor- 1See Bishop James D. Conley, “Ubi Amor, Ibi ship. And anything I can do to support the Oculus,” First Th ings, March 15, 2015
Bishop James Conley is the bishop of Lincoln, Nebraska.
Sacred Music | Summer 2016 Volume 143, Number 2 7 ars celebrandi—which is the art of beautiful evangelization is not liturgical beauty’s pri- liturgical celebration—is intimately con- mary contribution to the church’s evangel- nected to the via pulchritudinis, the way of ical mission. beauty, which is a privileged pathway for The Catechism of the Catholic Church the new evangelization. teaches us that participation in the sacred In the first place, the beauty of the lit- liturgy “must be preceded by evangelization, urgy itself can have an evangelizing effect faith, and conversion.”3 The primary pur- on the soul. This has been the case for pose of sacred worship is not to evangelize. numerous friends of mine, and for many We should be careful never to instrumental- under my pastoral care. ize the liturgy as a means of evangelization, All of us have heard stories of those even when it involves the most beautiful who have found themselves in a beautiful sacred music ever composed. church or chapel, when all of a sudden they But the beauty of the liturgy does have are overcome by the transcendent beauty the capacity to continually evangelize the of the art and architecture, or by a piece baptized. The reality of this capacity is par- of sacred polyphony or Gregorian chant, ticularly important for us to remember in and through this experience encountered our own time, in which we find many of the truth of Jesus Christ and his merciful the subjects of the new evangelization in love. Perhaps some of us have had such an our pews every Sunday: those who are bap- experience. Surely we can all relate in some tized members of the church, but whose way to St. Augustine, who describes a pro- lives may not fully reflect the faith that found encounter he had with sacred music they profess—members of the church about in the ninth book of his Confessions, when whom the author Matthew Kelly refers to he wrote these words: as “those who stay but quit.” The new evangelization acknowledges How I wept, deeply moved by your that in our contemporary context “some hymns, songs, and the voices that echoed believe without belonging, [while] oth- through your Church! What emotion ers belong without offering visible signs of I experienced in them! Those sounds their believing.”4 Beauty in the liturgy has flowed into my ears, distilling the truth the power to awaken and inspire wonder in my heart. A feeling of devotion surged within the faithful who might be other- within me, and tears streamed down my wise somewhat deadened to Christ’s saving face—tears that did me good.2 action in the liturgy. Even for those who strive daily to live The beauty of the liturgy—by itself— can, indeed, evangelize the heart and mind, 3Catechism of the Catholic Church, ¶1072. and lead souls to conversion. But, in truth, 4Pontifi cal Council for Culture, Th e Via Pulchri- tudinis, Privileged Pathway for Evangelisation 2St. Augustine, Confessions, 9, 6, 14: Patrologia and Dialogue (2006), section I.1
8 Volume 143, Number 2 Sacred Music | Summer 2016 faithful lives, and who are deeply commit- life lived “as if God did not exist.”6 The mis- ted to the practice of the faith, the beauty sion of the new evangelization is to proclaim of the liturgy has the power to continu- the living person of Jesus Christ to those for ally evangelize. As we learn from our Holy whom God is a benevolent, impersonal, and Father Pope Francis, “the Church evange- mostly impotent figure.7 Among the subjects lizes and is herself evangelized through the of the new evangelization are those who are beauty of the liturgy, which is both a cele- not likely to darken the door of a church, and bration of the task of evangelization and the who feel very little obligation or inclination source of her renewed self-giving.”5 toward religious practice. I myself have certainly been evangelized The wisdom of the church tells us that in the context of sacred liturgy. I became a beauty is the most effective means of pre- Catholic under the influence of three pro- senting the gospel of Jesus Christ to this fessors at the University of Kansas, Dr. John culture. Beauty has the great power to Senior, Dr. Franklyn Nelick, and Dr. Den- communicate to the men and woman of nis Quinn, who all taught in the Integrated Humanities Program. After graduation, I spent nearly a year at the French Benedic- tine Abbey of Fontgombault (Congregation of Solesmes). The beauty of the daily sung Beauty has the great liturgy, carried out by the monks in Grego- rian chant, deepened my faith and prayer power to communicate. life, and doubtlessly nurtured the seeds of my priestly vocation. I continue to rely upon the beauty and spiritual riches of the liturgy to call me to our time. In post-modernity “the truth has conversion, and to deepen my love for Jesus been instrumentalized by ideologies, and Christ and for the people whom I serve. the good horizontalized into a merely social We can all allow ourselves to be continually act.”8 All of you know that in the dictator- evangelized by the beauty of the liturgy, ship of relativism, it is extremely difficult to and—through our continual encounter engage in reasoned conversations about the with Christ in the liturgy—be drawn into truths of our faith. It is even more difficult deeper lives of holiness and devotion. to enter into conversations about the good- But the primary subjects of the new evan- ness or evil of human and social acts. gelization are those who live in an increas- Because beauty is the veritatis splendor, ingly secularized culture, and who sustain a 6See Pope John Paul II, Apostolic Ex- hortation, Christifideles Laici (1988), ¶34 5Pope Francis, Apostolic Exhortation,
Sacred Music | Summer 2016 Volume 143, Number 2 9 as St. Thomas tells us, it radiates the truth of The beauty of the liturgy leads Catho- God’s being. Beauty penetrates to the core lics, within the church, to encounter Christ of our being and forms goodness within us— crucified, risen from the dead, and seated it instills an attitude of wonder that inspires at the right hand of the Father in heaven, a quest for the truth and goodness of God. and helps us to offer fitting worship to God Amidst the cult of ugliness and banal- through him. By encountering Christ in ity in the world that surrounds us, there is beautiful liturgy, we are sanctified, filled an innate hunger for a beauty that satisfies, with heavenly grace, and made icons of the especially among the young. Because of this beauty of Christ. As a result of our deep the via pulchritudinis is the privileged path- and fruitful participation in the sacred lit- way for the new evangelization. urgy, we are enabled to live beautiful lives not only for ourselves, but primarily in order * that we can bring the beauty and radiance In that context, I’d like to suggest how of Christ to the world around us. the beauty of the liturgy—and particu- This is the way that the beauty of the lit- larly of sacred music—can most effectively urgy, as expressed in the ars celebrandi, prin- serve the church’s broad efforts in her new cipally affects the new evangelization. The evangelization. beauty of liturgy is ordered to the worship of It is possible, of course, that our culture God, which in turn makes the church radiant could encounter the beauty of Gregorian with the light of Christ in order that it can go chant and sacred polyphony, for exam- forth and Christify the world—that is, beau- ple, through recordings on YouTube, such tify the world with the radiance of Christ. as those offered by the Tallis Scholars or As our Holy Father Emeritus, Pope the Sixteen, or by the beautiful recordings Benedict, has said: from the Monks of Norcia or the Bene- dictine Nuns of Mary, Queen of Apostles. The love that we celebrate in the [Eu- Or perhaps while browsing the web, peo- charist] is not something we can keep to ple might come across the CMAA Forum, ourselves. By its very nature it demands or stumble upon the New Liturgical Move- to be shared with all. What the world ment or Chant Cafe blogs, where they needs is God’s love; it needs to encounter could encounter beautiful aspects of the Christ and to believe in him. The Eu- church’s liturgy. As beautiful and powerful charist is thus the source and summit not as these resources are, their ability to reach only of the Church’s life, but also of her and impact the “peripheries” of our society mission.9 is likely to be insignificant. Instead, the church envisions that the This vision has been central to every beauty of the liturgy should affect the new evangelization in an altogether differ- 9Benedict XVI, Post-Synodal Apostolic Ex- ent way, which is at the heart of the nine- hortation, Sacramentum Caritatis (2007), ¶84 teenth- and twentieth-century liturgical
10 Volume 143, Number 2 Sacred Music | Summer 2016 post-conciliar pontificate, and it is founda- To rebuild culture, Pius X said, we need tional for our efforts in the new liturgical a resurgence of the spirit of Christ. Dom movement today. But the necessity of the Virgil Michel explained the connection connection between the church’s liturgical between active participation in the liturgy prayer and her mission to evangelize and and the new evangelization by way of a syl- reform modern culture is nothing new. logism. He states: In fact, this conviction arose with a young nineteenth-century French monk, Dom Pius X tells us that the liturgy is the Prosper Guéranger, who saw that the beauty indispensable source of the true and purity of the church’s liturgical practice Christian spirit; was essential to rebuilding of Christian cul- Pius XI says that the true Christian ture following the devastation of the French spirit is indispensable for social Revolution. It is no coincidence that shortly regeneration. after the reestablishment of the Benedictine Hence the conclusion: The liturgy is the monastery of Solesmes, he undertook the indispensable basis of social regeneration.12 project of restoring Gregorian chant to its original beauty and purity. The logic of the maxim is that liturgy, It also is no coincidence that Pope Pius ultimately, is the basis of culture. X’s 1903 manifesto for the modern litur- Pope Benedict XVI (then Joseph gical movement, Tra le sollecitudini, was Ratzinger) and his teacher, Romano Guar- dedicated primarily to sacred music, and dini—sometimes called the “Father of the specifically to the promotion of the sing- new evangelization”—took up this theme. ing of Gregorian chant. In this document, Guardini and his colleagues in the early the term active participation was officially twentieth-century liturgical movement introduced into the Church’s magisterium, never tired of explaining the intimate and where it was described as the “foremost and necessary connection between the beautiful indispensable font” for acquiring the “true celebration of the liturgy and the formation Christian spirit.”10 The beauty of sacred of a beautiful culture, founded upon Christ. music, in his mind, is inseparable from the This is a theme that must be recovered by attainment of that spirit. the new liturgical movement in our day. In 1931, as Europe struggled to rebuild All of us can recall the significance of after World War I, Pope Pius XI said that the maxim derived from Prosper of Aqui- “preceding [an] ardently desired social res- taine—lex orandi, lex credendi (from the toration, there must be a renewal of the law of prayer comes the law of belief.) The Christian spirit.”11 lex vivendi, or the law of living, is some- times added to this formulation, showing 10See Pope St. Pius X, Motu Proprio, Tra le Sol- lecitudini (1903), ¶2
Sacred Music | Summer 2016 Volume 143, Number 2 11 that prayer and faith are not enough for the faithful who we serve—to lives of sacri- Christian—faith must be expressed in a life fice and self-giving. Liturgy should lead us of holiness and love. to share the beauty of Christ’s love, which Today, I propose that we take this maxim we encounter in the sacred liturgy, with the one step further, in light of the urgency of world and culture that surrounds us. the new evangelization in our time. Today, This, I believe, is how we are to under- we must place upon ourselves also the lex stand our Pope Francis’ desire that the mittendi, or the law of mission, that must church go out to the peripheries of soci- naturally flow from thelex vivendi. ety. He is imploring us to be messengers of It is not enough for us in the liturgical God’s mercy to the poor, the hungry, and apostolate merely to beautify the liturgy, and, the oppressed, and this we must do—and from it, to live beautiful lives for our own sake. let us not forget that these brethren need As good and important as these are, we must beauty as much as they need food and enable our parishes and those who we serve— and indeed we must enable ourselves—to direct the beauty which we encounter in the sacred liturgy toward the explicit proclamation of It is not enough for us in the Gospel to a world that so desperately is in need of the beauty of Christ. the liturgical apostolate If our encounter with beauty in the lit- urgy is authentic, this happens naturally. A merely to beautify the few years before he became Pope, Cardi- nal Ratzinger warned us of “a beauty that is liturgy. deceptive and false, a dazzling beauty that does not bring human beings out of them- selves to open them to the ecstasy of rising to drink!14 We must also reach out to the spir- the heights, but indeed locks them entirely itually impoverished, to those starved of into themselves. Such beauty,” he went on to love and ultimate meaning, and to those say “does not reawaken a longing for the Inef- who live constantly under the oppression of fable, readiness for sacrifice, the abandon- a culture of death in the midst a seemingly ment of self, but instead stirs up the desire, terminal decline. the will for power, possession and pleasure.”13 As missionaries of the beauty of Christ, The beauty that we create and partici- we are custodians of a beauty that has the pate in as custodians of the church’s sacred power to save the world. The goal of our music tradition should lead us—and the missionary effort, however, does not end with the formation and development of 13Joseph Cardinal Ratzinger, Message to Com- munion and Liberation, Th e Feeling of Th ings, the 14Bishop Barron has attributed this quote to Contemplation of Beauty (2002)
12 Volume 143, Number 2 Sacred Music | Summer 2016 a Christian culture. Our ultimate goal is This reality, if anything, tells us some- for the entire world to be drawn back once thing very important about the symbolic lan- again toward the sacred liturgy, where guage of the liturgy: signs are important and the church sings Sanctus, Sanctus, Sanc- they convey meaning. Whether the mean- tus, Dominus Deus Sabaoth! with the angels ing that is perceived is the meaning that the and saints in hopeful anticipation of its true liturgy intends is a different question. The home, which is the Heavenly Jerusalem, a church invites us to ensure that liturgical “foretaste of the heavenly liturgy.” signs actually convey their true meaning to the perceiver—and, what is more, to assist * the perceiver in actually participating in the Before I conclude, I would like briefly reality that the signs make present—through to turn our attention to two areas of the ars a process called mystagogical catechesis. celebrandi that are particularly important in Mystagogical catechesis, the Catechism our task of liturgical renewal today, and, as tells us, “aims to initiate people into the mys- a consequence, have a direct impact on our tery of Christ . . . by proceeding from the vis- efforts for a new evangelization. They have ible to the invisible, from the sign to the thing been and remain very dear to me in my own signified, from the ‘sacraments’ to the ‘myster- pastoral ministry, and I believe that they ies.’”15 It helps us to “know how to make the may be dear to many of you also. They are, passage from phenomenon to foundation.”16 firstly, thead orientem posture of liturgical The Second Vatican Council teaches prayer, and secondly—I would be remiss if that mystagogical catechesis is necessary to I didn’t discuss this topic at a colloquium achieve true active participation in sacred such as this—of course, sacred music. worship. Sacrosanctum Concilium says that, For the past two years in the Diocese “pastors of souls must zealously strive to of Lincoln, I have celebrated Masses during achieve [active participation], by means of the season of Advent in the Cathedral of the the necessary instruction, in all their pastoral Risen Christ facing liturgical East, that is, work.”17 Liturgical instruction has the two- in the ad orientem posture. Now, every lit- fold task of informing the faithful of the urgy I celebrate in my cathedral is celebrated true meaning of the signs that the liturgy ad orientem and the priests and the faithful employs, and then of aiding them to partic- are used to it and they expect it. I have also ipate in the reality that they signify. invited all of my priests, at their discretion, Robert Cardinal Sarah, the prefect of the to do the same in their parishes—an invita- Congregation for Divine Worship and Disci- tion that many of them accepted. pline of the Sacraments, has recently offered In preparation for this, I offered exten- the church a catechesis on ad orientem wor- sive catechesis to my priests and to the faith- ship, and has encouraged its use. It appears ful alike on the meaning and significance that he may see this as part of the mission of this posture. It goes without saying that entrusted to him by our Holy Father Pope there at times can be some confusion on the sign value of ad orientem worship, and it 15Catechism of the Catholic Church, ¶1075. can elicit strong and passionate responses in 16Via Pulchritudinis, II.2. some quarters of the Church. 17Sacrosanctum Concilium, ¶14.
