Sacred Music Winter 2016 | Volume 143, Number 4
Editorial Harmony | William Mahrt ...... 3
Articles A Change of Panting Heart: An Overview of Music in the Papal Liturgies at St. Peter’s Basilica from the Second Vatican Council to 2013 | Wilfrid Jones ...... 9
The Grammar and Rhetoric of Gregorian Chant | William Mahrt ...... 29
Repertory Antonio Salieri’s De profundis: Rediscovering a Gem | Jane Schatkin Hettrick ...... 39
News Sacred Music Workshop in Lincoln, Nebraska | Amy Flamminio ...... 50
CMAA Announcements ...... 53 Formed as a continuation of Cæcilia, published by the Society of St. Cæcilia since 1874, and The Catholic Choir- master, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America since its inception in 1964. Office of Publication: 12421 New Point Drive, Richmond, VA 23233. Email: [email protected]; Website: www. musicasacra.com
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Sacred Music is published quarterly for $60.00 per year by the Church Music Association of America. P.O. Box 4344, Roswell, NM 88202. Periodicals postage paid at Richmond, VA and at additional mailing offi cies. USPS number 474-960. Postmaster: Send address changes to SACRED MUSIC, P.O. Box 4344, Roswell, NM 88201-9613. Editorial Harmony Sounding music brings the soul into harmony.
by William Mahrt
hen we speak of harmony, the of a work of architecture, even, in a limited first thing that comes to mind is way, the courses of a meal. In fact, for St. W chords, triads, and their order- Thomas Aquinas, harmony, or proportion- ing throughout a piece, what ality, is one of the distinguishing features of we have studied in classes on “harmony” anything beautiful. and the basis for the study of much of the But harmony can even be said of many great music of our tradition. Yet “harmony” things we encounter in the world—of the has much broader meanings. Music itself order of the days and nights, the seasons, is based upon various kinds of harmoni- and the years, of the good relations between ous order. Polyphony, for instance, while it members of a family, of the order of a well shows many characteristics of the conven- functioning society, even of the order of tional basicof harmony, has its real impact the universe itself. Classical and Medie- as the harmonious ordering of independent val philosophers spoke of this cosmic order. voices in imitative polyphony. Even pure They viewed the universe to be ordered by melody can be said to be harmonious. The numerical proportions, proportions which ancient Greeks devoted much thought to were constitutive of harmony, and so they the idea of harmony and developed quite spoke of the harmony of the spheres. This elaborate theories about it, but they were viewpoint was epitomized by Boethius, talking about a music which was only mel- who called it musica universalis. ody—for them harmony was the harmo- Certainly theirs was a rather simple nious relations of pitches within a melody. vision of the universe—planets encircling Theorists of the Middle Ages developed the earth and moving in proportion each to such notions in explaining the ordering of the others. The geocentric basis of this view the pitches of a Gregorian chant, since these has caused moderns to reject it outright, but pieces are based upon a well-developed sys- there is more than a grain of truth in it. All tem of melodic ordering—a harmony. of creation, from the enormous universe we But harmony can be said of many kinds now observe to the complex genetic informa- of aesthetic order, the parts of a poem can tion embodied in DNA, to the tiniest com- be harmonious, or of a painting, the parts ponents of the atom, all of this participates
William Mahrt is the president of the CMAA and the editor of Sacred Music.
Sacred Music | Winter 2016 Volume 143, Number 4 3 in a magnificent order, and this is an essen- So much of music as is adapted to the tial aspect of the beauty of the universe— sound of the voice and to the sense of it shows forth the order and purpose given hearing is granted to us for the sake of it by the Creator. Pope Benedict XVI has harmony. And harmony, which has mo- spoken eloquently about the relation of lit- tions akin to the revolutions of our souls, urgy and the cosmos: is not regarded by the intelligent vota- ry of the Muses as given by them with The Church . . . must arouse the voice of a view to irrational pleasure, which is the cosmos and, by glorifying the Cre- deemed to be the purpose of it in our ator, elicit the glory of the cosmos itself, day, but as meant to correct any discord making it also glorious, beautiful, habit- which may have arisen in the courses of able and beloved.1 the soul, and to be our ally in bringing her into harmony and agreement with There is yet another kind of harmony; herself, and rhythm too was given by Boethius defined not one, but three kinds them for the same reason, on account of of music: musica universalis (the music of the the irregular and graceless ways which spheres), musica humana (the interior music of the human soul), and musica instrumen- talis (the sounding music of instruments, implicitly all sounding music).2 The crux of For the ancients, the highest the issue is musica humana, the harmonious interior order of the motions of the soul. The purpose of sounding music music of the soul is related to cosmic music, and sounding music is the means to bring is the harmony of the the soul into harmony with the cosmos. Plato had articulated this role of music human soul. in a memorable way. In the Timaeus he essayed a philosophical account of how and why the world was created. He accounted for the creation of man, of his faculties and prevail among mankind generally, and senses; when he came to hearing, he said: to help us against them.3
Thus, for the ancients, the highest purpose 1Joseph Cardinal Ratzinger [Pope Benedict of sounding music is the harmony of the XVI], Feast of Faith, tr. Graham Harrison (San human soul: the hearing of music corrects Francisco: Ignatius Press, 1986), p. 124; this discords which have arisen in the soul and statement was made in the context of Cardinal restores its harmony, which then concords Ratzinger’s decrying of “utility music” as useless. 2Boethius, De institutione musica, 187–90, in 3Plato, Timaeus, 47, c–e, tr. Benjamin Jowett, in Fundamentals of Music, tr. Calvin M. Bower, Th e Collected Dialogues, ed. Edith Hamilton & Music Th eory Translation Series (New Haven: Huntington Cairns, Bollingen Series, 71 (New Yale University Press, 1989), pp. 9–10. York: Pantheon Books, 1963), p. 1173,
4 Volume 143, Number 4 Sacred Music | Winter 2016 with the cosmic harmony. Sounding music on their relation to the rest of our experi- reminds the soul of eternal harmonies and ence. Its beauty makes these experiences aids in internalizing them. desirable. This is actually important. It is useful to This, of course, must work very differ- reflect on what we are doing when we lis- ently with different kinds of music. In the ten to a piece of music. Just as when we view case of some very rhythmic music, assim- an object and incorporate its image into our ilating it causes us to want to imitate its consciousness and compare it with images rhythm, even to dance. But in the case of we already have, so when we hear a piece more serene music, the perception of it is of music we take in its sounds and com- the occasion of lifting our soul to its level; pare them with others of previous experi- if the music is ecstatic, it may draw us into ence. The comparison allows us to discern an ecstatic mood, to aim for eternal verities. important and unique characteristics of Liturgical music is a special case, since the work. If the work is truly beautiful, we what we are perceiving and internalizing is imbibe its beauty, making it our own and in a more complex entity, incorporating with some way modeling our consciousness upon the sound of music the sight of movement it. We internalize it and make it part of our and vestments and the overall purpose of own internal musical vocabulary. the action at hand, whose ultimate object is not the work of music or even the liturgical action but the Divine Object of our wor- ship. And so the various actions of the lit- It is useful to refl ect on urgy call for various kinds of internalization. In the case of processional chants—for what we are doing when example, the introit—the liturgical action is the ministers of the liturgy processing in we listen to a piece of ordered and purposeful motion to the altar, the focal point, at which the central act of all lit- music. urgy will take place. The chants which accom- pany the introit articulate themes important to the day, and project a kind of rhythmic motion which characterizes the motion of the proces- Just as mathematics abstracts the aspect sion as something sacred; at the same time, of number from an infinite variety of con- the music of the chant gives the action an ele- crete situations, so music abstracts the aspect vated character suitable to the high purpose of order and purpose from an infinite vari- which is about to be enacted. What does the ety of concrete situations, but it expresses listener make of this complex? Ideally the lis- these in a way that is both abstract and con- tener is moved by the beauty of the procession, crete, abstract in that is pertains to all kinds the suitability of the text and music of the of order, but concrete in that it is expressed chant, its vestments, its order, and its purpose in actual concrete works, works of beauty. evident in moving to a sacred place and mark- By it we can perceive principles of order ing its sacredness by incensing it. The internal- and purpose, internalize them, and reflect ization of the music aids in identifying with
Sacred Music | Winter 2016 Volume 143, Number 4 5 the motion and its purpose, and the listener form: an address to God under an aspect of is virtually brought with the procession to his mercy and generosity, and a petition for the altar to be a part of the action, not as a benefit of that same mercy and generosity. an observer, but as a participant. The par- Their very simple melodies articulate this ticipation of the congregation is aided by two-part structure. The conventional form internalizing and identifying with the pro- of both text and melody and the assurance cession, not by providing the music which that they are well-established texts (some as accompanies it. old as St. Leo the Great in the fifth cen- When it comes to the Ordinary of the tury) gives the member of the congregation Mass, the worship now begins; the congre- the opportunity of identifying with what gation takes an active part by singing the the priest is saying and doing. The inter- texts, which are in themselves the liturgical nalization of the formulaic melody sublim- action, acts of petition, praise, and belief. inally links the present prayer with others That they are repeated every Sunday, fre- like it and aids the listener to identify with quently to the same melodies, allows them it; its elevated style reinforces its purpose: to be sung confidently and unself-con- that it addresses God. sciously, focusing on them as acts of wor- The lessons from the scripture have ship. They can be sung from memory, and an opposite direction. They are ostensibly singing from memory is very important for addressed to the congregation.6 In the ordi- sacred texts, because it draws upon some- nary form, they include an Old Testament thing within that already belongs to the lesson, an epistle, and a gospel, each of singer. The contrast between, on the one which carries a distinctive message. Each is hand, reading something and singing it sung to a formulaic melody that character- off, and on the other, drawing from what is izes the type of lesson. The internalization in innate to the singer is remarkable; in one, it these cases is largely of the message, but it is can come in the eyes and out of the mouth; much more than the conveying of informa- in the other it comes from the heart. It is tion. The lessons are repeated either annu- fundamental that this is called “singing by ally or in a three-year cycle, and over time, heart.” The process of internalization in this they become quite familiar. Who needs the case is a very active one, created by the sing- information about the Good Samaritan or ing the music, an effective way to assimilate the Prodigal Son? Rather their repetition it in the memory and the heart. is a celebration of the history of salvation, Orations,4 are brief prayers sung by the priest as the conclusion of each of the pro- prayer of the entrance rite. To call it an opening cessional rites—entrance, offertory, and prayer is to ignore the signifi cance of the introit 5 communion. They have a conventional and particularly the Kyrie and Gloria, witness some present eff orts to downplay these last two 4Th e collect, the prayer over the off erings, and elements. the postcommunion 6Some maintain that the lessons are principally 5Th e collect has sometimes been called the to remind God of what he did. Th ere may be opening prayer of the Mass, and while it is the some truth to that, but God already knows that fi rst oration, it is more substantively the closing we are the ones who need reminding.