Sacred Music | Summer 2016 Volume 143, Number 2 13 Francis, who has asked him as head of the Si ng pra ise to t he L ord , church’s liturgy office to continue to imple- who rises above the heaven of heavens ment the liturgical reform of the Second Vat- to the East, alleluia. ican Council and to continue the good work in the liturgy begun by Pope Benedict XVI. In these chants we are instructed in the The core of Cardinal Sarah’s catechesis church’s theology of liturgical East: Christ is “the recognition of the liturgy as the work ascended above the heavens to the East, and of God [which] implies a true conversion of he will return once again from the East. And the heart.” “To convert,” he says, “is to turn so Christians have prayed toward the East towards God.” He tells us that he is “pro- since the earliest centuries in hopeful antic- foundly convinced that our bodies must ipation of his return. participate in this conversion.”18 Mystagogical catechesis must also Cardinal Sarah instructs on both the sign impart to the perceiver a participation in (the sacramentum) and the reality (the res) the reality that is signified. that is signified in thead orientem posture. In the case of ad orientem worship, the Thevisible sign is the turning of the bodies reality that is signified, Cardinal Sarah tells of all of those present toward the Lord, toward us, is the conversion of heart, which is signi- liturgical east, at the times that God is being fied by turning our bodies toward the Lord. addressed in prayer. The sung propers of the In the early centuries of the church, the Mass themselves teach us about the sign value call of the preaching bishops and priests at of turning to the East. The entrance antiphon the end of the homily or sermon—Conversi for the Mass on the feast of the Ascension ad Dominum!—calling the faithful to turn of our Lord, Viri Galilaei, recounts the scene themselves to the Lord, both exteriorly and from the Acts of the Apostles when Christ in the depths of their hearts. ascended into heaven, saying: The ad orientem posture, the sign itself, is a physical means that helps effect this interior Men of Galilee, why gaze in wonder at conversion. the heavens? If we and those whom we serve fail This Jesus whom you saw ascending into to conform ourselves interiorly to what is heaven expressed externally, the sign will remain will return as you saw him go, alleluia. for us a hollow shell, even if we perfectly understand its meaning from a rational One of the communion antiphons for standpoint. This is where the process of the same liturgy, Psallite Domino, adds to mystagogical catechesis plays an indispensi- this with a Christological reading of Psalm ble role. As Benedict XVI has told us, “it is 68, proclaiming: first and foremost thewitness who introduces others to the mysteries.”19 We, as mystagog- 18“Cardinal Sarah: ‘How to Put God Back at the ical catechists, must first encounter the one Center of the Liturgy,’” National Catholic Regis- to whom we give witness in order to invite ter, May 30, 2016
14 Volume 143, Number 2 Sacred Music | Summer 2016 What has been said about the sacra- The challenge that you face in parishes mentality of ad orientem worship can also and dioceses is to serve not only as perform- be said of sacred music. ers of the outward sign of sacred music, but Sacred music has a greater significance also as mystagogical catechists, who help and sacramental capacity within the liturgy others understand the meaning of the real- than all of the other sacred arts, the coun- ity that is conveyed by our art, and, what is cil tells us, because “as sacred song united to more, to help them participate in this real- the words, it forms a necessary or integral ity, and to be sanctified by it. part of the solemn liturgy.” And so, sacred Next Sunday, the Thirteenth Sunday in music—a pre-eminent part of the ars cele- Ordinary Time, many of us will sing the brandi—is a sensible sign that makes pres- introit Omnes gentes at the beginning of ent within the liturgy an invisible (or in our Mass. This chant, which the church’s musi- case, and inaudible) reality. cal tradition has handed down to us through This reality, ultimately, is the logos: the the ages, is derived from Psalm 47—a Psalm voice of Christ himself, the Word of God that has much to teach us about liturgical who is living and effective in our midst and singing. The antiphon and verse found in who sings to the Father in the unity of the the Graduale Romanum comes from verses Holy Spirit through his mystical body, the 2 and 3 of the psalm: church. Thesensible sign of sacred music is largely All peoples, clap your hands. the subject of our time together this week. Cry to God with shouts of joy! It is, foremost, the human voice, or choirs of voices, singing the words of scripture and of . For the LORD, the Most High, is the Mass itself, in melodies of great beauty awesome, that highlight and wonderfully express the great king over all the earth. these words. The great privilege that you all have had this week is to delve the depths There could perhaps be no better words of this musical tradition which the Second to describe the inner disposition of the Vatican Council calls “a treasure of inesti- church at prayer than these. The meaning mable value, greater even than that of any of the word Eucharist is “thanksgiving.” It is other art,”20 and to deepen your knowledge the church’s greatest prayer of praise, love, of it and your skill in expressing it with the and thanksgiving to God the Father, that is utmost excellence and beauty. offered by Christ himself through his mys- The Church Music Association of tical body, the church. America’s contribution to the beautification The Psalm implores the church to: of liturgical celebrations in this country and throughout the world has been great, and Sing praise for God; sing praise! I urge you all to continue this invaluable Sing praise to our king; sing praise!21 work that we are in such great need of in our times. 21Psalm 47: 7, Revised Grail Psalms
Sacred Music | Summer 2016 Volume 143, Number 2 15 modern. You must also enter into these As Pope Benedict has told us, “for prayer words, into their meaning, and to receive that issues from the word of God, speech is them. You must conform ourselves to this not enough: music is required.”22 Word, and through him and in him, offer At the end of the psalm’s eighth verse, perfect praise to the Father. In this way we in an English translation that is common to are transformed into the image of God. us, we hear “sing praise with all your skill.”23 When we sing Ad te levavi animam The Latin is “psallite sapienter,”24 which lit- meam on the First Sunday of Advent, let us erally translates “sing with wisdom.” lift our souls to God, along with the church Church musicians are called to sing universal. When we sing Puer natus est nobis and play with greatest skill, but the liturgy on Christmas morning, let us enter into the demands more than this alone. It requires mystery of the Incarnation and proclaim us, and all of those who we lead in liturgical the salvation that has come to the world. prayer, to also sing with wisdom, and with When we sing Christus factus est on Good Friday, and Resurrexi et adhuc tecum sum on Easter morning, let us enter into the event of Christ’s death and resurrection, Not only Sing with wisdom. recalling them with our minds, but entering into them with all of our hearts and souls, experiencing through them the saving work of Christ made present to us. understanding. And so, we come full circle and can see In the sacred liturgy, we are given the that the beauty of sacred music can lead to words, the scriptum, to sing. Sacred music the transfiguration of the world. When we sets these words to music, and as church encounter Christ in the beauty of the sacred musicians should seek to sing these words liturgy, we cannot help but embody that with all of our skill. encounter in the presence of everyone we But it is not enough just to beautifully meet. When we meet Christ, and encounter proclaim the words of the Mass, through him in the words, chants, and sacred music the most elegant vesture that is Gregorian of the Mass, we cannot help but offer wit- chant, sacred polyphony, and the authen- ness of our experience to our choir mem- tic sacred music tradition both ancient and bers, our congregations, to our friends and loved ones. 22Benedict XVI, Address to Representatives Dear friends, let us become custodians from the World of Culture (Paris, 2008), ¶5 and bearers of the beauty of the church’s
16 Volume 143, Number 2 Sacred Music | Summer 2016 Introduction to the Organ for Pianists A Report on Two Break-out Sessions During the CMAA Colloquium XXVI in St. Louis by Ann Labounsky
here is no substitute for pri- session dealt with information to be covered vate organ study with a teacher. at a first organ lesson. This includes basic T However, many church mu- approaches to the organ: how to sit at the sicians who direct scholas are organ and find the pedals, the proper height pressed into service to play the organ for of the bench, and the best distance of the Masses in their parish churches. They often bench from the manuals. I worked with the have training in piano, but little or no for- participants individually, so that they could mal organ study. The Church Music As- experience how to sit in the exact center of sociation of America has, in recent years, the pedal board and feel the right height of offered master classes for advanced or- the bench and the position of the arms in ganists. Last year, at Duquesne Univer- relationship to the manuals. We also stud- sity, private lessons in organ were offered. ied the basic touches of the organ, efficient However, otherwise the issue of basic organ attack and release of the keys, and proper technique has not been dealt with in a sys- touch according to the historical period of tematic manner. This summer, during the composition. Baroque music requires “ordi- CMAA Colloquium in St. Louis, I was nary” touch which is slightly less legato given the opportunity to address this need than the touches for romantic and modern in two break-out sessions. At Duquesne music. It involves such techniques as fin- University, I have taught organ to begin- ger crossing, and use of the same finger on ning as well as advanced students for more notes in stepwise motion. For the pedal, we than forty years, and welcomed this oppor- discussed heel and toe techniques, pedal- tunity to condense basic concepts into con- ing from the ankle and pedaling from the cise demonstrations of organ technique and hip according to the style of the music. An repertoire. important element is the basic concept of I gave two practical sessions, each one how to write in the pedaling so that this hour in length, introducing the organ to pia- part of the process eventually becomes nists. We worked on the large historic instru- fairly automatic—“v” for toe and “o” or “u” ment at Christ Episcopal Cathedral. The first for heel, above the staff for right foot, below
Dr. Ann Labounsky is Professor of organ and sacred music in the Mary Pappert School of Music at Duquesne University in Pittsburgh. [email protected]
Sacred Music | Summer 2016 Volume 143, Number 2 17 the staff for left foot. Organ registration organ shoes (Appendix A). Organ shoes requires understanding of the two basic with leather heels and soles greatly facilitate families of stops: flute stops (principals, the development of pedal technique, because montres, diapasons, flutes, strings, gems- they enable the person to slide on the pedals, horns, mutation stops—2 2/3’, 1 3/5’ and and in using the heel it is possible to cover the mixtures;) and reed stops, from most nar- interval of a third without playing the note row (vox humana and oboe) to the chorus in between. They may be ordered from sev- reeds (trompette, tuba, trompeta real, etc.) eral sites: Organ Master Shoes,
18 Volume 143, Number 2 Sacred Music | Summer 2016 (I realize that this last point is sub- of a beginning organist. It was a pleasure ject to some controversy, and does to have the opportunity to share thoughts depend on the size of the building with a large group of participants. and the acoustic.) Appendix A, Resources The second part of this hour included works in the public domain found through Leupold, Wayne. First Organ Book: A Basic the website
Sacred Music | Summer 2016 Volume 143, Number 2 19 parts, including plenty of exercises and Marcel Dupré, “I Am Black But Comely,” numerous pieces of different styles and from Fifteen Antiphons times. An old standard that is useful. César Franck, L’Organiste (seven pieces in all Brock, John. Introduction to Organ Playing the keys) in 17th and 18th Century Style, 2nd ed. Alexandre Guilmant, L’Organiste liturgique Colfax, N.C.: Wayne Leupold, 2002. (same as The Practical Organist) Historical Organ Techniques and Reper- Eugène Gigout, Cent pieces brèves nouvelles toire, vols. 1–11, Colfax, N.C.: Wayne (3 volumes—in all the keys and most Leupold, various years. commonly-used modes) A variety of composers arranged by Charles Tournemire: Petites fleures musi- period and country with valuable advice cales, Varié preces, Postludes libres. (a valu- on performance practice. able addition to the list in a different more modern style.) Volume 1: Spain 1550–1830 Léon Boëllmann, Heures mystiques (short organ Volume 2: J. S. Bach—Basic Bach masses in various keys—entrée, offertoire, Works—includes the Eight Little Pre- élévation, communion, sortie, and versets) ludes and Fugues, and the Orgelbüchlein. Louis Vierne, 24 pièces (short pieces in all the Volume 3: Late Medieval Before 1460 keys; some are more difficult than others) Volume 4: England, 1660–1730 Jacques-Nicolas Lemmens, Ecole d’orgue (20 Volume 5: England, 1730–1830 versets for manual, Prières, easy pieces Volume 6: Italy, 1725–1830 with pedal in many keys.) Volume 9: Renaissance, 1500–1550 Josef Rheinberger, Trios (20 in various keys Volume 10: Italy, 1650–1725 with easy pedal parts) Volume 11: The Netherlands, 1550 –170 0 b. Published works Gleason, Harold and Catherine Crozier. Dom Paul Benoit, 50 Elevations on Modal Method of Organ Playing, 8th ed. Upper Theme (Fischer) Saddle River, N.J.: Prentice Hall, 1996. Marcel Dupré, 79 Chorales (Grey), Eight The th5 edition is much less expensive Short Preludes on Gregorian themes than the 8th. (Alfred) Woolard, Margot Ann. A Mini-Course in Jean Langlais, 24 pieces, Versets, Douze petites Hymn Playing. New York: American pièces dans les modes grégoriens) Guild of Organists, 1984. Available at Joseph Willcox Jenkins, Six pieces
20 Volume 143, Number 2 Sacred Music | Summer 2016 Robert Fielding, Tutor Book for Volunteer Biggs (Alfred) (easy music from many Organists: A Guide for Pianists Who Have periods) Volunteered to Play the Organ for Services Oxford Wedding Album (Oxford) in Their Church, available at
Appendix C
Sacred Music | Summer 2016 Volume 143, Number 2 21 Repertory A Syllabic and Metrical Dies iræ? Variations on this most-famous text and melody by Terence Bailey
he Dies iræ—universally admired, as much for its verbal virtuosity as for its striking images of death and judgment—is one of only four sequences that retained their Tplace in the Catholic liturgy after the Council of Trent.1 1. Díes íræ, díes ílla 1. Day of wrath, that woeful day, Sólvet sáeclum in favílla Shall the world in ashes lay; Téste Dávid cum Sibýlla. David and the Sibyl say. 2. Quántus trémor est futúrus 2. What a trembling, what a fear, Quándo Júdex est ventúrus When the dread Judge shall appear, Cúncta strícte discussúrus Strictly searching far and near! 3. Túba mírum spárgens sónum 3. Hark! the trumpet’s wondrous tone, Pér sepúlchra regiónum Through sepulchral regions blown, Cóget ómnes ánte thrónum. Summons all before the throne. 4. Mórs stupébit et natúra 4. Death shall shiver, nature quake, Cúm resúrget creatúra When the creatures shall awake, Judicánti responsúra. Answer to their Judge to make. 5. Líber scríptus proferétur 5. Lo, the Book of ages spread, In quo tótum continétur From which all the deeds are read Únde múndus judicétur. Of the living and the dead. 6. Júdex érgo cum sedébit 6. Now before the Judge severe, Quídquid látet apparébit All things hidden must appear, Níl inúltum remanébit. Nought shall pass unpublished here. 7. Quíd sum míser tunc dictúrus? 7. Wretched man, what shall I plead, Quém patrónum rogatúrus? Who for me will intercede, Cúm vix jústus sít secúrus? When the righteous mercy need?
1Th e Stabat Mater was applied liturgically for the universal church in 1727 by Pope Benedict XIII for the feast of Mary’s Seven Dolors; for this reason it is not included in the number of sequences here.
Terence Bailey is the author of numerous books and a specialist in Ambrosian chant. He served on the faculties of the University of Saskatchewan, the University of British Columbia, and the Uni- versity of Western Ontario.
22 Volume 143, Number 2 Sacred Music | Summer 2016 8. Réx treméndæ majestátis 8. King of dreadful majesty, Quí salvándos sálvas grátis Author of salvation free, Sálva me, fons pietátis. Fount of pity, save thou me. 9. Recordáre, Jésu píe 9. Recollect, good Lord, I pray, Quód sum cáusa túæ víæ I have caused thy bitter way, Ne me pérdas ílla díe. Don’t forget me on that day. 10. Quáerens me, sedísti lássus 10. Weary satt’st thou seeking me, Redemísti crúcem pássus Diedst redeeming on the tree: Tántus lábor nón sit cássus. Let such toil not fruitless be. 11. Júste júdex ultiónis 11. Judge of righteousness severe, Dónum fac remissiónis Grant me full remission here, Ánte díem ratiónis. Ere the reck’ning day appear. 12. Ingemísco, támquam réus 12. Sighs and tears my sorrow speak, Cúlpa rúbet vúltus méus Shame and grief are on my cheek: Supplicánti párce, déus. Mercy, mercy, Lord, I seek. 13. Qui Maríam2 absolvísti 13. Thou didst Mary’s guilt forgive, Et latrónem éxaudísti And absolve the dying thief: Míhi quóque spém dedísti. Even I may hope relief. 14. Préces méæ non sunt dígnæ 14. Worthless are my prayers, I know, Sed tu bónus fac benígne Yet, O Lord, thy mercy show, Ne perénni crémer ígne. Save me from eternal woe. 15. Ínter óves lócum práesta 15. Make me with thy sheep to stand Et ab háedis me sequéstra Far from the convicted band, Státuens in párte déxtra. Placing me at thy right hand. 16. Cónfutátis maledíctis, 16. When the cursed are put to shame, Flámmis ácribus addíctis Cast into devouring flame, Vóca me cum benedíctis. With the blest then call my name. 17. Óro súpplex et acclínis 17. Suppliant at thy feet I lie, Cor contrítum quási cínis Contrite in the dust I cry, Gére cúram méi fínis. Care thou for me when I die. 18. Lacrimósa díes ílla 18. Full of tears and full of dread, Qua resúrget ex favílla Is the day that wakes the dead, Judicándus hómo réus Calling all with solemn blast Húic érgo párce, déus. From the ashes of the past. Píe Jésu dómine, dóna éis réquiem. Gentle Lord Jesus, grant them rest, Amen.3 Amen.
2I.e., Mary Magdalen. translation was chosen (from Hours at Home, ed. 3Th e Latin text is from the Graduale Romanum of J.M. Sherwood, vol. vii, no 1 [1868], 39–40) that 1961; the accent marks have been added (one-syl- preserves something of the prosody of the Latin. lable words are neutral, and may be accented or Hours at Home is available on the internet, as are unaccented depending on their position). A all the sources cited in this present article.
Sacred Music | Summer 2016 Volume 143, Number 2 23 The earliest known appearance of the prosa in the (Requiem) Mass was of some poem is in a Franciscan missal whose calen- standing, but it is likely that Albizzi was dar does not include the feast of St. Clare, speaking only for the Franciscans, and per- the sister of St. Francis. She was canonized haps not for all: he writes “dies illa dies in 1255, and hers would certainly have been iræ,” but the rhyme scheme of the poem among the feasts celebrated if the manu- demands that “iræ” be the second word. The script were later than this date.4 Bartolomeo fame of the chant had obviously reached Albizzi,5 a Franciscan who by 1342 was old him, but the misquotation might suggest enough to hold a position of responsibility that he, himself, was not familiar with it. in his order, mentioned in his Liber confor- Dies iræ is absent in the Missale Romanum mitatum of 13856: printed in 14747 (even though a Franciscan had been elected as Pope Nicholas IV in 1288). locum Celani de quo fuit fr. Thomas The earliest appearance in the Roman Mass qui . . . prosa de mortuis quæ can- authorized for general use8 was in 1570, when tatur in Missa, scilicet Dies illa dies the poem was included in the first post-Tri- iræ [sic] dicitur fecisse. dentine edition of the Missale Romanum.9 The chant, whose text was widely admired, even in the town of Celano, whence came Protestant circles, kept its place in the Latin brother Thomas, who . . . is said to Requiem Mass until the reforms of the Sec- have composed the prose of the dead ond Vatican Council.10 that is sung at mass, viz., Dies illa The rhymes and rhythms of theDies iræ dies iræ. are particular to Latin accentual verse of the High Middle Ages,11 and the poem is Dies iræ, a sequentia in the Graduale certainly not unique in exploiting the poten- Romanum, was a prosa to Albizzi. Not- tialities: see, for example, the two closing ker Balbulus, who introduced such chants, referred to them, simply, as hymni. Sequence is most accurately used when the host chant 7Missale romanum Mediolani, 1474, Henry Brad- was an alleluia, and prose when the host was shaw Society, 17 (London: Harrison, 1899). 8 a responsory, but the terminology, which Religious orders and dioceses with a tradition more than two hundred years old had permis- has a bearing on points raised in this paper, sion to continue with their own books. is inconsistent. 9Missale Romanum, Editio Princeps (1570), The citation from theLiber conformti- edizione anastatica, M. Sodi, A.M. Triacca, tatum suggests that the place of the sequence/ eds., Introduzione e Appendice (Vatican City: Libreria Editrice Vaticana, 1998), pp. 649–650. 4 Eusebius Clop, “La prose Dies irae et l’ordre 10It is included in the Graduale Romanum of des Frères mineurs,” in Revue du chant grégorien, 1961, but is omitted in the edition of 1974. 16 (1907–1908), 49. 11Th is did not deter the great many who at- 5See his entry in the Dizionario biografi co degli tempted imitations in the vernacular languag- Italiani, 2 (1960). es; see Charles Warren, Th e Authorship, Text and 6Liber conformitatum vitae beati . . . Francisci History of the Hymn Dies iræ (London: Th omas ad vitam Jesu Christi. Baker, 1902), xxi–xxvi.
24 Volume 143, Number 2 Sacred Music | Summer 2016 stanzas12 of the sequence for the Exaltation and much earlier assignment of the respon- of the Cross by Adam de Saint-Victor: sory was in the night office of the dead. It seems likely from the obvious relationship Assisténtes crúcis láudi of the texts, and also from their shared Consecrátor crúcis áudi d-finalis, that the Dies iræ originated as a Átque sérvos túæ crúcis prosa to this responsory. Post hanc vítam véræ lúcis Strictly speaking, there should be no Tránsfer ad palátia sequentia at a funeral Mass, nor at any other Quos torménto vis servíre Mass of penitential character. On such Fac torménta non sentíre occasions an alleluia was obviously inap- Sed quum díes érit íræ propriate and did not displace the tract, Cónfer nóbis et largíre which seems never to have been ampli- fied by poetical additions such as those of The similar prosody, and the third-to-last Notker. Neither would we expect a prosa, line, “Sed quum dies erit iræ,” have sug- since responsoria are not properly Mass gested to some that Adam’s Laudes crucis chants (Libera me is included in the Grad- attollamus, probably written a century or uale Romanum, but only as a practicality: more earlier than the Dies iræ, was known it was sung after Mass ended). It should, to its author. But its versification is charac- therefore, be seen as a sign of the extraor- teristic of much of the religious poetry of dinary appeal of the poem that—without the twelfth and thirteenth centuries, and a precedent—Dies iræ was added to the Mass much more likely inspiration for its theme as a detached hymn, i.e., with no liturgical was the responsory, Libera me domine de explanation. morte æterna in die illa tremenda, whose sec- Who wrote the poem and when remain ond verse begins “Dies illa dies iræ” (the a matter of conjecture that has centered incipit given by Albizzi). Sequence and on Thomas of Celano. He was born circa responsory both owe something to Scrip- 1200, produced the first biography of St. ture. Cf. Zephaniah (Sophonias) 1:15– Francis shortly after the saint’s canoniza- 16: “Dies iræ dies illa, dies tribulationis et tion in 1228, and died in 1265. But as we angustiæ, dies calamitatis et miseriæ, dies have seen in the citation from the Liber tenebrarum et caliginis, dies nebulæ et conformitatum, the authorship of Thomas turbinis, dies tubæ et clangoris super civi- seems, more than a century after his tates munitas, et super angulos excelsos.” death, not to have been a settled matter, Latterly, Libera me was included in Mass even among well-placed Franciscans— books, to be sung for the funeral absolution who might be expected to have embraced before the interment; but the widely13 shared the attribution. * 12Charles Pearson, Sequences from the Sarum Missal (London: Bell and Daldy, 1871), 116. Latin Database for Latin Ecclesiastical Chant. In Th e accentuation is added. Ambrosian books the same melody is employed 13Cf. (s.v. Libera me domine) the inventories of for the responsory post lavationem corporis (“af- medieval antiphoners posted by CANTUS a ter the washing of the body”).
Sacred Music | Summer 2016 Volume 143, Number 2 25 The earliest-known appearances of the 1614. Concerning these, Johann Göschel 14 “received” melody of the Dies iræ are in remarked that additions to three thirteenth-century Fran- ciscan manuscripts, additions that Eusebius Clarity and uniformity were to be Clop would also assign to the thirteenth achieved in the realm of modal- 15 century. But that dating is insecure, and it ity, especially by ensuring that each may be that none of the three earliest neu- chant begins with either the first mations of the Dies iræ—one adiastem- scale degree or the reciting tone of atic, two others on lines—is earlier than the mode. the fourteenth. The melody might very well have circulated separately for half a century One aimed especially at the avoid- before it was included in official Franciscan ance of melismas on short unac- books. cented syllables immediately before There are a few slight variants in the the text accent.19 16 text that are not of concern in the present paper, but one (late) melodic variant does call Göschel’s remarks would certainly explain for comment. In the Graduale Romanum of the opening of the Dies iræ on d, the finalis 1614, the “Medicea” edition, the opening of the sequence. As for the second part of pitches of the sequence, those so often cited his citation: the 1614 gradual sets the two in non-liturgical music of the nineteenth syllables of “mírum” (in stanza 3) to a ter- and twentieth centuries (by Liszt, Berlioz, naria and a punctum; the Vatican editions of Rachmaninoff and many others),17 are not the Graduale Romanum from 1908 to 1961, f-e-f-d, but d-f-e-f-d. The opening on d restoring what is certainly an older reading, seems to have had no currency other than assign the same pitches to a punctum and a in the “Ratisbon” edition of 1871, which ternaria, simply ignoring the “problem” of some referred to as a “new edition” of the a note-group on “a short unaccented syl- 18 Medicea. lable.” There is no need to multiply exam- The egregious opening on d is surely ples of such “emendations” included in the to be explained as one of the justly vili- Medicea and Ratisbon editions. fied “emendations” of the melodies that It seems clear that not all of the were undertaken for the publication of “received” Dies iræ is authentic. The four 20 verses usually referred to as stanza 18 14“Received,” by analogy with the textus receptus (beginning “Lacrymosa dies illa”) consist- of the New Testament. ing of two rhyming couplets (not the ter- 15Clop, “La prose,” 46–53. cets of the first seventeen stanzas) and the 16Ibid., 50. 17See Jora Vullings, “Dies iræ, dies illa van litur- 19Johann Göschel, “One Hundred Years of the gisch gezang naar seculiere melodie” (unpub- Graduale Romanum,” tr. Anthony Ruff , Sacred lished thesis, University of Utrecht, 2013). Music, 135, no. 2 (2008), 8. 18“Die Neuausgabe der römischen Choralbü cher 20In this paper, verse always refers to a single auf der Grundlage der römischen Editio Medica- line of poetry and not (as in casual usage) to a ea von 1614”; see Musical Times ( Jan. 1, 1889), 51. stanza.