6 Volume 143, Number 4 Sacred Music | Winter 2016 and their celebratory and legendary aspect upon the internal harmony of the soul elic- is a reason they are sung. Over the years, ited by the music. The gradual and alleluia they become deeply inscribed in the mem- have a number of melodies that are used ory, and their melodies are an aid in such several times in the course of the year.7 This internalization. means that the melodic content of many The gradual and alleluia present another chants is quite familiar, and this aids in striking contrast. These have traditionally identifying with the chant and internaliz- been called “meditation chants,” and their ing it. function has been well understood as pro- Polyphony is more immediately recog- viding a complement to the lessons. The nizable as having harmony, but in polyph- lessons have a proliferation of words set to ony based upon imitation, a different kind just a few notes. The meditation chants have of harmony is presented; it is the harmony a proliferation of notes set to a few words. of the same melody being sung by the dif- ferent parts in turn, a more complex phe- nomenon. This depicts a kind of order that in the Renaissance was quickly identi- In a liturgy made up fied as reflecting the order of the planets. In hearing polyphony one is enchanted by of mostly sung parts, the coordination of parts and immediately senses a deeper kind of order, an order in the silence of the Canon three dimensions.8 There is, I think, a natu- ral tendency to hear this order as reflecting of the Mass in the a universal kind of order, a cosmic harmony. In the context of various kinds of music, extraordinary form is there is an important internalization of silence as well. In a liturgy made up of mostly evocative. sung parts, the silence of the Canon of the
7For example, for the gradual-type Justus ut pal- Their melismatic style—certain syllables ma in mode 2, nineteen instances throughout receiving a long string of notes—is the the year are given by Willi Apel in Gregorian basis of their meditative effect. The listener Chant (Bloomington, Ind.: Indiana Universi- hearing them is enchanted by their beauty, ty Press, 1958), pp. 357–58; the alleluia for the and then the internalizing of this beauti- Midnight Mass on Christmas, Alleluia: Domi- ful chanting elicits a deep recollection. I nus dixit ad me, has eleven other occurrences in have observed this in a congregation: upon the Graduale Romanum of 1961, the alleluia for the Mass on Christmas Day, Alleluia: Dies sanc- the beautiful singing of a gradual or alle- tifi catus has fourteen other occurrences, identi- luia, an absolute silence can be heard—no fi ed by a quick search through the Global Chant coughing, no rustling of papers, in fact, no Database
Sacred Music | Winter 2016 Volume 143, Number 4 7 Mass in the extraordinary form is evocative. tion in the consecration of the Body and Here, sometimes, one hears that absolute Blood of Christ and his reception in Holy silence in the congregation, like that at the Communion. Here what we internalize is, gradual or alleluia, indicating intense con- as members of the Body of Christ, his offer- centration upon the event of the consecra- ing of an eternal Sacrifice to the Father, we tion of the Eucharist. The internalization of join in the offering in a most fundamental this silence is very important, because what way: the ultimate harmony is being incorpo- is internalized is not an absence of sound but rated into this offering. This is the high pur- a thoroughly spiritual presence, and one that pose of the liturgy, to be drawn into Christ’s calls for the deepest response. sacrifice to the Father. Wilfred Jones, in Aspects of harmony under discussion his article in this issue, quotes Pope Ben- here call for a different attitude toward the edict, when as Cardinal Joseph Ratzinger active participation called for by the coun- he expressed the ultimate purpose of the cil. Wilfred Jones, in his article in this issue, beauty of the liturgy. He has just quoted quotes Massimo Palombella, the current Pope Gregory: director of the Cappella Sistina, who dis- tinguishes three degrees of participation: In the song of praise we gain access to interior, exterior, and active. In terms of where Jesus can reveal himself, for if re- my discussion here, the exterior is all that morse is poured out through the singing is perceived in the liturgy, the interior is of psalms, then a way to the heart emerges its assimilation by the soul, and the active in us at the end of which we reach Jesus.9 is responding to particular parts of the lit- urgy by vocal participation, which has, then, He then summarizes: aspects of the exterior and interior as well. Each of these is an integral part of our par- This is the loftiest service of music ticipation in the liturgy. through which it does not deny its artis- But when it comes to aspects of har- tic grandeur but really discovers it to the mony, the greater harmony of the liturgy is full. Music uncovers the buried way to in the complementarity of each of the parts the heart, to the core of our being where to the others. Richard Wagner is credited as it touches the being of the Creator and having conceived of a Gesamtkunstwerk, a the Redeemer. Wherever this is achieved, synthesis of all the arts in his operas, but the music becomes the road that leads to great synthesis of the arts in Western cul- Jesus, the way on which God shows his ture is the liturgy, in which the whole is salvation.10 greater than the sum of its parts. As wor- shipers, when we internalize all of the ele- ments I have been discussing we internalize 9Pope St. Gregory the Great, Homeliae in Eze- the whole, we are immediately drawn to a chielem I, 1:15. kind of participation that exceeds the con- 10Joseph Ratzinger [Pope Benedict XVI], A New ceptions of most of the liturgists who advo- Song for the Lord: Faith in Christ and Liturgy To- cate some kind of participation. Each of the day (New York: Crossroad, 1996), p. 110; thanks parts of the liturgy leads us to its culmina- to Wilfred Jones for giving me this reference.
8 Volume 143, Number 4 Sacred Music | Winter 2016 Articles A Change of Panting Heart: An Overview of Music in the Papal Liturgies at St. Peter’s Basilica from the Second Vatical Council to 2013 Gradual changes in the music of the Cappella Sistina. by Wilfrid Jones
Full in the panting heart of Rome Beneath the apostle’s crowning dome. often held up as an example to the rest of From pilgrim’s lips that kiss the ground, the world. Breathes in all tongues one only sound: The earliest record of a papal choir, God bless our Pope, the great, the good. during the pontificate of Gregory I (590– 1 — Nicholas Cardinal Wiseman 604) appears to be a later fabrication, but a choir does seem to have been in existence by Introduction the seventh century when the future Pope he Papal Basilica of St. Peter Sergius I was training in Pope Adeodatus’s at the Vatican is the principal schola cantorum.2 This was repeatedly reor- Tchurch of the Vatican City State, the nerve center of the Catholic 1Josef Smits van Waesberghe, S.J., “Neues Church. It is here that the most important über die Schola Cantorum zu Rom,” Zweiter papal ceremonies are carried out; from its Internationaler Kongreß für katholische balcony that new popes are presented to the Kirchenmusik (Vienna: Herold-Verlag, 1955), p. world, where they were once crowned; and 113. beneath and within which many are bur- 2Rebecca Maloy, Inside the Off ertory: Aspects of ied. It is a church whose liturgy, including Chronology and Transmission (Oxford: Oxford its musical aspects, is closely monitored and University Press, 2010), p. 22.