26 Volume 143, Number 2 Sacred Music | Summer 2016 following closing-formula in prose (“Pie With this in mind it seems reasonable Jesu, domine, dona eis requiem, amen”) to speculate that the received melody of the cannot be considered part of the poem. It Dies iræ was once entirely syllabic and con- is probably significant, as an indication of formed more closely to the Notkerian type, the original conclusion of the sequence, that and that it was subsequently elaborated— 21 the last tercet of the chant is unpaired, and casually in a way that is familiar to all who that it concludes with the word “finis.” study ecclesiastical chant. Such gentle elab- In the new forms introduced between oration would be symptomatic of the tri- 881 and 887 in the Liber hymnorum of Not- umph of the equalist “plainchant” rhythm ker, each successive text couplet or unpaired (which, evidence suggests, was a late devel- verse is provided with a different melody. opment) over a performance of the poem And although this description would hold that, by means of an alternation of long and for the first six tercets ofDies iræ, the same short rhythmic values in the melody, pre- three melodies are repeated subsequently in a served the recurring and hypnotic eight- macro application of the three-line structure beat pulse of the text.22 (no doubt a Trinitarian symbol); the three Text accent—a critical element of the couplets in stanzas 1–6 are repeated for 7–12 prosody of the Dies iræ—will be masked by and 13–17 (the couplet that is not paired). a musical setting without rhythmic differen- In Notker’s hymni the melodic settings tiation unless the accented syllables are rein- are strictly one note per syllable. Only parts forced by a melodic accent (speaking simply, of the received version of the Dies iræ cor- the correspondence of higher and lower respond to Notker’s prescription, but the pitches with accented and unaccented sylla- melody of the first verse—whose opening bles respectively—the unison being neutral), motif is so often cited—seems to estab- or unless note groups are restricted to syl lables lish the syllabic character of the melody— bearing the accent. The first such correspon- an impression that is strengthened by the dence between text and melody is some- re-employment of the eight pitches of the times found (“Díes íræ díes ílla, Quántus first eight syllables for no less than eleven trémor ést futúrus”) but is more often absent subsequent verses. In the received version (compare the settings of “sólvet,” “favílla,” of the chant, 12 of the 51 authentic verses “téste,” “cúncta,” “túba,” “discussúrus,” etc.). 23 are syllabic—a significant proportion. But The predominant alternation of accented if we count the four-syllable half-verses, the picture is more compelling: of the 102 that constitute the authentic poem, 47 are 22Even granting that this hypothesis is accept- set syllabically (the number rises to 49, if ed, it is not meant to suggest that the received we include the two couplets generally pre- melody of the Dies iræ—or indeed any other sented as stanza 18), and this is to say that chant melody—should be “restored.” Ecclesi- the musical setting of about half of the astical chants are what they had become when poem is syllabic. they were frozen into notation. 23Th e alternation is not, of course, unvarying. 21Cf. the stanzas of Adam de Saint-Victor given Words with three or more syllables have only earlier. one accent.
Sacred Music | Summer 2016 Volume 143, Number 2 27 and unaccented syllables does not demand a melody with a corresponding alternation of long and short rhythmic values, but the text Xzzzzzzkzzzzzzz;zzzzzzzzz;zzzzzlzzzzzxzzzzzzzzzzzzkzzzzzzzzjzzzzzzzzzzzzzkzzzzzzzzfz accents will only be heard in settings whose melody has a corresponding alternation of Tu-ba mi-rum spargens so-num Melody B long and short rhythmic values, and most clearly heard in settings that are syllabic. As concerns the syllabic conversion of Xzzzhzzzzzzzzxgzzzzzzzzxhzzzzzzzzzzzzzfzzzzzzzzzgzzzxzzzdzzzzzzzfzzzzzzzzfz those parts of the received melody that are per se-pulchra re-gi- o-num neumatic, it must be said that there is no secure basis for resolving pitch groups of two, three, or more into their melodic ker- Xzzzhzzzzzzzzjzzzzzzzzzxkzzzzzzzzzzzfzzzzzzzzzgzzzzzzzzzhzzzzzzzzzzzzxgzzzzzzzzfz nels. Nevertheless, the choices made for the (purely hypothetical) syllabic melody of the co-get omnes an-te thro-num Dies iræ given below seem obvious enough to be defended. If justification for the exer- cise is sought, consider that it makes it easier Xzzzzkzzzzzzhzzzzzzzzzzzzzzxxjzzzzzzzzzxfzzzzzzzzzzzzzdzzzzzzxzazzzzzxxxdzzzzzfz to imagine a syllabic and rhythmic perfor- Li-ber scrip-tus pro-fe-re-tur mance that is entirely plausible and was per- Melody C haps actual: as will be seen, the hypothetical reconstruction corresponds strikingly to real melodies. In Example 1 are the syllabic Xzzxhzzzzzzzzzzzzzzfzzzzzzzzdzzzzzzzazzzzzzzzzzzzzdzzzzzzzzzfzzzzzzzxhzzzzzzfz reductions of melodies A, B and C, with the in quo to-tum con-ti-ne-tur texts associated with their first appearance. Example 1. A syllabic reduction of the Xzzzkzzzzzzzzzzzzhzzzzzzzzzzjzzzzzzzzzzzzfzzzzzzzzdzzzzzzzzxfzzzzzzzhzzzzzzzfz received melody of the Dies iræ. The term “received melody” was meant to imply that there are others. The two to be Xzzxzzzzzhzzzzzzzgzzzzzzzxhzzzzzzfzzzzzzzzzxgzzzxzxdzzzzzxxfzzzzzzzfz considered in this paper are found in publica- tions with widespread distribution in Spain. Di- es i-rae di- es il-la The first edition ofArte de canto llano by
Melody A Francisco de Montanos seems to be that of 1592. At least nine reprintings appeared between 1610 and 1712. Revised in 1728, Xxzzhzzzzzzzzzzxjzzzzzzzzgzzzzzzzzzzzzzzdzzzzzzzzgzzzzzzzzxzxxhzzzzzzzzgzzzzzzzfz the book was re-issued at least until 1756. In sol-vet saec-lum in fa- vil-la this perennial publication (specifically from the edition of 1694) is a quite different and simpler melody for the Dies iræ: the ambi- Xzzazzzzzzzzdzzzzzzzzzfzzzzzzzzdzzzzzzzzgzzzzzzzzzzzzzxzhzzzzzzzgzzzzzzfz tus is reduced to an octave and the setting is syllabic (except in the prose closing-for- tes-te Da-vid cum Si-by-la mula, where the first syllable of “domine”
28 Volume 143, Number 2 Sacred Music | Summer 2016 and the first syllable of “amen” are set to ternariæ). The intention, obviously, was that the Xzzzhzzzzzzzzhzzzzzzzzzjzzzzzzzzzzzzzkzzzzzzzzzjzzzzzzgzzzzzxzzhzzzzzzzzgz same two melodies (not three, as in the per se-pulchra re-gi- o-num received setting of the text) were to be sung for all the authentic stanzas (1–17), and for the added couplets of stanza 18. There Xzzzgzzzzzzzzgzzzzzzzzzhzzzzzzzzzzzxfzzzzzzzzzjzzzzzzzzzhzzzzzzzzzzzzgzzzzzzzzfz are, however, numerous discrepancies in co-get omnes an-te thro-num the repetitions. The differences probably arose inadvertently, and it would seem that they might easily have been resolved. But Stanzas 5 and 9 (which, notionally, because the melodies of all the stanzas are should both employ melody A) are given fully written out, we must probably assume in Example 3 to illustrate the nature of the that the chant was sung exactly as writ- discrepancies24 found in Montanos. The ten, i.e., with obvious inconsistencies. Such settings of these two stanzas are not exactly uncritical literalism is typical of ecclesiasti- the same, nor do they agree exactly with cal chant in decline. In Example 2 are the melody A as it is given in in Example 2. melodies given for stanzas 1 and 3. The variant syllables are underlined.
Example 2. Melodies A and B from Example 3. Differences in Melody A in Montanos Montanos 1694 Xzzzzzzfzzzzzzdzzzzzzzzfzzzzzxxfzzzzzzzzzxgzzzzxxxhzzzzzzjzzzzzzxjz Di- es i-rae di- es il-la Xzzfzzzzzzdzzzzzzzzzzzzzzfzzzzzzzxfzzzzzzzzzxzzzgzzzzzzzhzzzzzzjzzzzzzjz Li-ber scriptus pro-fe-re-tur stanza 5 Melody A Xxzzjzzzzzzzzgzzzzzzzzhzzzzzzzzzzjzzzzzzzzzxkzzzzzzzzz;zzzzzzzlzzzzzzzkz solvet saeclum in fa-vil-la Xxzzjzzzzzzzzzzgzzzzzzzhzzzzzjzzzzzzzzzxzzzzzkzzzzzzzzz;zzzzzzzlzzzzzzkz Xzzkzzzzzzzzzhzzzzzzzzjzzzzzzzkzzzzzzzzzzhzzzzzzzzzzzzzjzzzzzzzgzzzzzzzfz In quo to-tum con-ti-ne-tur tes-te Da-vid cum Si-by-la Xzzkzzzzzzzzzzhzzzzzzzzzzzjzzzzzzzzzzgzzzzzzzzzzzhzzzzzzzzzfzzzzzzzzzgzzzzzzfz Unde mun-dus ju- di- ce-tur Xzzkzzzzzzzxxjzzzzzzzzzkzzzzzzkzzzzzzzzzzzzzzzz;zzzzzzzz;zzzzzzzzzzzzxxxlzzzzzzzzxkz Tu-ba mi-rum spargens so-num Melody B 24Th ere are others not detailed here.
Sacred Music | Summer 2016 Volume 143, Number 2 29 the day). But it is very unlikely that a met- Xzzdzzzzzzzdzzzzzzzzzzzfzzzzzxzfzzzzzzzzxgzzzzzzhzzzzzzzjzzzzzjz ric notation already obsolete in the four- teenth century would have been chosen to Re-cor-da-re Je-su pi- e specify the rhythms. It is also conceivable
stanza 9 that in 1761, when Avila’s Arte de cantol- lano was published, the medieval notation, with its breves, semibreves and ligaturæ cum Xxzzzzzzjzzzzzzzzzzzgzzzzzzzzzzzzzhzzzzzzzzjzzzzzzzjzzzzzzz;zzzzzzzzzzlzzzzzzzkz opposito proprietate, was simply ignored, and Quod sum causa tu- ae vi- ae the Dies iræ sung as though it were plain- chant, where the square forms of the virga and punctum and the diamond-shaped notes Xzzzzzkzzzzzzzzzhzzzzzzzjzzzzzzzzzzgzzzzzzzzhzzzzzzzfzzzzzzgzzzzzzzfz of the conjucturæ are—as in so many chant books—all to be sung alike. But this idea Ne me per-das il-la di- e is ruled out in the present instance because Avila prints the Dies iræ with a time signa- TheArte de canto-llano y organo of Gerón- ture (“3”). imo Romero de Avila (1717–1779) was pub- The successions of breve and semibreve lished in at least ten editions between 1761 pairs make it perfectly clear that each tro- and 1830. It includes a version of the Dies chaic foot was meant to have the rhythmic iræ that preserves some of the received mel- value of a brevis perfecta. But in melody B ody (with c-sharps and b-flats throughout), for the last verse of stanzas 3 and 4 (and, but extensively revises and simplifies it. As in of course, for the last verse of stanzas 7, 8; Montanos, there are two melodies that were 11,12; 15 and 16) the pitches for third and to be repeated. Specific indications are given fourth syllables (“om-nes,” to give only the only for the first four, but for the 17 authen- first instance) are set to semibreves and a tic stanzas, melody A was surely meant to be binaria cum opposita proprietate26: that is to deployed in numbers 1–2, 5–6, 9–10, 13–14, say, three semibreves for “om-” and three 17, and melody B in 3–4, 7–8, 11–12, 15–16. semibreves for “nes.” The notation for these What makes the Dies iræ of Avila partic- two syllables would, in a thirteenth century ularly interesting is that its melody is given source, actually specify a duration twice as in metric notation—not of the mid eigh- long as expected. This is problematic: there teenth century, but that of the thirteenth! is no rational way to assign values congru- This is a clear indication that (in Spain at ent with the rest of the chant to these six least25) a metrical version of the poem had pitches27; in fact, any metrical interpretation circulated. It is conceivable, of course, that seems awkward. a metric rendering of the sequence was a later development (the earliest appearances 26Represented in Example 4 by two semibreves. of the received melody, circa 1300, are in 27To allow for divisions of the semibreve into the rhythmically-neutral chant notation of minims each foot would have to be assigned the length of a longa perfecta, i.e., such a notation 25Franciscan communities existed in Christian would consist largely of a succession of longæ Spain from about 1370. and breves, not breves and semibreves.
30 Volume 143, Number 2 Sacred Music | Summer 2016 There is an explanation that would account for the problem (without sug- gesting values for the written semibreves Xxzzhzzzzzzzzzzz^zzzzzzzzzjzzzzzzzzzz$zzzzzzzzxgzzzzzzzzzzzz^zzzzzzzzzzzzzgzzzzzzzzz$z at issue), namely that the melody, which Sol-vet saeclum in fa- vil- la is presently almost syllabic, had once been entirely so: that the binariæ on “TESte” (and “CUNCta,” etc.) and the six pitches for “OM-NES” (and “judi-CAN-TI,” etc.) Xzz!@zzzzzzzz#zzzzzzzzzzfzzzzzzzzzz#zzzzzzzzzzgzzzzzzzzzzzzz^zzzzzzzzgzzzzzzz$z were the later result of yet another casual elaboration, an elaboration influenced Tes- te Da- vid cum Si-by- la by the received version of the melody— where, it should be noted, “TESte” and Melody B with the text for stanza 3 “OM-NES” (and the corresponding sylla- bles in the other stanzas) were set similarly to two- and three-note groups. In Example 4 are given (from Avila, Xzzkzzzzzzzzzzzzzx*zzzzzzzzzx;zzzzzzzz(zzzzzzzzzzzzzzzzzkzzzzzzzz&zzzzzzzzzzzzxzzkzzzzzzzzzx* 1761) the two melodies for the Dies iræ Tu- ba mi- rum spargens so- num (preserving the breves and semi-breves, but without the time signature, the c-sharps or the b-flats). Stanzas 1 to 4 (the last word of Xzzzhzzzzzzzzzz%zzzzzzzzhzzzzzzzzzzzzzz$zzzzzzzzzzzzzzgzzzzzzzzzz#zzzzzzzzfzzzzzzzzzx$z the latter is “responsura”) are followed by the per se-pulchra re- gi- o- num second duplet, beginning “Judicandus” and the closing formula, “Pie Jesu domine, dona eis requiem. Amen.” The first duplet (“Lac- Xzzzhzzzzzzz&zzzzzzzz*&^zzzzzzzzz%$#zzzzzzgzzzzzzzzzz^zzzzzzzzzzzzgzzzzzzzz$z rimosa dies illa, Qua resurget ex favilla”) of co-get om-nes an-te thro-num stanza 18 is missing in Avila’s publication (if it were sung nevertheless, applying the mel- 28 ody of “Judicandus homo reus, Huic ergo There is a discrepancy in Melody A be- parce deus” would have been perfectly easy). tween the pitches assigned for the third verse of stanza 1 (i.e., 1.3) and the third Example 4. The two melodies for the Dies verse of stanza 2 (2.3). Please compare Ex- iræ in Avila, 1761 ample 5 and Example 4.
Example 5. Melodic variant in Melody A Melody A with the text for stanza 1 for verse 3 of stanza 2 Xzzzzhzzzzzzzzzzzz%zzzzzzzzzzhzzzzzzzzzzzz$zzzzzzzzzzzzzzgzzzzzzzzzzz#zzzzzzzzfzzzzzzzz$z Xzzz!@zzzzzzzz#zzzzzzzzzzfzzzzzzzzzzx#zzzzzzzzzgzzzzzzzzzzzzz^zzzzzzzzzzjzzzzzzz$z Di- es i- rae di- es il- la Cuncta stric- te dis- cus-su-rus
28In both the 1761 and 1830 editions.
Sacred Music | Summer 2016 Volume 143, Number 2 31 31 Anyone who compares the Dies iræ in to some descending binariæ. An obvi- the Medicea edition of 1614 and the Ratis- ous explanation for the former is that the bon edition of 1871 will notice that in the stroke on these quadrata is meant to indi- latter a stroke is added to some of the puncta cate the text accent. For that purpose, how- quadrata, and an upward stroke (in the ever, strokes would be redundant, since, in manner of binariæ cum opposita proprietate) the 1871 edition the text accent is marked 32 to some of the two-note groups. The ques- for almost all words of more than two 33 tion is, are we to see these additions in the syllables, and in any case, the penulti- Ratisbon as indications of meter? mate syllable of the verses is the only one No upward strokes are added to so marked. It cannot be ruled out that the quadrata in the Medicea (which is the basis added strokes were meant to indicate a of the Ratisbon edition), however, a down- certain subtle lengthening, rather like the ward stroke (suggesting a virga) is added episema in the editions of Solesmes. in the 1614 edition to those on the sylla- The additions tobinariæ are potentially bles “ACribus” and “beneDICtis,” both in more misleading, since such upward strokes stanza 16 (verses 2 and 3). What, if any- seem (as in Avila) to suggest ligaturæ cum 34 thing, these strokes were meant to signify opposita proprietate. But no such metrical 29 is unknown. Although in both instances explanation is needed. When all instances they correspond to accented syllables, this involving strokes are examined, a simple cannot be the explanation. There are only and prosaic explanation emerges: when a two such additions, and in any case the quadratum or the first element of a ligature accentuation of the text was clearly not a is placed on the third line of the staff or concern of the editors in 1614: although the higher, any strokes will descend; and when accent is marked in the Ratisbon graduale, the note or ligature begins in the lower in the Medicea it is not. part of the staff (below the third line), the In the Dies iræ of 1871, the upward stroke ascends. That is to say that the same strokes are added to most puncta on the sev- rule applies as for note-stems in the modern 30 enth syllable of the verses —often enough notation of instrumental music of the last that it must seem deliberate—and also four centuries, a rule that would be familiar
29 Th e explanation may be simple carelessness by 31“OM-NES” (3.3), “FONS” (08.3), “PRO- a typesetter who chose the wrong type-pieces—a feretur” (5.1), “ULtionis” (11.1), “remissiOnis” virga rather than another of the punctæ, which (11.2), “ET acclinis” (17.1), “domiNE” (19.1). are otherwise used throughout. Some inconsis- 32Th e accent of “sibylla” is not marked in the tencies are more obviously owing to inattention: fi rst stanza, although an upward stroke is at- note the misprint, “ora” for “oro” (in spite of “mei tached to the punctum. fi nis” in the following line) in stanza 17 33But also, apparently carelessly, for “bónus” 30Th ere are exceptions: no stroke is added for (14.1). “ILla” (stanza 1, verse 1), “venTUrus” (2.2), 34Binariæ written classically (although not al- “LAtet” (6.2), “GRAtis” (8.3), “PIe” (9.1), ways in the editions of 1614 and 1871) consist “VIe” (9.2), “LASsus” (10.1), “CASsus” (10.3), of a joined virga and punctum in descent, or a “PRAEsta” (15.1). joined punctum and virga in ascent.
32 Volume 143, Number 2 Sacred Music | Summer 2016 to the type-setters of the Ratisbon edition into groups of four notes sung to a sin- 36 and probably automatic. So it would seem gle syllable. Even if, as seems more than that in 1871 the added strokes have no met- likely, the received melody of the Dies iræ rical significance whatever. was sung in plainsong rhythm in the nine- That the editors of the Ratisbon were teenth century, the use of lozenges for the somehow familiar with the notation of two internal pitches and quadrata for the 35 the ars antiqua does seem unlikely, but outer notes seems to suggest that a ternary we need not think that the sequence was division was understood, and that the dia- always sung as though it were plainchant. It mond notes were half the length of the oth- is important to remember that an indisput- ers. Were these details vestiges of an earlier, ably metrical version of the Dies iræ was in explicitly metrical notation? circulation as late as 1830 in the edition of Avila. The metrical scheme of this version * is that of the first of the “rhythmic modes” of the ars antiqua. Such schemes were still Liturgical chants with poetic texts were in use in the middle of the thirteenth cen- relatively unimportant in the Latin lit- tury when (as seems likely) the Dies iræ was urgy before and after the era of proses and composed. It was suggested earlier in this sequences. No hymn was sung regularly at paper that a syllabic version of the received Mass, and although in the individual daily melody was employed before the neu- offices one was customary (or sometimes matic elaborations were made that gave it two), such chants were vastly outnumbered its present form. A “first rhythmic mode” by the other liturgical items. The antiphon- interpretation (an alternation of long and ers, as a rule, include neither the full texts short values) of such a melody is a natu- of hymns nor their melodies, for both, to ral choice suggested by the alternation of some extent, were local options, and might accented and unaccented syllables. And differ from place to place. There is very a performance of the received melody for little information about their manner of Dies iræ in the first rhythmic mode seems performance. an almost automatic, if unintended, con- The prosody of classical Latin poetry— sequence of the shifting of note groups to for example, the hymns written by St. accented syllables undertaken by the edi- Ambrose, bishop of Milan—was based tors of the graduale in 1614, and accepted on the duration (or “quantity”) of syllables in 1871. without reference to their relative empha- One final detail about their notation sis. Over time, the pronunciation of Latin perhaps deserves comment. In the 1614 changed (one might imagine older Latin and 1871 editions it is hard to ignore the spoken like English with a lilting Welsh introduction of diamond-shaped notes accent), and in newer liturgical poetry, with
35Th e hypothesis of Ludwig, Aubry, and Beck 36Quaternariæ: “iudiCANti” (4.3), “PERdas” that rhythmic modes should be understood in (9.3), “statuENS” (15.3), “voca ME” (16.3), some melodies notated non-metrically dates “quasi CInis” (17.2) and a quinternaria (in the from the early years of the twentieth century. inauthentic stanza 18) “HOmo reus” (18.3).
Sacred Music | Summer 2016 Volume 143, Number 2 33 the rarest of exceptions, patterns of stressed The Dies iræ belongs to the heyday of and unstressed syllables came to replace the proses and sequences, but they soon fell out earlier prosody based on quantities. Quan- of fashion (the literary ideals of the Renais- titative poetry was a scholarly anachronism sance were by and large those of classi- in the Middle Ages (perhaps even at the cal times, not the Middle Ages) and were end of the fourth century in Christian cir- finally excluded from the liturgy—all but cles). Ambrose died in 397 and, under his the four39 left in place after the Council direction, the hymn melodies (probably of Trent. As early as the fourteenth cen- not those that we know37) were likely sung tury, chant was outmoded—dutifully per- with varied note-values corresponding to formed in monasteries, but in the more the durations of the syllables. But in view important churches only on occasions of the evolution of vernacular Latin in the when polyphony was not an option. The first centuries ad, it is easy to understand notorious, dead, even, “plainsong” perfor- how the subtleties of quantitative poetry, mance of all liturgical chants had replaced even if they were still perceived, might be any rhythmic differentiation (with the ignored in sung texts. It is hard, however, possible exception of subtle variations to imagine that singers in the eleventh, such as those championed by the monks twelfth, and thirteenth centuries, when of Solesmes). The explicitly mensuralDies the vogue of the new accentual poetry iræ of Avila would be very exceptional, and reached its apex, could ever have ignored is much more likely to be a survival of an its rhythms—rhythms made more insis- earlier practice—it would be interesting tent as rhyme became increasingly import- to know the circumstances—than a resto- ant and added its reinforcement to the ration of an earlier manner of performance stressed syllables. Such rhythms were often based on antiquarian studies undertaken intended even where they are not specified in eighteenth-century Spain. by the notation. The simple, repetitive pat- Since the emphasis on the Dies iræ in terns of long and short note-values such the ordinary form of the liturgy has been 38 as those of the “rhythmic modes,” even reduced, there may be little practical pur- if unspecified—as in the early polyphonic pose in showing that more than one melody elaborations of chant by composers associ- and more than one style—syllabic, neu- ated with Notre Dame of Paris—are deci- matic, equalist, metrical—are available to sively confirmed in later sources where the those who might wish to sing the text. Such same items are given metrically explicit knowledge does, however, allow us more notations. easily to detach it from a melody that has achieved an almost cultic popularity (many 37But see Jan van Biezen, “Het ritme van de who can sing its opening pitches know no Latijnse hymnen” [Th e rhythm of the Latin other example of ecclesiastical chant), and hymns], Tijdschrift voor Gregoriaans, 32 (2007), to see the poem in its broader cultural con- 147–151; 33 (2008), 25–29. text. 38Codifi ed ca. 1240 in the anonymous treatise De mensurabili musica. See Rebecca Baltzer, s.v. “Jo- hannes de Garlandia,” in Grove Music Online. 39 See n. 1.
34 Volume 143, Number 2 Sacred Music | Summer 2016 Commentary
Benedict’s Enduring Legacy: His Love for Beauty by Michael J. Ortiz
t won’t be easy to find a champion of thread throughout his writing, his love for faith and reason as simple and as pro- the sacral nature of beauty adorning our Ifound as Pope Benedict XVI. In his churches and our worship is his priceless many speeches and homilies, in his nu- gift to the Catholic Church, though it may merous books, he distilled rich currents of take decades of perspective for us to see this. intellectual thought into beautifully craft- Benedict’s shepherding of a new transla- ed words that spoke to the heart as well as tion of the Mass has lifted the tone of our to the mind. He did so without rhetorical worship throughout the English-speaking flourish, with the sincerity that comes from world. His papal liturgies, with ancient Gre- gorian chants once again lifting their beauty to heaven, are models for every diocese throughout the world. Above all, his direc- tive of 2007 giving any priest in the world the right to offer the form of the Mass before the rushed implementation of the reforms of the Second Vatican Council returned a lost heritage to us after almost four decades. For Pope Benedict, Catholic teaching must be seen in a framework of continu- ity, not rupture, with the past. Worship and doctrine are integrally united, and in a cer- a love of the truth. But this talent to speak tain sense stand or diminish together. For to the world simply about the central truths Benedict, humanity is far more than mere of our lives will not, I suspect, be his most rationality, and in this he sees the key to significant or most lasting legacy. rescuing our world from its own skepticism Pope Benedict’s enduring legacy will that builds on one hand magnificent tech- be his love for beauty. Woven like a golden nologies, and then with the other knocks
Michael J. Ortiz is the author of Swan Town: the Secret Journal of Susanna Shakespeare (HarperCollins, 2006), and, most recently, Like the First Morning: The Morning Offering as Daily Renewal (Ave Maria Press, 2015). He teaches English and religion at The Heights School, in Potomac, Maryland. This essay first appeared on the web-site Crisis, March 13, 2013. Reprint- ed with permission.