Wilfrid Jones has studied at the Universities of Oxford, Cambridge and Birmingham in the UK and has an interest in sacred music and the Second Vatican Council. He has gone onto study the ef- fects of the Second Vatican Council in the parish context. [email protected]
Sacred Music | Winter 2016 Volume 143, Number 4 9 ganized and by the sixteenth century had tion submitted to the council which warned morphed into the Cappella Sistina, which against allowing the “opening of the path performed for papal Masses, and the Cap- to legitimate progress” to be the reason that pella Giulia, which performed at chapter “the ancient treasures of the liturgical tradi- Masses and other ceremonies. After at least tion are dropped, and thus to bring about a twelve centuries, the purpose of a papal general weakening in the beauty of liturgi- choir, in the form to which the basilica had cal worship.”6 become accustomed, was threatened by the This ought, however, to be a more subtle liturgical reforms following Second Vatican discussion than one of simple iconoclasm. Council. These reforms have meant that The complexities of the topic are bound the Cappella Sistina has had to adapt to new up in discussions of a supposed opposition demands over the subsequent half century. between the “Spirit of Vatican II” and its These changes, unparalleled since the documents themselves,7 in the ecclesio-po- Counter-reformation, have been contro- litical pressures that went into bringing versial because they exemplify some of the those documents together, and in the vari- main contentions of the liturgical reform, ous understandings and misunderstandings and their effects outside of St. Peter’s Basil- of the liturgical reform’s guiding principle ica have laid waste to the Catholic cho- of actuosa participatio. Within St. Peter’s, ral tradition. Alcuin Reid’s comment that there is a further level of complexity since “Sacred music in the Western Catholic efforts have to be made for the liturgy and Church is by no means in a healthy state” its music to be in conformity with the dif- is nothing if not an understatement.3 Even ferent personal styles of successive popes. if this is not an unusual situation within the This paper will confine itself to examin- history of the church, it is one about which ing larger papal Masses in St. Peter’s Basil- we ought to be concerned.4 A different but ica and Piazza because there are well kept equally forceful controversy arose in the records of those events. wake of the liturgical reforms set in motion The starting point for understanding the by the Council of Trent.5 Archbishop (later role of music in the reformed liturgy is that Cardinal) Paul-Pierre Phillipe, O.P. foresaw the council considered music to be an “inte- such a development in 1963 in an observa- gral part of the solemn liturgy,”8 “not some mere adornment,”9 “a necessary and funda- 3Alcuin Reid, “Sacred Music and Actual 6 Participation in the Liturgy,” Benedict XVI and Acta Synodalia sacrosancti concilii oecumenici Beauty in Sacred Music, ed. Janet E. Rutherford Vatiani II (Vatican City: Typis Polyglottis (Dublin: Four Courts Press, 2012), p. 93. Vaticani, 1970), vol. I: pars I, p. 392. 7 4Jeff rey Tucker, “Pope Benedict XVI’s Musical Joseph Ratzinger, Th e Ratzinger Reader: Legacy,” Crisis, February 12, 2013
10 Volume 143, Number 4 Sacred Music | Winter 2016 we truly certain that the promotion of an active participation consists in rendering Th ere has been an everything to the greatest extent possible immediately comprehensible?”12 attitude within the There has been an attitude within the church for the last fifty years or so that church for the last fi fty the liturgical reform is an area that can- not be questioned. Whilst it was neces- years or so that the sary for Reid to demonstrate this to be false as late as 2012,13 asserting that the docu- liturgical reform is an ments of the council are policy statements rather than doctrines, this was something area that cannot be which ought to have been clear from the very moment of the conciliar reform’s gene- questioned. sis. In the introduction to the schema of the Constitution on the Sacred Liturgy, it says that “this Sacred Council wishes to declare nothing dogmatically in this present Con- mental part of the solemn liturgy.”10 It was stitution, rather fostering and restoring the this policy of the council which meant that liturgy according to the principles it deter- the wide ranging post-conciliar liturgical mines, . . . and to establish practical norms.”14 reforms, set in motion by its Constitution on the Sacred Liturgy, Sacrosanctum Con- Actuosa Participatio cilium, had such a drastic effect on music. The concept ofactuosa participatio, It will therefore examine how the policies “active participation” is the central concern formulated under various popes before and of Sacrosanctum Concilium, yet has been left after the council were implemented in the so open to such drastically different inter- basilica. pretations that it has caused some problems. The second concern of this discussion is The first instance of the phrase in a liturgi- how the concept of participatio actuosa has cal document appears in the official Latin been realized in the basilica’s liturgies. The translation of the Italian language docu- phrase is imprecise, but is one of the key ment Tra le Sollecitudini, we can see that its concepts in the council.11 This paper will examine how interpretations of this con- 12Guido Marini, “Introduction to the Spirit of cept have influenced the music of St. Peter’s the Liturgy: A Conference for the Year of the and, from that examination, to formulate Priest,” Vatican City, January 6, 2010
Sacred Music | Winter 2016 Volume 143, Number 4 11 original as “attiva,” which suggests some- mens nostra concordat voci nostrae,”20 as thing energetic, but Sacrosanctum Concil- the hermeneutic in which to interpret actu- ium differentiated between the exterior osa participatio.21 Ratzinger summarizes: and interior aspects of participation, seeing “music uncovers the buried way to the heart, the former as useful in fostering the lat- to the core of our being, where it touches ter.15 Joseph Ratzinger marries the two fac- the being of the Creator and the Redeemer. ets with characteristic smoothness when he Wherever this is achieved, music becomes writes that “each individual is . . . an agent, the road that leads to Jesus, the way on active precisely because he is a recipient.”16 which God shows his salvation.”22 The dominant interpretation ofactuosus in The opposition to this position is practice is that “active” means that liturgi- expressed by Piero Marini who was head of cal music necessitates external congrega- the Office for the Liturgical Celebrations tional activity, that the congregation are of the Supreme Pontiff from 1987 to 2007. involved in the music making rather than He believes that the “sound understand- its reception.17 ing” of the concept of actuosa participatio is Ratzinger’s views seem to be supporting that “lay people . . . take an active part in those of his colleague Monsignor Johannes the celebration of the liturgy,”23 by which he Overath, who had acted as an expert adviser implies external action. His autobiographi- to all four sessions of the council18 and wrote cal reflections reveal much about his inter- that listening is “a liturgical act . . . and not pretation of actuosa participatio. He writes only listening to [spoken] words, but also that the first time he participated actively at listening to sung words.” This was a reaction a papal Mass was when he carried the book against his experience of “encounter[ing] of the gospels on Christmas day 1970.24 He indolence in many places against the mas- had been to papal Masses before but the fact terworks of church music that can only be he had never done anything except “watch listened to.”19 Overath’s view is repeated by and pray,”25 for him, meant that he had not Reid, who proposes St. Benedict’s instruc- participated actively: he actually had to be tion to his monks while singing psalms, “ut 20“Th at our minds might be in accord with our voices,” Regula Benedicti, Ch. 9. 15Sacrosanctum Concilium, 19. 21Reid, “Sacred Music and Actual Participation,” 16Joseph Ratzinger, “Liturgy and Church 93. Music,” Sacred Music, 112, no. 4 (Winter 1985), 22Joseph Ratzinger, A New Song for the Lord 13–22. (New York: Crossroad, 1996), p. 110. 17Johannes Overath, “Bestimmungen der 23Piero Marini, A Challenging Reform: Realizing Konzilskonstitution,” in Karl Gustav Fellerer, the Vision of the Liturgical Renewal (Collegeville, ed. Geschichte der katholischen Kirchenmusik, Minn.: Liturgical Press, 2007), p. xiv. Band II, Vom Tridentinum bis zur Gegenwart 24Piero Marini, Cérémoniaire des papes: entretiens (Kassel: Bärenreiter, 1976), p. 388. sur la liturgie avec Dominique Chivot et Vincent 18Act Synodalia, Indices, 945. Cabanac (Paris: Bayard, 2007), p. ii. 19Overath, “Bestimmungen,” 388. 25Matt. 26:41.