Sacred Music | Summer 2016 Volume 143, Number 2 35 down every reason for living, for joy, for Looking over Pope Benedict’s sev- hope beyond the grave. eral decades of writing, it is easy to see his A large part of the answer to this crisis, long-time concern for the sacral nature according to Benedict, is the sacral beauty of beauty. In 1985, in his widely noted of our worship of God. Dostoevsky and Ratzinger Report, he reminded us: “The Solzhenitsyn speak in a similar way: when only really effective apologia for Christian- the good and the true are beaten down by ity comes down to two arguments, namely, philosophies that blind instead of enlighten, the saints the Church has produced and the the towering, majestic authority of beauty, art which has grown in her womb. Better delicate as a flower, stronger than any lie, may offer us a way back to sanity. And, per- haps, to the palpable sense of mystery that “Th e only really eff ective is one of the central concerns of authentic fiction, and indeed, all art. apologia for Christianity Paul Elie pondered if Christian fiction has become extinct. Today Catholic nov- comes down to two elists, in particular, it seems, “are thin on the ground.”1 There are no worthy succes- arguments, namely, the sors to Evelyn Waugh, Graham Greene, Flannery O’Connor, Thomas Merton, and saints the church has Walker Percy, to name only a few. In all of Elie’s interesting musings on the nature produced and the art of fiction and belief, however, he doesn’t once mention that except for Percy, all of which has grown in her these writers lived, prayed, and wrote in the atmosphere of the old liturgy. womb.” Waugh himself resented the changes to the liturgy, though he died in 1966, three years before the full implementation of the witness is borne to the Lord by the splendor liturgical reform would begin. Writing to a of holiness and art which have arisen in the friend shortly before he died, he remarked: community of believers than by the clever “I have not yet soaked myself in petrol and excuses which apologetics has come up gone up in flames, but I now cling to the with to justify the dark sides which, sadly, Faith doggedly without joy. Church-going are so frequent in the church’s human his- is pure duty parade.”2 tory.”3 Beauty, by reflecting the splendor of
1New York Times, Dec. 23, 2012
36 Volume 143, Number 2 Sacred Music | Summer 2016 the Creator, and holiness, by transform- a devoted role in bringing about as a young ing us according to the heart of Christ: theologian-advisor.5 for Benedict XVI, these are the perennial But our Bishop Emeritus of Rome would signposts that will lead our loony world never let sorrow have the last word! He back to God. underscores to his priests, and to us: “Only In a speech in 2002, Cardinal Ratzinger ongoing formation of hearts and minds can made clear he is not interested in mere aes- truly create intelligibility and participation thetics, nor in forgoing the hard work of that is something more than external activ- serious theology, but in the transcendent ity, but rather the entry of the person, of my nature of God: “Being struck and overcome being, into the communion of the church by the beauty of Christ is a more real, more and thus into communion with Christ.”6 profound knowledge than mere rational deduction.”4 As recently as a month ago, addressing the priests of the diocese of Rome, Bene- Th e treasures of the dict XVI spoke of the joy and difficulties of implementing the reforms of Vatican II. He liturgy had to be “opened noted that the liturgical movement of the early twentieth century realized that the up” for the faithful to treasures of the liturgy had to be “opened up” for the faithful to have more participa- have more participation tion in the worship of God. Nevertheless, in the same speech, Ben- in the worship of God. edict XVI lamented the “Council of the media” which eclipsed at times the “Coun- cil of the Fathers.” The efforts of the coun- cil to bring the average Catholic deeper into I share Benedict XVI’s love for the mys- the mystery of the church were derailed by tery of the old Mass. With him, I do so not “trivializations” of the needed reforms. Ver- out of nostalgia—in my case, the ordinary nacular liturgy brought balloon Masses and form of the Roman Rite, in the vernacular, sentimental music, “active participation” is the only Mass I remember as a child—but begot a profanation of the act of faith that out of love for the mystery of beauty. is liturgy, and became a mere celebration of A few weeks ago, I attended a low Mass community. How sad to see Pope Benedict at a local parish. There were only about XVI, only days after stepping down from the Chair of Peter, listing the many trage- 5Pope Benedict XVI, I Will Always Be with You dies of the misapplied council he took such in Prayer [Address to Parish Priests and Cler- gy of Rome (2013)
Sacred Music | Summer 2016 Volume 143, Number 2 37 thirty faithful present. For the first few of the 1970s, simply must go. They will minutes, as the prayers at the foot of the never add up to anything close to a Tolkien altar were recited quietly by the priest and or an Evelyn Waugh. his two servers, I felt a moment of liturgical Of course, the highest purpose of the vertigo, saying to myself: “Wait! Shouldn’t church is the salvation of souls, but banal- I be doing something? I mean, really . . . all ity and trivialization of worship are unwor- this quiet is a little unnerving.” But as I fol- thy of God and even the world he came to lowed the rubrics in my missal, a profound redeem. In the words of Pope Benedict, sense of reverence came over me, a deeper they disfigure the face of the church. That quiet than quiet itself: the heart stilled in is why he has advocated “a reform of the wonder before the majesty of the Mass, reform,” so that the misinterpretations of of God, of the Lord Jesus Christ and his Vatican II may no longer afflict the church, and the beauty of God’s truth may win our hearts, giving them the tender toughness of real love. When we enter into the church’s liturgy, the pope reminds us we are really entering into a liturgy that is already taking place, “a greater and grander liturgy” in heaven before the face of God. Pope Benedict XVI has offered the church a chance to renew that season of beauty which does not fade, and which the traditional liturgy helps us Church. To my friends who have trouble appre- experience in a more solemn, sacral manner. ciating this Mass, I understand. But I also Side by side with the properly reformed lit- would encourage them to discover its con- urgy, Catholics can at last experience what templative riches, as well. If they like J.R.R. Vatican II promised: a revitalized church Tolkien’s tales, with all their marvelous- that is at once in harmony with her tradi- ly-lit mystery and drama, they would do tion, and ever young because ever beautiful well to remember Tolkien’s love of the old in the truth that is Christ. liturgy as the source of his devotion to God, Such is this pope’s vision. It leaps over the but also as the seedbed, so to speak, from garbled cross-talk of ideologies. His efforts which his heart and mind and imagination to regain the sacral beauty of Catholic wor- took such fertile growth. ship, if his successor continues his resto- Our encounter with Christ in the lit- ration, may be the most missionary, radical urgy must reflect, ever so stutteringly, the thing the church has done in almost half infinite beauty of the Risen One, who is a century. Perhaps his abdication, a highly Truth itself. We need not all start learning non-traditional act, not seen in almost six Latin, but acquaintance with this liturgy hundred years, was partly intended itself as can deepen our sense of the sacred. Guitar a radical reminder of the stakes before us. Masses, and all those silly, banal remnants
38 Volume 143, Number 2 Sacred Music | Summer 2016 Ad Orientem by William Mahrt
obert Cardinal Sarah, in a plenary rising sun, a recurring and vivid symbol of address to the Sacra Liturgia con- the Lord’s second coming. This direction Rference in London in July, request- persisted, long after the medieval geograph- ed that the posture ad orientem (facing East) ical “orientation” was not always prac- be restored in the celebration of Mass.1 He ticed, in the priest’s facing the altar, even had addressed this question in an article in the tabernacle, the same direction the peo- the Osservatore Romano a year ago, and has ple faced. Pope Benedict’s practical solu- continued to advocate its study and poten- tion, when the physical posture could not tial practice. The posture of facing the altar be observed, was what has become known instead of the people is, in fact, documented as the “Benedictine order.” Six candles are by the rubrics of the missal (both the Latin placed on the altar, with a crucifix in the and English editions) when it instructs the center. When the priest celebrates Mass, he priest to turn around to say “Dominus vo- faces the crucifix, just as he previously faced biscum,” “The Lord be with you,” and at the direction that symbolized Christ. One several other places in the Mass. While it of the most evident and edifying aspects of is often inappropriately described as “the Pope Benedict’s ars celebrandi was that when priest turning his back on the people,” the he celebrated Mass, his gaze was fixed upon purpose of it is that both priest and people that crucifix. face the same direction to address God. To Cardinal Sarah’s advocacy in July, how- be blunt, it is Mass facing God rather than ever, hit the stands; it was reported in the Mass facing the people. newspapers and widely on the internet. The Benedict XVI, when he was Cardinal Cardinal Archbishop of London quickly Ratzinger, discussed this often. “Facing instructed his priests not to observe it, and East” geographically was a medieval her- the Vatican press office issued a “correc- itage, since churches were oriented—they tive.” In fact the corrective was directed faced geographical East as the Orthodox to the exaggerations in the media, rather still do—because this direction was tra- than to Cardinal Sarah’s position. Some ditionally the direction to which Christ bishops in the United States, issued prohi- ascended and from which he would return; bitions of using this posture, though there it was a posture of anticipation of Christ’s is a question of whether a diocesan bishop return; the East was also the location of the has the authority to prohibit such univer- sal liturgical practices.2 In churches which 1Th e full text of his address can be found at have no altar facing the people, Pope
William Mahrt is the president of the CMAA and the editor of Sacred Music.
Sacred Music | Summer 2016 Volume 143, Number 2 39 Francis celebrates ad orientem. Bishop Ser- the words of the Eucharistic prayer while atelli, the chairman of the American Bish- trying to engage the congregation—he is at ops’ Committee on the Liturgy sent a letter this point supposed to be engaging God. recalling that it was a posture permitted by The most crucial point of this engage- the rubrics of the liturgy. ment is in the doxology at the end of the Cardinal Sarah, in his address, reminded Eucharistic prayer. Here the priest raises us that Pope Francis had asked him to study the host and the chalice and utters praise the question of the “reform of the reform,” of the Trinity; here the sacrifice of Christ, one aspect of which would be orientation. which is renewed in this Eucharistic prayer His request at the conference was in the is brought to the Father in the unity of the context of his advocacy for studying intently Holy Spirit. The problem is that if the priest the Constitution on the Sacred Liturgy looks at the congregation at this point, they could well interpret this action as offer- ing the sacrament to them. And well they might, because the tenor of the whole lit- urgy may have already been focused upon “Th e liturgy is them. But, as Cardinal Sarah articulated beautifully in his lecture, the participa- not about us, but tion of the people is in this very sacrifice; as members of the Body of Christ, they join about God.” with the priest in offering the sacrifice to the Father. It is true that God is present among us, but it is also true that he is present in a tran- scendent fashion. To face the congregation, the priest may properly address God, but Sacrosanctum Concilium. He acknowledged, this runs the risk of giving the impression having observed many positive results from that the liturgy is a conversation between the liturgy constitution, that there had been priest and congregation with, at best, God distortions of its purposes. The principal watching. With a posture of orientation, problem, as he described it, is a predomi- there is no ambiguity: we all address God in nantly anthropocentric focus. “The liturgy a unified way, and a way that is concordant is not about us, but about God,” he quoted with the texts of the Eucharistic prayers. from Cardinal Ratzinger. Cardinal Sarah’s request was to revive The proposal, in practical liturgical the practice where is was opportune, with terms, is not as radical as it might seem. The proper catechesis, but also to study its pur- entire Liturgy of the Word would still be pose and advantages as preparation for such celebrated at the chair. Only with the offer- a catechesis and practice. This is what we tory and the Eucharistic prayer would the should do. priest face the altar. This, however, stands to reason, since the text addresses God. The problem is highlighted when a priest says
40 Volume 143, Number 2 Sacred Music | Summer 2016 Review
A Sense of the Sacred: Roman Catholic Workshop in the Middle Ages, by James Monti. San Francisco: Ignatius Press [2012]. 684 pp. ISBN 978-1-58617-283-1, $34.95
By Daniel J. DiCenso
hat a tome! Before even open- text, Monti sets out to offer a “source book” ing James Monti’s 684-page of medieval forms as a font of inspiration for WA Sense of the Sacred, there can present-day liturgical reformers (xxii): first, be no question that the volume represents to disabuse liturgists of “the false assumption one of the heftiest studies of medieval litur- that post-conciliar worship must be purged gy produced in recent memory. Certainly, of all that is medieval or Baroque if it is to “Roman Catholic Worship in the Middle fulfill the intentions of the Council” (xx); Ages” is an immense subject, but the size second, to argue a “reform of the reform” of Monti’s volume owes more to its purpose agenda, namely, that “the sense of the sacred than to its subject. Though, at first glance, is essential to the liturgy” (xxii) and that me- A Sense of the Sacred appears to be a history dieval and Baroque forms of worship offer of worship in the Middle Ages, in fact, the “the profound sense of the sacred . . . that book must be understood as an argument so urgently needs to be renewed in our own about the practice of liturgy in the pres- time” (xxi-xxii); and, finally, to make avail- ent: what post-Conciliar Roman Catholic able to the reader a wide variety of ancient liturgy is and what post-Conciliar Roman rites so that these liturgies do not languish Catholic liturgy ought to be. The so-called on the shelves of university libraries, but in “reform of the reform” agenda is declared publication and translation can “inspire fu- by name in the very first pages of the vol- ture generations of Catholics as they have ume (xxii). This movement is rooted in the inspired Catholics in the past” (xxii). A com- belief that the liturgical reforms of the Sec- panion volume, offering a comparable over- ond Vatican Council should have derived view of the “great treasures” of “Baroque” more “organically” from traditional forms liturgy is the author’s next project (xxiii). of worship in use at the time of the council, which advised that “any new forms adapted Sacrosanctum Concilium (December 4, 1963), should in some way grow organically from chap. 1, no. 23, in Vatican Council II: Th e Con- forms already existing” (639).1 In this con- ciliar and Post Conciliar Documents, ed. Austin Flannnery, O.P. (Northport, N.Y.: Costello, 1As cited in Monti; Second Vatican Council, 1975), p. 10.
Daniel J. DiCenso is Assistant Professor of Music at the college of the Holy Cross. He is a specialist in medieval liturgy, with a particular interest in the history of Gregorian chant during the eighth and ninth centuries.
Sacred Music | Summer 2016 Volume 143, Number 2 41 To achieve his three-pronged goal, Sacred is not written quickly or easily; such Monti compiles an array of medieval litur- work is the product of many years of pains- gical forms and commentaries from a taking research and, indeed, the proceeds of breathtakingly broad chronological and these efforts have much to offer. In the first geographical span: from the early Christian instance, the astonishing array of medieval era to the seventeenth century and from forms put on display is truly breathtaking, the diverse practices of Europe, including and certainly will achieve the stated goal the territories of modern Austria, England, of bringing to light many forms of liturgy unknown to a general audience. Some lit- tle-known treasures, including an elabo- rate rite of matrimony from Lyre, France Monti compiles an array (227) and an impressive veneration of the cross from Valencia, Spain (421) are just a of medieval liturgical couple of the many hidden treasures of the liturgical past brought to light. Throughout forms and commentaries the volume, Monti offers liturgical docu- ments and commentaries in English trans- from a breathtakingly lation. By so doing, he certainly makes a vast cross-section of the liturgical past broad chronological and more accessible to a general audience than any other publication of its type. One must geographical span. applaud that any reader can pick up the book and read directly from rare liturgical manuscripts and a variety of liturgical com- Finland, France, Germany, Hungary, Italy, mentators, from Gregory of Nyssa (d. 394) Poland, Portugal, Spain, Sweden, and to Pope Benedict XVI. Surely the book’s Switzerland. A more inclusive range in a greatest strength is that one need not be a single volume authored by a single person is liturgical specialist or a scholar of any kind unprecedented. The material of the study is to appreciate “the sense of the sacred” being preceded by an Introduction and an “Over- exhibited across the variety of times and view” of medieval liturgy (chapter 1), and places highlighted in the volume. Monti then broken into three broad sections: “The has an eye for selecting the most elabo- Sacraments” (chapter 2–8); “Sacred Time: rate ceremonies and the most erudite texts The Liturgical Year” including Christmas, from the treasury of the liturgical past. No Eastertide, and various feasts days (chapters one would disagree with Monti on either 9–17); and “Other Rites of the Church,” the beauty of the ceremonies highlighted in including the election of the pope, the cor- the book, or of the historical worth of the onation of saints, funeral rites, and mis- documents, figures, and events selected for cellaneous blessings (chapters 18–22). The inclusion. volume closes with a “Conclusion” (chapter Unfortunately, the merits of the vol- 23), a bibliography, and an index of persons. ume do not outweigh its significant prob- Certainly, a volume like A Sense of the lems. From a scholar’s perspective, the
42 Volume 143, Number 2 Sacred Music | Summer 2016 book contains too many errors, omissions, the wrong time and wrong place, leading and half-truths to be accepted as a reliable the author to make false, sweeping claims source of information about medieval lit- about the stability of medieval liturgy over urgy. Though it is impossible to fact-check time and space. In a number of instances, all of Monti’s work, in the instances where Monti incorrectly claims that the chant Monti’s attention intersects with subjects of propers represented in the 1570 Triden- my own expertise serious problems abound. tine missal represent a continuous use from One of many examples comes in Monti’s the eighth century to the present, includ- presentation of chant sources. Through- ing chants from major feasts such as the out the volume Monti cites the “Cantato- Purification of Mary (295), Holy Thursday rium of Monza” as being an eighth-century (362), and Palm Sunday (349). In actual- source of Gregorian chant from Italy. This ity, the sources Monti cites show consensus, provenance for the Monza manuscript is but not uniformity across a small number based on long-outdated information. Since of later, Frankish sources—that is, consis- the 1968 revised edition of Klaus Gam- tency but not uniformity across a narrower ber’s Codices liturgici latini antiquiores, there geographical, chronological, and political has been broad acceptance of Bernard Bis- context than is claimed. Overall Monti’s choff’s view that the “Monza Cantatorium” narrative thrust is toward finding greater represents a ninth-century North-Frank- stability and universality of practice across ish source, rather than an eighth-century enormous spans of time and space than Italian source (as Monti reports repeated- the sources bear out. The result is a belief ly).2 In this instance, as elsewhere, Monti in a false, static “sense of the sacred” (what relies on outdated information in old edi- Monti often calls “the sense of the sacred”) tions and, since he is not an expert in many consistent across the divergent practices of of the liturgies he profiles, Monti makes the Middle Ages, but (in his view) funda- errors, in this case being out of sync with mentally absent in liturgies of the present. thinking that has been broadly accepted for In other ways, Monti demonstrates a nearly five decades. As with Monti’s other lack of expertise about how to interpret the errors, what begins as a simple inaccuracy documents and records of events he puts compounds itself into a larger conceptual forward. In a range of areas, the author dis- problem. The Monza misattribution is ref- plays a lack of familiarity with the most erenced eleven times throughout A Sense up-to-date scholarship, ranging from the of the Sacred, and leads to an array of com- history of the rite of Baptism to the history pounded, secondary errors, for example: of the liturgy of the Purification of Mary. In attributing the earliest appearances of the both cases, Monti’s conceptualization does Christmas Introit “Hodie scietis” (262) and not reconcile with recent scholarship, which the Alleluia chant “Dominus dixit” (279) to he neither references nor acknowledges.3
2Klaus Gamber, Codices Liturgici Latini Antiqu- 3Compare Monti’s view of the origins of Baptism iorues, Spicilegii Friburgensis, subsidia, second and the development of the feast of the Purifi cation edition, vol. 1, pt. 2 (Freiburg: Universitätsver- of Mary, respectively, to Susan A. Keefe, Water and lag, 1968), p. 500, no. 1310. the Word Baptism and the Education of the Clergy
Sacred Music | Summer 2016 Volume 143, Number 2 43 And, though the liturgy of the Middle English translations, making it impossible Ages was constantly being reformed and/ to differentiate between English transla- or changed for a variety of reasons (some tions borrowed from other authors and edi- having to do precisely with questions about tors, English translations that are Monti’s a “sense of the sacred”), Monti’s volume own, English translations from the Latin barely engages with questions of reform directly, and English translations based on in medieval contexts beyond a brief men- intermediary vernacular translations. These tion of the Cluniac reforms in the Conclu- oversights serious students cannot forgive sion (645). The absence of engagement with when at stake is the very meaning of the questions about liturgy, change, and reform liturgical texts themselves. in medieval contexts has a way of extending more universality and consensus about his “sense of the sacred” in the Middle Ages than the sources suggest. In fact, there was much disagreement about what constituted a “sense of the sacred” in the Middle Ages, a point altogether absent from the book’s discussion. Finally, Monti’s study lacks a num- ber of scholarly provisions. The index, for example, is an index of persons only. With- out an index of place names and sources, it becomes impossible to navigate the 684- page volume, undermining its stated pur- pose as a “source book.” For example, if a reader wishes to know about “the sense of the sacred” in Italy vs. Poland, or the ninth century vs. the eleventh century, there is no way to access this information other than to read the entire book. And, though the book is copiously footnoted, one crucial aspect of referencing is absent. Throughout As someone who often participates in the book Monti offers no attribution for his contemporary Roman Catholic liturgy and as a scholar of early liturgical music, I am in the Carolingian Empire, 2 vols. (Notre Dame, utterly sympathetic to Monti’s claim and Ind: University of Notre Dame Press, 2002) and purpose. Like James Monti, I find that con- Joseph Dyer, “Th e Celebration of Candlemas in temporary liturgy falls flat, and lacks, pre- Medieval Rome,” in Music, Dance, and Society: cisely as he suggests, “a sense of the sacred,” Medieval and Renaissance Studies in Memory of to say nothing about a lack of basic dignity Ingrid G. Brainard, ed. Ann Buckley and Cyn- and good taste. But my agreement with the thia J. Cyrus (Kalamazoo, Mich.: Medieval In- author on this point does not result in an stitute Publications, 2011), pp. 37–70.
44 Volume 143, Number 2 Sacred Music | Summer 2016 endorsement of this study, which cannot be that the reforms of Vatican II have become understood to be a reliable source of liturgi- unnecessarily hostile to medieval forms of cal history. In an attempt to show how the worship, from which contemporary Roman past “did it better,” Monti constructs a straw Catholic liturgy stands to gain much. But man composed of wildly disparate pieces. the argument for the resuscitation of medi- Monti’s presentation of any given liturgy is eval forms—if there is to be one—must composed of a collage of medieval sources, be based in accurate information, the lat- sometimes chronologically and geograph- est scholarship, and the most up-to-date ically removed from each other, all sewn sources and editions lest the “reform of the together to construct an understanding of reform” be accused of the same kind of exag- “baptism” or “communion” or the “Purifi- geration and oversimplification as the Vati- cation of Mary” that never existed in any can II reformers themselves. James Monti is one time or one place. True, Monti’s medi- to be praised for his intent: to make artifacts eval forms each possess a distinct “sense of of medieval worship accessible to a gen- the sacred” missing in contemporary lit- eral audience, and in that regard the book is urgy, but the sense of the sacred is not the something of a model. As a work of history same across the many liturgical pieces the and as a work of scholarship, however— author puts together. especially one that aims to give the reader In the introduction of the book, Monti “a fairly complete and accurate picture of accuses Vatican-II reformers of advocat- medieval worship” (640)—A Sense of the ing “a total return to the pristine liturgical Sacred does not stand. Fundamentally, since forms of the early Church in the apostolic it is impossible to know when to trust Monti age” by “creating for this purpose a some- and when not to, even general readers would what romanticized and unrealistic picture be better off with an English translation of of what early liturgy was like” (xix). I take Jungmann’s Missarum Sollemnia or Vogel’s no pleasure in reporting that the same can Introduction aux sources, for which the pres- be said of Monti and his advocacy for the ent volume is not a replacement.4 Middle Ages. By cobbling together such a wild and haphazard menagerie of liturgi- cal forms—now England, now Spain, now Poland, now Sweden; now the eighth cen- tury, now the twelfth century, now the fif- teenth century; now the Roman Rite, now 4 the Sarum Rite, now the Hispanic Rite— See, for example, Joseph A. Jungmann, Th e what results is a kind of collage, conflation, Mass of the Roman Rite: Its Origins and Devel- interpretation and reception all purport- opment, tr. Francis A. Brunner, rev. Charles K. Riepe, new revised and abridged edition in one ing to be “Roman Catholic Worship in the volume (London: Burn & Oates, 1959), and Middle Ages” as it really was. Indeed, even Cyrille Vogel, Medieval Liturgy: An Introduction Monti’s use of the label “Roman Catholic” to the Sources, NPM Studies in Church Music to describe medieval liturgies is seriously and Liturgy, tr. and rev. William Storey and problematic from a scholar’s point of view. Niels Rasmussen (Washington, D.C.: Pastoral I am entirely in agreement with Monti Press, 1986).
Sacred Music | Summer 2016 Volume 143, Number 2 45 Gregorian Chant from the Monastic Choir of St. Peter’s Abbey, Solesmes, France. 2-CD boxed set. Monastic Choir of St. Peter’s Abbey, directed by Don Richard Gragné. Brewster, Mass.: Paraclete Press.
he seminal role of the monks of something to both learners and listeners. Solesmes in reviving Gregori- Gregorian Chant from the Monastic Choir Tan chant is well-known to all lov- of St. Peter’s Abbey, Solesmes, France is vir- ers of traditional Roman Catholic music. tually a “Best of Solesmes.” It is a two-CD Beginning with their researches in the late set of fifty-five chants. There are chants nineteenth and early twentieth centuries— for the Ordinary of the Mass with Mass and continuing to the present—the Abbey settings VIII and XI (de Angelis and Orbis of St. Pierre has done more to promulgate Factor), for the sprinkling rite in both the the study and use of Gregorian chant than Easter season and ordinary time. Marian any other institution. First on vinyl, then chants include all the simple tone settings audiotape, and now on compact disc, re- of the antiphons, as well as a Tone 8g Mag- nificat and the Stabat Mater. There are sea- sonal chants and those for Benediction of the Blessed Sacrament, some familiar to Americans, other less so. All are performed in the style of present-day Solesmes, where the original style of Dom Mocquereau has been tempered with contemporary research into the interpretation of the neumes. There are no complex graduals or offerto- ries in this set, none of the “show pieces” of the Gregorian repertoire. Instead, there are the popular and familiar chants performed with depth and polish under the direction of Dom Richard Gagné, and therein lies cordings by the monastic choir have in- the attraction of the set: two hours of music spired priests, music directors, and singers. that the listener may know but may never Many aficionados simply enjoy listening to have heard sung this well. the unified tone and unhurried rhythms These chants are all taken from the Lat- that characterize the music of Solesmes. A in-English Liber Cantualis published by new release from Paraclete Press now offers Solesmes in 2015. In fact, the corresponding
Mary Jane Ballou is the Director of Cantoræ St. Augustine and Secretary of the Church Music As- sociation of America.