12 Volume 143, Number 4 Sacred Music | Winter 2016 doing something external. It follows that he confines of the esoteric, but that does not considers listening to and praying music not mean that all people, whether they under- to constitute active participation. stand what they are doing or not, are obliged It might initially be supposed that to sing. Music still becomes a possession Piero Marini would find support for his of “all the people of God” when they are position in the hermeneutic of continu- attending to it.29 ity since the conciliar reforms were based Indeed Guido Marini, Piero Marini’s upon earlier liturgical reforms enacted by replacement as Master of Papal Ceremo- St. Pius X in 1903 in his Motu Proprio Tra nies, draws the opposite conclusion from le Sollecitudini, which Piero Marini under- the same document. He sees the proclama- stands as declaring that music ought not tions of Sacrosanctum Concilium on music as be “something reserved for a restricted cir- emanating from Pius X’s declaration that cle of experts, but . . . something belong- “classic polyphony agrees admirably with ing to all the people of God,” and in which Gregorian Chant, the supreme model of all there is the first mention in a papal doc- sacred music, and hence it has been found ument of the concept actuosa participatio.26 worthy of a place side by side with Grego- He believes this document to have inspired rian Chant, in the more solemn functions the liturgical reforms of Pius XII, who, he of the Church, such as those of the Pon- says, “encouraged the publication of rituals tifical Chapel.”30 For him, Sacrosanctum with considerable allowance for vernacular languages” and for the “dialogue Mass,” in Concilium is an affirmation of earlier papal which the lay people made the responses documents which set “Gregorian chant and could sing the Ordinary of the Mass and polyphony from the time of the Cath- in missæ cantatæ.27 Pius XII certainly per- olic reformation as the standard for liturgi- mitted greater scope for vernacular hymns cal music,”31 from which he concludes that sung by the congregation, but still declared “the Second Vatican Council did naught it to be more appropriate in the context of but reaffirm the same standard [established “non-liturgical services and ceremonies.”28 by Pius X], so too the more recent magiste- Marini’s belief that the people should sing rial documents.”32 As far as he is concerned, everything follows this trend of an increase Piero Marini has got it wrong with music. in the people’s involvement in the liturgy. Certainly, Pius X does say that “special However, the idea that the post-concil- efforts are to be made to restore the use of iar liturgical reform merely continued the the Gregorian Chant by the people, so that work of its pre-conciliar predecessors in the the faithful may again take a more active liturgical movement is questionable. Piero Marini interprets as Pius X’s call in Tra le 29Marini, Challenging Reform, xiv. Sollecitudini for music to be freed from the 30Pope St. Pius X, Motu Proprio, Tra le 26Marini, Challenging Reform, xiv. Sollecitudini (1903), ¶4. 27Ibid., xv. 31G. Marini, “Introduction to the Spirit of the 28Pope Pius XII, Encyclical Letter, Musicæ Sacræ Liturgy,” Disciplina (1955), ¶36. 32Ibid.
Sacred Music | Winter 2016 Volume 143, Number 4 13 part in the ecclesiastical offices,”33 but exter- have wanted the laity to usurp the role of nal active participation was not the guiding the clerics whose job it was to enact the lit- principle in his vision for the liturgy since, urgy, but to have the congregation involved as mentioned above, he also promoted the by participation in the interior sphere, but practice of the congregation listening to in the way in which Guido Marini inter- 34 polyphony. prets them rather than Piero Marini. In an If Guido Marini is correct, the “juridical interview Massimo Palombella, the current code of sacred music” which Tra le Sollecitu- director of the Cappella Sistina, gave for dini constitutes is in fact still in force.35 This this paper, he expressed a more measured point of view is supported by the fact that version of Piero Marini’s point of view. He John Paul II referred to it as such in his chi- rograph marking the hundredth anniver- located the theological roots of the council’s sary of Pius X’s motu proprio.36 Indeed, John desire for actuosa participatio in the same Paul II goes even further than that, saying place as Piero Marini, specifically in Pius that all that the Second Vatican Council did XII’s encyclical Mediator Dei, promulgated was to “follow up this [Pius X’s] approach,”37 in 1947. Prior to this document the congre- that is to say, that the council’s declarations gation, it is claimed, had largely taken the were in continuity with what Pius X had role of spectators to liturgical actions car- previously established. ried out by the clergy, altar servers, and the It seems that in fact the lineage of the choir.39 Palombella identified three means concept of actuosa participatio may go back of participation outlined in this encyclical: even further than Tra le Sollecitudini. U. interior, exterior, and active. The semantic M. Lang cites Benedict XIV, as far back as gap between exterior and active participa- 1749, as a great proponent of “greater par- tion is surely a fine one, but one may take 38 ticipation of the faithful in the liturgy.” If the difference to be that the exterior partici- this be the case, it would serve to bolster the pation is the step before the internalization: historical argument for an understanding of the acts of liturgical listening or watching actuosa participatio as primarily internal par- themselves, the experiencing something ticipation since Benedict XIV would not which is external in order to internalize it, 33Pius X, Tra le Sollecitudini, 3. whereas the possibility of “active” partici- 34Pius X, Tra le Sollecitudini, 4. pation is a proactive act on the part of the 35Pius X, Letter to Pietro Cardinal Respighi, lay people such as singing a hymn. Media- December 8, 1903. tor Dei marks “the first time in history that 36Pope St. John Paul II, Chirograph of the a papal document recognized that popular Supreme Pontiff John Paul II for the Centenary song has a broadness and profundity of its of Motu Proprio “Tra le Sollecitudini” on Sacred 39Emanuela Contiero, “Italian Catholicism and Music (2003), ¶1. the Diff erentiation of Rituals,” in Mapping 37 John Paul II, Chirograph, 2 Religion and Spirituality in a Postsecular World, 38Uwe Michael Lang, Th e Voice of the Church at ed. Giuseppe Giordan and Enzo Pace, Religion Prayer: Refl ections on Liturgy and Language (San and the Social Order, 22 (Boston: Brill, 2012), Francisco: Ignatius Press, 2012), p. 48. p. 22.
14 Volume 143, Number 4 Sacred Music | Winter 2016 own tradition.”40 possible interpretations but with some vari- Palombella highlighted the importance ation in the weighting of each. For example, he attaches to the hymn at communion in during Holy Week in 1969, Pope Paul VI Pope Francis’s papal liturgies at which he celebrated the sacred liturgy four times in has conducted, precisely because it is an St. Peter’s Basilica, on Palm Sunday, Good opportunity for the faithful to participate Friday, Holy Saturday, and Easter Sunday. actively. This said, he also said that one of The Masses of the Friday and Saturday were his achievements in his project to bring sung by the papal chapel, that is, the cler- about a fuller obedience to the instructions ics, but the Sunday Mass had the Cappella of Sacrosanctum Concilium was his reintro- Sistina, the papal choir, singing polyph- duction of the introit, offertory, and com- ony for the Kyrie, Gloria, “canto interlezi- munion antiphons of the day each time the onale” (either a gradual or psalm), during Cappella Sistina assists at Mass, the lack communion and as a “canto finale,” but the 41 of which (echoing Laszlo Dobszay) is a “assemblea” sang alongside the choir for the concern because “the intimate connection “preghiera universale,” the Credo, Sanctus, between the liturgy and music is severed.”42 Pater Noster, and Agnus Dei.44 For some His implication was that it was possible to parts, the people listened and the aim was have all three possibilities for participation presumably that they would internalize the within one liturgy. He justified his opinion performance and thus be actual partici- that the congregation need not be involved pants in the liturgy, in other parts they were with all the singing by quoting St. Paul, say- ing that since “fides ex auditu” the congrega- expected to sing along to the chant so that tion ought to listen to at least some of the they might participate actively. sung liturgical texts.43 Four years later the balance had shifted Well before Palombella’s appointment somewhat. Looking at the same Holy by Benedict XVI, the post-conciliar St. Week services in 1973, there was still some Peter’s has tended to accommodate both polyphony, particularly in the Palm Sunday Mass, but by and large it had been replaced by congregational singing. The Easter Sun- 40L’Enciclica Musicæ Sacræ Disciplina: Testo e Commento (Rome: Associazione Italian. S. day Mass had a children’s choir to sing whilst Cecilia, 1957), p. 504. waiting for the pope and at the offertory and communion. Whilst the introit and gospel 41Lazlo Dobszay “Th e Proprium missæ of the Roman Rite,” in Th e Genius of the Roman acclamations were sung polyphonically, the Liturgy: Historical Diversity and Spiritual Reach: rest of the music of the Mass consisted of Proceedings of the 2006 Oxford CIEL Colloquium, Gregorian ordinaries alternating between ed. Uwe Michael Lang (Chicago: Hillenbrand Books, 2010), pp. 93–4. 44Canto Nella Settimana Santa 1969, Scatola, 42 Uwe Michael Lang, “Th eological Criteria for 0304:I:3; NB: all booklets for liturgical celebra- Sacred Music,” in Benedict XVI and Beauty in tions at St. Peter’s have been published by the Sacred Music, ed. Janet E. Rutherford, (Dublin: Typis Polyglottis Vaticana; scatola numbers re- Four Courts Press, 2012), p.58. fer to the archives of the Offi ce of the Liturgical 43“Faith comes from listening.” Rom. 10:17: Celebrations of the Supreme Pontiff (UCEPO)
Sacred Music | Winter 2016 Volume 143, Number 4 15 the Cappella Sistina and the “assemblea,”45 a Mozart’s Krönungsmesse as part of the Mass. responsorial psalm and a recessional hymn, During the distribution of communion the Christo Risusciti, marked “populare” in the Cappella Sistina sang Mozart’s Ave Verum notes of the Master of Ceremonies, Mon- Corpus accompanied by the organ and at signor Noé.46 In 1973 the assemblea were other moments of the Mass they sang the being encouraged to sing along by a prin- Gregorian propers of the day. The norm cipally external interpretation of Sacrosanc- within the basilica is that orchestral accom- tum Consilium’s “actuosa participatio.” At paniment is not used, but since the feast of points it became nothing more than a “gra- Saints Peter and Paul is one of the high- cious concession [to the Cappella Sistina] to light of the year for the papacy an excep- do Gloria in polyphony.”47 tion was made. During the liturgy, there These rapid changes in liturgical pol- was plenty of choral music, during which icy within St. Peter’s suggest an Office of the congregation and the altar party simply the Liturgical Celebrations of the Supreme stood and listened, but they joined in with Pontiff unable to decide how to interpret the sung responses in the canon, introduc- the Constitution on the Sacred Liturgy, tory rites and final blessing and participated often mixing interpretations within the by their spoken responses elsewhere. Hav- same liturgical celebration. The situation ing the music in which one only participates seems to indicate the truth of Piero Mari- by actively listening did not detract from ni’s assessment of the liturgy in the years the congregation’s participation, it merely immediately following the council: “much channeled it in a different way: it was very confusion reigned!”48 much the role of active participation envis- Yet this would not always be the case and aged by Pius X in Tra le Sollecitudini. there are exceptional examples of Masses This resonates strongly with the views when a principally internal interpretation John Paul II would give on February 26, of actuosa participatio was referenced almost 2003 in his general audience, when he exclusively. One such is that of the June said that there was a need to “purify wor- 29, 1985, the feast of Sts. Peter and Paul ship from ugliness of style, from distasteful which highlights the link of the papacy forms of expression, from uninspired musi- with the apostles. John Paul II imported cal texts which are not worthy of the great none less than Herbert von Karajan, the act that is being celebrated.”49 He summed Vienna Philharmonic Orchestra, and the up the dual role of music in the liturgy con- Vienna Singverein to St. Peter’s to perform cisely when wrote that “the schola canto- rum’s task has not disappeared: indeed, it 45 Domenica Pascuale 1973, Scatola, 0371:III:2. plays a role of guidance and support in the 46Programma Di Canto: Piazza s. Pietro, 14 aprile assembly and, at certain moments in the lit- 1974 - ore 11, Scatola, 0371:III:2. urgy, has a specific role of its own.”50 That 47Domenico Bartolucci and Wilfrid Jones, John Paul II needed to make it clear that “Research Interview with Domenico Cardinal the schola was not redundant implies that Bartolucci from June 2013,” tr. Gregory di Pippo, Sacred Music, 141, no. 3 (Fall 2014), 39. 49John Paul II, Chirograph, 4. 48P. Marini, Cérémoniaire des papes, 26. 50Ibid., 8.
16 Volume 143, Number 4 Sacred Music | Winter 2016 an interpretation saying that it had done so there has been an obvious shift. At Lauds had become prominent. This was quite the that day, the litany was lengthy, requiring opposite of the interpretation that would be its own service book separate from that of maintained under Piero Marini’s leadership the rest of the office but it was sung entirely of the Office for the Liturgical Celebrations between the deacons and choir. The only of the Supreme Pontiff. part of the litany marked “omnes” is the Piero Marini was papal master of cere- very final “Kyrie eleison.”55 Were a litany to monies when Joseph Ratzinger was elected be treated as conventional music, it would pope. Examining the service books for very quickly get very dull constructed as it the Mass to celebrate the start of Benedict is almost entirely of a total of four pitches XVI’s Petrine ministry, one sees not only being repeated in the same order over and that the choir does very little on its own, but over again. This is because litanies are made that what the congregation sing is not even up of dozens of invocations in the same always Gregorian chant, the form of music form, begging the intercession of saints. It Sacrosanctum Concilium instructs be given is not there to entertain the congregation “first place in the liturgy”51 and which Bene- but to be prayed by them. Were it intended dict XVI would later say was “pre-eminent” as entertainment or simply to pass time in a in the liturgy.52 The choir’s only exclusively liturgy, there is a whole genre of polyphonic polyphonic contributions to the liturgy was litanies which could have been performed. Palestrina’s Tu es Petrus whilst the cardinals In this case the concept of actuosa partici- made their obediences to the pope.53 This patio, already championed by Pius X, is was the manner Piero Marini thought fit being interpreted as “actual” participation. to inaugurate the papacy of a man who in The congregation are expected to internal- 1986 had wondered with concern, in refer- ize the singing of the deacon and choir and ence to the concept of actuosa participatio, make it their own. “are receptivity, perception, being moved, There was no more external active par- not active things as well?”54 Palestrina’s Tu ticipation on the part of the people in the es Petrus also marked the end of Benedict’s coronation Mass itself. The French lan- pontificate, being sung during the exit pro- guage service booklet mentions the choir cession at his last Mass as pope. singing the introit when the pope reached When one compares this approach with the foot of the altar and started the service that adopted for the coronation of Paul VI in a low voice only audible to the clerics immediately surrounding him. A simi- 51 Sacrosanctum Concilium, 116. lar situation took place as “while the choir 52Quoted in Lang, “Th eological criteria,” 57. [sang] the Sanctus, the Holy Father [began] 53Inizio del ministero Petrino del Vescovo di Roma reading the Canon.”56 While the Gloria and Benedetto XVI: 24 aprile 2005, 32.
Sacred Music | Winter 2016 Volume 143, Number 4 17 Credo were sung polyphonically, ministers is glad has died out.60 Bartolucci, a Palestri- conducted various different liturgical func- na scholar, was determined to maintain the tions, such as the pregustatio during the prominent place in the liturgy at St. Peter’s Credo57 and preparing the sanctuary for the afforded to the Roman School of polypho- coronation itself after the Mass during the ny, a form that does not include the possibil- motet Corona aurea super caput ejus by Pal- ity of congregational singing, but which had estrina.58 With the insignificant exception rich potential to foster internal active par- of this motet, all of the music was litur- ticipation by an interior disposition geared gical in the sense that it set the words of towards prayer. Bartolucci believed that the the proper and ordinary of the Mass, but it liturgical reform “extremely impoverished also filled what would otherwise be silence the liturgical life of the Church” and that while liturgical actions were carried out. “the Council fathers never had any intention This practice was ubiquitous in St. of changing the liturgy.”61 It is a view with Peter’s until after the council finished. The which Jeffrey Tucker agrees, arguing that liturgies at the council itself were largely the musical intention of the council fathers carried out in the same way they had been was to “turn the tide away from “Low Mass” before its start. For example, the Mass for with four English hymns—which had be- the opening of the third public session was come standard practice in many parts of the accompanied by Bartolucci’s Tu es Petrus, world—toward the liturgical ideal in which Ubi Caritas, Cantabo Domino, Palestri- the core music of the rite was an extension na’s Domine Deus, in simplicitate, as well as of the liturgical text itself.”62 Bartolucci sup- extracts from Bartolucci’s Mass for seven ports this by his recollection of the applause voices.59 This was lavish music for a lavish with which the Cappella Sistina was met occasion, but one in which even the coun- whenever it sang at the council: “the Sistine cil fathers, made up of the bishops of the Choir sang very often during the assemblies world, did not sing. of the [council] fathers, and the applause and approval which it received were the Conflict at the Council and in the Roman most profound testimony of how we were Curia appreciated for our role in the liturgy.”63 Piero Marini’s approach, radically differ- Piero Marini had been the secretary to ent from that adopted during the council, Annibale Bugnini when the latter controlled brought him into conflict with the direc- the committee that implemented Sacrosanc- tor of the Cappella Sistina, Domenico Bar- tum Concilium, the Consilium ad exsequen- tolucci, who had been appointed for life in dam Constitutionem de sacra Liturgia known 1956 by Pius XII. This practice of lifelong simply as the Consilium. Bugnini had come directors is one that the current incumbent into conflict with Bartolucci as far back as of Bartolucci’s post, Massimo Palombella, 60Palombella Interview, June 20, 2013. 57Ibid., 37. 61Bartolucci and Jones, “Research Interview,” 35. 58Ibid., 61. 62Tucker, “Benedict’s Musical Legacy.” 59Acta Synodalia, II:VI, 405. 63Bartolucci and Jones, “Research Interview,” 36.