46 Volume 143, Number 2 Sacred Music | Summer 2016 number in the Liber Cantualis is provided go wrong with these recordings. Grego- in the track listing. The accompanying rian Chant from the Monastic Choir is thus booklets have notes in English and French, both a great reference for directors and as well as the Latin text with a side-by-side singers and a very enjoyable recording. translations in French and English. The introduction to the collection expresses the hope that parish choirs be inspired to include some of these chants Where workshops are in their repertoire, pointing out that the selections are accessible to non-special- unavailable, it makes ists. Not from the “golden age” of the eighth and ninth centuries, these are the eminently good sense chants that people know when they think of Gregorian chant. Thus, they are a good to have recordings starting place for directors and singers who are looking for exemplary singing of like these. settings within their reach. Where work- shops are unavailable, it makes eminently good sense to have recordings like these. As it says on the back of the box, “Bal- YouTube is wonderful, but some of the ance your life with this ancient form of chant found there is less so. You can’t sung prayer.”
Sacred Music | Summer 2016 Volume 143, Number 2 47 Report
The Twenty-Sixth Colloquium of the Church Music Association of America by Deacon W. Patrick Cunningham
he Church Music Association of Observers noted the very large number of America held its twenty-sixth an- registrants under the age of forty, a sign Tnual colloquium for church mu- of the vigorous future foreseen for the sicians and clergy in St. Louis, Missouri, association. from June 20 to 25, 2016. The sacred ven- The colloquium began with a formal ues for the conference were the Pro-Cathe- banquet at which CMAA President Dr. dral of St. John, the Cathedral of St. Louis, William Mahrt welcomed all attendees, and the Shrine of St. Joseph. Other ses- and emphasized the goal of making music sions took place at the City Center Hotel in in the liturgy both beautiful and sacred. downtown. Two hundred twenty four reg- CMAA Chaplain Reverend Robert Pas- istered, and a number of additional visitors ley gave an extensive explanation on the were hosted at the various events, including liturgies of the week, Masses and celebra- leaders from the Latin Liturgy Association. tions that were months in the planning. He especially focused on “progressive solem- nity” and said that the first stage requires Th e very large the clergy to chant the invitations to prayer and the various prayers of the liturgy. He number of registrants teaches the recto tono method of chant as the “do-do” tone, and noted the uncomplicated under the age of nature of even the formal clerical tones of the liturgy. forty is a sign of Three plenary sessions were offered. At the first, Dr. Mahrt, who has been profes- the vigorous future sor of music at Stanford University for over forty years, sharing the results of his schol- foreseen for the arly research, spoke on the music of the psalms. He noted that the Hebrew psalms— Associaton. pre-eminent foundation for our Liturgy— appear to have named melodies included in
Rev. Mr. Patrick Cunningham is a permanent deacon in San Antonio, Texas.
48 Volume 143, Number 2 Sacred Music | Summer 2016 their titles. In the Catholic Church, doc- ory” of Jesus. By the fourth century, Rome uments show that the psalms were in use was using the Latin language—“direct, before the fourth century. St. Benedict concise, and poetic”—producing a rite that mandated the singing of all hundred-fifty is “ordered, simple, and sober.” He noted psalms in the office each week; the prop- that Charlemagne requested from Rome ers of the Mass are mostly derived from the the use of their sacramentary for his whole psalms. He asked “what is the purpose of empire, but that ultimately the energy of the psalms, an Old Testament text, in the France and Central Europe refreshed the New Testament worship?” The answer is liturgical life of Rome at a time when the in the prophetic character of the psalms: latter had grown lax. The process of inte- many are prophetic of Christ, especially grating the traditions was complete by the of his Passover celebrated during the Eas- time of Pope Innocent III. ter Triduum. He commented extensively on Schumer noted that the Protestant Rev- the structure of the psalms, especially the olution led to Pope Pius V standardizing parallelism in the text, and the importance liturgical practice, and that only rites over of the musical “arch” underlying the paral- lel melodies of the psalm chants and anti- phons. As an example, Mahrt invited an examination of the antiphon Dixit Domi- nus from Sunday Vespers (Liber Usualis, p. “How does liturgy 252) where an obvious arch on “the Lord said to my Lord” leads into a lower timbre grow?” arch on “sit at my right hand,” a melodic element adding both gravitas and dignitas. Similar elements are found in the sung Pas- sions during Holy Week. The Wednesday plenary was given by Fr. Jason Schumer, a faculty member of St. two hundred years old were permitted to Louis’s Kenrick-Glennon Seminary who remain. The “new” and standard rite per- was also celebrant of the English Mass on sisted until 1962. Tuesday afternoon. Father Schumer is a Schumer concluded with a long trib- candidate for a doctorate in liturgy at Santa ute to the work of Romano Guardini, Croce, the Pontifical University in Rome. Anton Baumstark, and Joseph Jungmann. In a talk that was remarkably both concise Guardini tried to distinguish “the adapt- and thorough, he asked “how does liturgy able from the persistent.” Baumstark stud- grow?” Quoting Newman, “the history of ied the historical development of liturgy the past ends in the present,” he reminded and postulated “laws of liturgical evolu- us that the past of our liturgical experi- tion” that owed much to evolutionary the- ence interprets the text of the present day. ory. Jungmann, who served as a peritus at He reminded us that the Roman Rite was the Second Vatican Council, saw a tension formed from Judaic roots, and that after between the divine gift of the liturgy and the Last Supper, the apostles employed the the human forces bearing on it. Schumer structures of Judaism to “do this in mem- helped the listener to see the difference
Sacred Music | Summer 2016 Volume 143, Number 2 49 between seeing the liturgy as a building Nebraska.1 He characterizes himself as a designed by a divine architect, put together “recovering Presbyterian,” since he con- by human helpers, and as a tree grow- verted to the Catholic faith in college. He ing in history mostly from within from an was ordained bishop in 2008 in Denver, unchanging seed that is Christ. “Liturgy after serving ten years as an official in the is mediation,” he said, “and contains both Vatican Congregation for Bishops. He has human and divine elements.” He noted that served as ordinary in Lincoln since July, the struggle is to balance what is received 2012. with forces moving toward adaptation. He Bishop Conley saluted the CMAA for urged the attendees to interpret the coun- “your fellowship, dedication, and witness to cil’s phrase about growth in the liturgy, “in the power of the Sacred Liturgy.” He said some way grow organically” as a metaphor. about the effort to support beautiful music Liturgy is the action of the church and an in liturgy: “I’m all in.” He then spoke of action of God. Liturgy does not grow by the role of ars celebrandi—beautiful celebra- its own “life force.” It is an integral part of tion—in the new evangelization. He said we must recapture the energy, enthusiasm and creativity of the early church with our Liturgy does not goal of the “Christification of the world.” Beautiful worship is the proper response to grown on its own the “ugliness of the times and the throw- away culture” which dominates the West- "life force." It is an ern world view. “Through beautiful art and music we encounter the beauty of Jesus integral part of the Christ.” Conley noted that we can’t see liturgy life of the church. as a means by which we can evangelize those who do not attend church. But “it can continually evangelize the baptized.” the life of the church. “All,” he concludes, He reminded us that in the pew “there are “agree on the law of continuity.” By nature, those whose lives to not reflect their faith. it must be conservative. It must correspond They put in their hour and just go home. to its supernatural character, because God Some believe without belonging; others does not change. It must be in communion belong without believing.” Beauty is a way with the church, insuring that what we do to bring both into union with the church’s is the same as Christ did. He urged the lis- mission. It is, the bishop told us, “the most teners faithfully to receive and understand effective way to communicate Christ.” Of what we are given, to always work toward the three commonly-mentioned transcen- something closer to the ideal, and to plan dentals, truth and goodness have been com- with patience. “In liturgy, we can be either promised by the action of the culture on the participants or skeptics. We must,” he said, “be participants.” 1See Bishop Conley’s text, “Foretaste of the The Friday plenary was given by Bishop Heavenly Liturgy:” Ars Celebrandi and the New James D. Conley, ordinary of Lincoln, Evangelization,” above.
50 Volume 143, Number 2 Sacred Music | Summer 2016 church. He said “you can’t discuss them in day evening the ordinary form was used for a rational way.” Beauty, however, is seduc- the commemoration of the English mar- tive; it “penetrates to the core of our being.” tyrs Sts. John Fisher and Thomas More. He quoted, “we are icons of the beauty of Latin chants were used throughout, sung Christ. We beautify the world with the by the women’s refresher, women’s, men’s, radiance of Christ.” and men’s refresher scholæ. The motet The bishop encourages his priests and peo- choir prayed the communion motet Ego ple never to make a change without adequate sum panis vivus by Esquivel. Before and prior catechesis. He desires to see two practical after Mass, organist Jonathan Ryan played changes in the Mass. First, “I celebrate at the Franck’s Prière, Op. 20 and the Allegro assai cathedral facing liturgical east. We began at vivace from Mendelssohn’s F-minor Organ Advent but now do it all the time.” His priests Sonata, Op. 65, No. 1. and people now expect to pray with the peo- Thursday evening saw three celebra- ple and clergy facing in the same direction— tions at St. Joseph’s Shrine in the extraor- toward the expected coming Christ. This is dinary form: the traditional Requiem Mass part of “mystagogical catechesis.” It symbol- was offered for deceased members of the izes our community conversi ad Dominum— CMAA. The scholæ from the prior day turning toward the Lord. prayed the proper chants; all sang the Missa The second change he desires is the res- Pro Defunctis to the traditional chant. Prior toration of sacred music. He says this has to Mass, the Mozart choir sang Byrd’s a greater significance than all other sacred art, being an integral part of the sacred lit- urgy. It “catches us up into the Logos, who Beauty is seductive; sings to the Father in the Spirit through the Mystical Body, the Church.” it “pentrates to the Participants celebrated the Holy Sacrifice five times during the week, and sang First core of our being.” Vespers of the Feast of St. John the Baptist. The first Mass, at St. John’s Church, was sung entirely in English using all the music given in the English missal of 2010. Prop- Miserere mei. At communion, the Palestrina ers were from the chant collections of Fr. choir sang the complex Sweelinck motet De Samuel Weber, and the Mass was from the profundis. After Mass, the mood of cele- Mass of St. Francis by CMAA vice-presi- bration changed as the clergy prepared for dent Horst Buchholz. At communion, after the solemn celebration of First Vespers of the English proper Panem de cælo, the Pal- the Baptism of St. John the Baptist, led by estrina choir prayed Thomas Tallis’s This the office choir. Although that choir sang Is My Commandment. A postcommunion the prescribed chant for the antiphon to hymn was sung by all in four part harmony, the Magnificat, the improvisation choir O God Beyond All Praising, music by Holst sang the verses in an inspiring set of uni- and words by Michael Perry. son verses alternating with various styles of At the Shrine of St. Joseph on Wednes- harmony.
Sacred Music | Summer 2016 Volume 143, Number 2 51 Friday evening the setting for Mass During the colloquium, a number of changed to the awesome visual and acoustic helpful breakout sessions were offered. reality of the “new” Cathedral of St. Louis. Deacon Dr. Ed Schaefer taught a four- Bishop Conley was principal celebrant for day class on semiology. David Hughes led the ordinary-form Mass for the Solemnity composers in new music sessions that cul- of the Nativity of St. John the Baptist. Horst minated in a group singing of submitted Buchholz began with Froberger’s Fanta- new sacred music by several writers. Dr. sia sopra Ut queant laxis, the vespers hymn MeeAe Cecilia Nam offered vocal peda- for the feast. The Palestrina choir sang the gogy sessions. Dr. Scott Turkington helped Missa Papae Marcelli of Palestrina. The conductors in polyphonic technique. Dr. Latin chants of the feast were prayed by all Mahrt taught chant modes. At the Episco- the scholæ of the colloquium, including the pal cathedral, Dr. Ann Labounsky helped Offertory chanted by the men’s faculty mas- pianists with organ technique,2 and Dr. ter choir. The motet choir sang the offertory Paul Weber and Jonathan Ryan conducted motet Iustorum animæ by C.V. Stanford and master classes in organ. Matthew Meloche the communion motet Iesu dulcis memoria by conducted both clerical chant and “Intro- Victoria. Buchholz, after Mass concluded, ducing Sacred Music to a Parish.” Dr. Mary improvised on the vespers hymn. Jane Ballou, CMAA secretary, offered ses- Saturday was the concluding day of the sions on “The Aging Female Voice” and conference, and the Mass was, in the words “Choir Management for Cowards.” Col- of the celebrant, Chaplain Father Robert leen Crafton conducted a demonstration Pasley, “probably the first time for many of the Ward method and Bro. Mark Bach- decades that the Feast of St. William was mann of Clear Creek Abbey gave a history celebrated with a Solemn High Mass,” at of chant development at that Oklahoma the Shrine of St. Joseph. Jonathan Ryan was monastery. organist. The Mozart choir sang Mozart’s Chant scholæ for the conference Spatzenmesse, K 220. Chants were provided were led by Jonathan Ryan, Mary Ann by all of the scholæ, including the women’s Carr-Wilson, Jeffrey Morse, Charles Cole, faculty master choir. Wilko Brouwers, Scott Turkington and During the conference, the annual meet- Dr. William Mahrt. ing of the association re-elected members of An informal poll of attendees brought the Board of Directors, approved the minutes universally favorable comments. One and financial report, and discussed upcom- expressed pleasure at being able to get ing programs and membership recruit- in touch with the traditional spirituality ment. It was suggested that the association of the church. Many commented on the put together a chant-based Vacation Bible intense atmosphere of prayer and music. School program, and several members vol- Most expressed an interest in further pur- unteered for that project. It was also reported suing their studies and returning in later to the membership that the board is in the years to the next colloquium. process of putting together a downloadable packet that will aid in the development of local and regional chapters of the CMAA. 2See Dr. Labounsky’s report above.
52 Volume 143, Number 2 Sacred Music | Summer 2016
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Winter Sacred Music 2017 January 2-6, 2017 Cathedral of St. Paul Birmingham, Alabama
Registration Details
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