18 Volume 143, Number 4 Sacred Music | Winter 2016 1965 when the latter had been appointed This personality clash underlines the to the consultative committee for music to basic tension Sacrosanctum Concilium as the Concilium. Bugnini, who expressed his a whole. It was the result of compromise understanding of music in regards to actuosa between several sets of people often pro- participatio when he wrote that “in the view ducing documents in which “the positions of the liturgists,” amongst whom he counted of the majority are located immediately himself, “the people must truly sing in order next to those of the minority, designed to to participate actively as desired by the litur- delimit them.”68 In this case one sees the lit- gical constitution.”64 He was frustrated by urgists against the musicians. Bugnini put Bartolucci’s insistence that instructions of the strength of the musicians’ party down to Sacrosanctum Concilium that “the treasure the fact that the discussions naturally took of sacred music is to be preserved and fos- place in Rome, a city replete with musi- tered with great care [and that] choirs must cians where many more people than most be diligently promoted, especially in cathe- cities are exposed to art music and where dral churches”65 have as much notice taken musicians have the ear of the powerful.69 of it as its instruction that “to promote actu- He willingly acknowledges that relations osa participatio, the people should be encour- between his Consilium and the musicians aged to take part by means of . . . songs.”66 were “uncomfortable,” a situation he puts This clash of ideas between Piero Marini down to “the refusal of any dialogue” on and Bartolucci ended in an ugly manner. the musicians’ part and that “the opposition Ultimately Marini, who outranked Barto- lucci by virtue of having so much access to of some musical circles was directed to the 70 John Paul II, won the battle and in 1997 liturgical constitution itself.” had Bartolucci removed from his posi- Bartolucci’s experiences from the oppo- tion in defiance of Pius XII’s orders that site end of proceedings reflect this same his appointment be made in perpetuo, and tussle. He claims that musicians were despite the fact that the Sistine Chapel treated “with suspicion by the reformers” choir came under the authority of the Pre- in the Consilium.71 It is puzzling that the fecture of the Pontifical Household, not liturgists believed that they could reform the Office of Liturgical Celebration of the liturgical music without the involvement Supreme Pontiff which Marini controlled.67 of musicians. Bugnini explains that it was Benedict XVI seems to have thought this because they were “considered anchored to somewhat of an injustice since in 2010 he the past,” something to which Bartolucci created Bartolucci cardinal in recognition readily admits since “if [musicians] had been of his service to the church. present, [the reformers] would not have had
64Annibale Bugnini, Th e Liturgical Reform 68Walter Kasper, “Un Concilio ancora in 1948–1975 (Collegeville, Minn.: Liturgical cammino,” L’Osservatore Romano, April 12, Press, 1990), p. 90. 2013, p. 4. 65Sacrosanctum Concilium, 114. 69Bugnini, Th e Liturgical Reform, 885–6. 66Ibid., 30. 70Ibid., 886. 67P. Marini, Cérémoniaire des papes, 106. 71Bartolucci and Jones, “Research Interview,” 40.
Sacred Music | Winter 2016 Volume 143, Number 4 19 such an easy time of their work.”72 At the liturgical movement of the 1950s. Barto- time, Bartolucci claimed that Bugnini’s fac- lucci says that by the time his “appointment tion “show[ed] an open aversion to every- was made when [the work of the Consilium] thing that the Cappella Musicale Pontificia was all already over.”76 He, the pope’s own had jealously preserved as sacred down the director of music, had been excluded from centuries” and that they implemented this any meaningful proceedings. Bartolucci’s aversion in an “obsessional way.”73 Bugnini account is corroborated by the musicologist was not entirely unjustified in his opinion and president of the Pontifical Institute of that the musicians were attached to the Sacred Music, Higinio Anglés, who com- past. plained that the Consilium was not sensi- However Benedict XVI made it clear in tive to the safeguarding of sacred music,”77 the letter to the bishops of the world which in contradiction to the demands made by accompanied his Motu Proprio Summorum Sacrosanctum Concilium.78 Bugnini con- Pontificum that using this as a criticism in firms this, explaining that the draft docu- and of itself was invalid. He reminded the ments “were studied by forty consultors at church that “what earlier generations held a meeting of the relators in Rome on April as sacred, remains sacred and great for us 19, 1965 . . . Now it had to be gone over too.”74 This could not be more of a rebuke with the musicians,” whose objectivity he to those who wished to do away with the challenges by asserting that “discontent was old and bring in the new simply by virtue already rife” amongst their number.79 Ben- of its novelty, a charge which Bartolucci edict XVI’s rebuke to the way of thinking seems to lay at the door of the reformers which during his pontificate was embodied who called themselves “pastoral liturgists,”75 by Piero Marini resulted in the archbishop’s a term they had appropriated from the transfer from the influential and very pub- lic role of Master of Pontifical Liturgical Celebrations to the nominally senior but in 72Ibid. practice mostly irrelevant post of President 73 Quoted in Bugnini, Th e Liturgical Reform, 886. of the Pontifical Committee for Interna- 74Letter of His Holiness Benedict XVI to the tional Eucharistic Congresses. This mirrors Bishops on the Occasion of the Publication of the career path of his mentor Bugnini who, the Apostolic Letter “Moto Proprio Data” having been Secretary to the Congregation Summorum Pontifi cum on the Use of the Roman of Divine Worship, was suddenly moved to Liturgy Prior to the Reform of 1970 (2007) be pro-nuncio to Iran in 1976.
20 Volume 143, Number 4 Sacred Music | Winter 2016 is, the form of the Mass as it was celebrated indeed the entire Catholic choral tradition before the liturgical reforms that followed up until the 1960s developed alongside the the council. In an interview in 2009, he evolution of that form of the Mass. It is declared that he had always celebrated this deeply embedded in the memory, tradition, form “without interruption since his ordina- and culture of the church and her members. tion” and even that he “find[s] it difficult . . . That the council happened does not mean to celebrate the modern rite.”80 Tracey Row- that suddenly the church has to abandon land believes that the “usus antiquior may be these centuries of our cultural heritage, that an antidote to the ruthless attacks on mem- would be incoherent, would fragment tradi- ory and tradition and high culture, typical tion, and would close off the transcendent. of the culture of modernity, and may also It seems that the entire reform of sacred music has been frustrated by the tensions between the two ideologies Bugnini and Bartolucci represent. Bugnini himself rec- It seems that the entire ognizes this, calling the musical reforms “one of the most sensitive, important, and reform of sacred music troubling”82 issues that the reformers dealt with and which only achieved “four years has been frustrated by the of musical polemics.”83 Johannes Overath believed that this tension was put into prac- tensions between the two tice in the “experiments” which “contra- dict both the great musical tradition of the ideologies Bugnini and Roman Church . . . without fulfilling the pastoral goal of actuosa participatio populi. Bartolucci represent. . . . The moderate but meaningful path of the Constitution on the Sacred Liturgy has already been abandoned in many plac- es.”84 Reid points out that in overreaching the mandate given to them by Sacrosanctum satisfy the desire of the post-modern gen- Concilium, the Consilium exacerbated this erations to be embedded within a coher- ent, non-fragmented tradition that is open Church, ed. Alcuin Reid (San Francisco: Ignati- to the transcendent.”81 Gregorian chant and us Press, 2013), p. 117. 82Bugnini, Th e Liturgical Reform, 885. 80Domenico Bartolucci, Intervista a Mons. 83Quoted in Reid, “Sacred Music and Actual Domenico Bartolucci, ed. Pucci Cipriani & Stefano Participation,” 112. Caruso, August12, 2009
Sacred Music | Winter 2016 Volume 143, Number 4 21 tension. He cites Bugnini’s own claims to from the Ordinary of the Mass which have have extended permission to substitute ver- become congregational such as the Missa de nacular songs for the Propers of the Mass, Angelis which has been used very often to something which is nowhere mentioned in alternate lines of the Gloria with the schola the documents of the council.85 It seems at papal Masses in St. Peter’s and the nine- that the English composer Anthony Mil- teenth century simple Marian antiphons, ner’s analysis of the 1967 liturgical music there is little of the Gregorian repertoire of instruction Musicam Sacram may be as propers which a congregation could easily applicable to Sacrosanctum Concilium: “gen- sing.90 erally a forward-looking document . . . Paragraph 116 of Sacrosanctum Concil- hampered by attempts to satisfy irreconcil- ium is undermined by the phrase “ceteris able viewpoints.” paribus” (especially in the English trans- These irreconcilable viewpoints find lation as “all things being equal”) since in expression in the text of the constitution practice these vague “things” could never be itself. Paragraph 121 calls for composers to “equal.”91 This was a phrase which appeared see the creation of music for the liturgy as in the earliest draft of the document,92 hav- their vocation, the purpose for which God ing been taken from the 1958 instruction created them with a particular emphasis from the Sacred Congregation of Rites De on music in which the people can partici- Musica Sacra where that phrase appears.93 pate and music for small choirs.86 This is in accord with Paragraph 14 which spells out When viewed in its proper context (as used the general principal of actuosa participatio, in science and economics, for example), it though without ever defining the sense of means a normative situation, thus in most actuosa.87 However, Paragraph 112, the first situations, Gregorian chant should have paragraph of the chapter devoted to sacred principal place. music describes “the musical tradition of the universal Church [as] a treasure of ines- 90Amongst others, at the Easter Vigil 1974 timable value, greater even than that of any (Scatola, 0371:3:II), Easter Day 1994 (Libretto art.”88 The musical tradition of the church archive of UCEPO), at the Inauguration Mass of up till that point had been one of choral the pontifi cates of John Paul I, II, Benedict XVI singing and especially Gregorian chant, a and Francis. (Scatola, 0469, 0485, 0510, and the form Sacrosanctum Concilium acknowledged Libretto archive of the UCEPO respectively). to be “specially suited to the Roman litur- 91Sacrosanctum Concilium, 116. gy.”89 While there are examples of chants 92Francisco Gil Hellín, Concilii Vaticani II synopsis in ordinem redigens schemata cum relationibus 85Reid, “Sacred Music and Actual Participation,” necnon patrum orationes atque animadversiones: 112. Constitutio de sacra liturgia Sacrosanctum Concilium (Vatican: Libreria Editrice Vaticana, 86Sacrosanctum Concilium, 121. 2003), p. 358. 87Sacrosanctum Concilium, 114. 93Sacred Congregation of Rites, Instruction on 88 Sacrosanctum Concilium, 112. Sacred Music and Sacred Liturgy, De Musica 89Sacrosanctum Concilium, 116. Sacra et Sacra Liturgia (1958), ¶16.
22 Volume 143, Number 4 Sacred Music | Winter 2016 Musical Genres in St. Peter’s Whilst this illustrates the importance of Gregorian chant, the repertoire of Gregori- an Masses used at St. Peter’s is limited. The Unlike polyphony, Sistine Chapel choir sing the Missa de An- gelis most often. Piero Marini explains that Gregorian chant seems they use different settings to differentiate the different liturgical seasons,94 for exam- to have the support ple, under Benedict XVI the de Angelis be- came particularly associated with Ordinary of both sides of the Time.95 To this end they also have in their repertoire the Missa cum Jubilo which they reformer-musicians use in Christmastide,96 Mass XVII for the penitential seasons of Advent and Lent.97 It divide. seems that they never sing the Credo to any setting other than Credo III.98 There have also been examples of Gregorian melodies being adapted to vernacular texts for the lucci calls this “ridiculous and unworthy”100 Mass Responses, such as at Corpus Chris- if a pope chooses to celebrate Mass in the ti 2013 at which the gospel was greeted in vernacular in St. Peter’s, it seems a good Italian but with the Gregorian that is usu- compromise since it preserves the musical ally used for the Latin.99 Although Barto- patrimony of the church as demanded by the Second Vatican Council.101 94 P. Marini, Cérémoniaire des papes, 107. The real expanse of the Gregorian rep- 95E.g., service booklet for the Festa della ertoire is not these settings of the Ordi- Presentatione del Signore: Santa Messa celebrata nary of the Mass, but the propers of each dal Santo Padre Benedetto XVI (Vatican: day from the Graduale Romanum which it Tipographia Vaticana, 2013), pp. 16–19, 45–47, has become customary to hear under the 63. directorship of Massimo Palombella at the 96E.g., Solennità dell’Epifania del Signore: Santa introit, offertory, and communion.102 Unlike Messa celebrate dal Santo Padre Benedetto XVI con polyphony, Gregorian chant seems to have il rito di ordinazione episcopale (Vatican: Tipo- the support of both sides of the reform- graphia Vaticana, 2013), pp. 10–13, 61–3, 83. er-musicians divide. Piero Marini praises 97E.g., Domenica delle Palme e della Passione del its ability to “allow the faithful to partici- Signore: Santa Messa celebrata dal Santo Padre pate actively in the liturgy even today” by Francesco (Vatican: Typographia Vaticana, which he is presumably referring to today’s 2013), pp. 17, 57, 73. 98All service booklets referred to in this paper. 100Bartolucci and Jones, “Research Interview,” 99Solennità del Santissimo Corpo e Sangue di 40. Cristo: Santa Messa, Procesessione e Benedizione 101 Eucaristica presiedute dal Santo Padre Francesco Sacrosanctum Concilium, 114. (Vatican: Tipographia Vaticana, 2013), 15. 102Palombella Interview,.
Sacred Music | Winter 2016 Volume 143, Number 4 23 lack of chant in the parish setting,103 while of the Synod of African Bishops on Octo- Bartolucci calls Gregorian chant a “noble” ber 4, 2009. At this Mass, the occidental art form.104 Gregorian chant tradition was drawn upon However, Marini’s views do not seem to sing the Laudes Regiæ and the Asperges entirely consistent since he seems also to Me at the beginning and the Mass. During suggest that whilst Gregorian “constitutes the Asperges, the African choir sang the an important and irreplaceable point of ref- Lingala language hymn Nakoma peto, the erence for papal celebration,” but that he offertory was accompanied by the Kikongo “does not know what will happen in the language song Ee Mkufu, Yamba Makabi future.”105 He does not go so far as to say and immediately following the Ave Regina that he wants Gregorian to be replaced, Cælorum Gregorian chant which closed but speculates that Taizé music may be an the Mass, the choir sang Tokobondela yo e, option were it ever to be. That he expects Mama Maria,107 a Lingala language piece the road of progress to lead to something invoking the intercession of the Blessed else is indicative of an agenda to which he Virgin Mary.108 This was not the only occa- does not readily admit. He does not answer sion of its kind. Other examples from Bene- the question “does Gregorian chant remain dict XVI’s pontificate include the Cherubic the most appropriate music for the liturgy?” Hymn in Greek at the closing of the Spe- with a “no,” but nor does he answer it with cial Assembly for the Middle East of the a “yes.”106 Synod of Bishops on October 24, 2010 at This concern with Gregorian chant is not which an Armenian choir sang a Marian to elevate the musical traditions of one peo- anthem after the Gregorian introit while ple’s Catholicism over any other: the type of the pope was incensing the altar.109 Being music that people of one culture associate in ordinary time, they went on to have with church may be very different to that of the Missa de Angelis for the Mass setting another. Under normal circumstances the and the Cappella Sistina also contributed musical tradition appropriate for the Vat- an offertory motet from the Roman poly- ican Basilica would be that of the West- phonic tradition.110 ern European Classical tradition since the building is in the Renaissance and Baroque 107Holy See Press Offi ce, “Second Ordinary styles of Western Europe. However, there Special Assembly for Africa of the Synod of have been occasions where the papal litur- Bishops: 4–25 October 2009,” Synodus Episco- gies which have taken place in basilica have porum Bulletin, October 3–4, 2009. not been aimed at Western Europeans. 108For the Ave Regina Cælorum which is not One example of this is the Mass Ben- recorded in the Synod Bulletin, see the unat- edict XVI celebrated to bless the opening tributed recording at 24 Volume 143, Number 4 Sacred Music | Winter 2016 Using music from non-western cultures ern culture could be used within that con- is entirely in keeping with the call of Sacro- text.113 By no means, however, does this sanctum Concilium for enculturation within preclude the use of music such as Gregorian the liturgy. African music may seem out of chant since, in fact, that has always been place within the architecture of St. Peter’s, an art form outside of normal culture. Its but it is not out of place within the Roman use in the synod Mass reflects the fact that Rite. Within the General Principles laid Gregorian chant does not belong to any down by the Constitution on the Sacred one culture; it “sounded strange even to the Liturgy is a section laying out the “norms ears of Charlemagne and Thomas Aquinas, for adapting the liturgy to the culture and Monteverdi and Haydn: it was at least as traditions of peoples,”111 “peoples” being the remote from their contemporary life as it is term employed to describe nations outside from ours.”114 Benedict XVI clearly consid- of the occidental tradition.112 Even though ered the involvement of the African choirs it consistently refers to the non-occiden- demonstrating their “native genius”115 (as opposed to that imported by western mis- sionaries) to be what he himself called “a legitimate adaptation to the local culture.”116 Benedict XVI was the most musically Benedict XVI was the aware pope the church has had in mod- ern times. Not only had he written about most musically aware liturgical music in an academic setting, he had close contact with the practical impli- pope the church has had cations of the turbulence of the musi- cal debates through the experiences of his in modern times. brother, Georg Ratzinger, who was head of the Regensburger Domspatzen choir from 1964 to 1994.117 Whilst it is perhaps an 113Sacrosanctum Concilium, 39. tal cultural traditions within the church in 114Martin Mosebach, Th e Heresy of Formlessness: terms of otherness, Sacrosanctum Concilium Th e Roman Liturgy and Its Enemy, tr. G. Harrison does make it clear that cultural imperialism (San Francisco: Ignatius Press, 2006), p. 16. is not appropriate within the liturgy. It left 115Sacrosanctum Concilium, 119. it up to local bishops’ conferences to decide 116Letter of His Holiness Benedict XVI to the what elements of the music of a non-west- Grand Chancellor of the Pontifi cal Institute of Sacred Music of the 100th Anniversary of its mov>, 04:44. Foundation, May 13, 2011 < http://w2.vatican. 111Sacrosanctum Concilium, Chapter I, Section va/content/benedict-xvi/en/letters/2011/ III, D [¶37]. documents/hf_ben-xvi_let_20110513_musica- 112E.g., the Vatican dicastery the “Congregation sacra.html>. for the Evangelization of Peoples” which was 117Peter Seewald, Benedict XVI: A Servant of the renamed from “propaganda fi dei” in 1982. Truth (San Francisco: Ignatius Press, 2006), p. 175. Sacred Music | Winter 2016 Volume 143, Number 4 25 overstatement of Benedict’s pianistic abili- cil.121 This “melodious religious symphony” ties, Jeffrey Tucker points out that Benedict is Domenico Silveri’s Armonia Religio- himself was “a trained musician of the high- sa.122 Today’s brass has a more prosaic pur- est caliber.”118 Benedict’s decision to appoint pose than that of the noble guard: “filling Massimo Palombella to the directorship of time as the pope moves towards the sanctu- the Cappella Sistina certainly seems to have been a careful one. At the start of Palom- bella’s tenure he found the choir using the Graduale Simplex, a volume intended for use in churches which could not muster the Benedict XVI’s approach standard of singer required to use the more complicated Gregorian melodies of the to music contrasts Graduale Romanum. “Obviously the Basil- ica [of St Peter] is not such a church.”119 Now, abruptly with that of his the Cappella Sistina always sings the introit, offertory and communion chants that the successor Graduale Romanum assigns for each Mass. Palombella discussed the difficulty with which this was implemented because of the practicalities of Masses in the Piazza San ary”123 as it did for Paul VI at his coronation Pietro: “when the pope arrives in the piazza, when “Silver trumpets had announced the the crowds all shout out,” he explained; “they approach of the Holy Father” for the start of shout out because they love the pope: that’s his first Mass as pope.124 They caused such 120 quite right!” These circumstances hardly a spectacle that they became the headline lend themselves to the singing of Gregorian for the coverage of the event in The Catholic chant, whatever the powers of the piazza Herald: “Silver Trumpets [corruption of Sil- public address system. It is for this reason veri] Greet Pope Paul VI.”125 They fell out of that Palombella has introduced a brass band use during his pontificate but were reintro- for the pope’s arrival and departure. duced during that of Benedict XVI. Brass has been used in papal liturgies Benedict XVI’s approach to music con- before now. In the papal form of the Mass trasts abruptly with that of his successor, before the liturgical reforms, “during the ele- Francis, who has placed more emphasis on vations, the trumpets of the Noble Guard, 121 placed above the entrance door of the Basil- La Cérémonie Solennelle du Couronnement de sa ica, play[ed] a particularly sweet and melo- Santité Paul VI, Scatola, 0286, p. 47. dious religious symphony,” as happened at 122Archdale A. King, Liturgy of the Roman Church the coronation of Paul VI during the coun- (Milwaukee: Bruce, 1957), p. 399. 123Palombella Interview. 118 Tucker, “Pope Benedict XVI’s Musical Legacy.” 124“World Looks On,” Th e Catholic Herald, No. 119Palombella Interview. 4,030 ( July 5, 1963), 10. 120Palombella Interview. 125Ibid. 26 Volume 143, Number 4 Sacred Music | Winter 2016 parts of the faith other than the liturgy and language groups being present at one lit- its music. For a start, Francis himself barely urgy was raised and solved at the first ses- ever sings. Presumably this is because he sion of the council by Cardinal Feltin who considers himself unable to do so, although was amongst those who proposed a liberal- Paul VI was also “tone-deaf and not a great ization of the use of the vernacular within connoisseur of sacred music,”126 though Paul the liturgy but with the proviso that “an VI still sang his parts of the Mass.127 Francis exception should be made for solemn Mass, has however brought in some innovations that it might be truly served by the rich- to the music of St. Peter’s. There is a greater ness of the true Christian musical tradition, presence of congregational music other than as well as the possibility of carrying out Gregorian chant, particularly setting Ital- the [liturgical] celebration with one mind ian texts which, although they have been among Christians of different nations.”130 included in the papal liturgy since the reign Since the Ordinary of the Mass at St. of John Paul II, had previously always been Peter’s is almost always in Latin, this is an confined to the psalm and a song at com- opportunity for many language groups to munion. This may be in part be to do with participate externally together on an equal his emphasis on his role as Bishop of Rome, footing. This is sometimes done by the seeking music which the Romans know alternation of congregational Gregorian rather than trying to cater for the interna- chant, “always the Missa de Angelis,” with tional congregation. The vernacular music polyphony which Bartolucci argues did not is heard alongside the Gregorian propers actually achieve its aim of promoting active introduced by Pope Benedict. participation since it “in reality was a group The Italian songs introduce a disparity of nuns and priests.”131 He puts the prac- of exclusivity, since most of the congrega- tice down to the wishes of Virgilio Noè, tion is not acquainted with the Italian mel- the papal Master of Ceremonies from 1970 odies but some within it are. Piero Marini to 1982, and says that he performed these estimates that only thirty per cent of the alternatim settings because he was “obliged” congregation at any given papal liturgical to do so, rather than because he wanted to. 132 celebration will be Italian speakers,128 so the These, however, were not post-conciliar seventy per cent are less able to participate novelties but had been known during the actively in the celebration. It is presumably council itself and so must have been estab- to this that John Paul II was referring when lished at St. Peter’s before it started meet- he wrote that “Gregorian chant continues ing. For example, at the opening of the third . . . today to be an element of unity in the public session of the council on December Roman Liturgy.”129 The problem of many 4, 1963, Paul VI entered St. Peter’s Basilica, adored the Blessed Sacrament in its chapel, 126Bartolucci and Jones, “Research Interview,” 39. and then intoned the Ave Maris Stella 127Veronica Scarisbrick, “Paul VI: the Last Coronation,” which was sung by the choir to a setting Vatican Radio, July 1, 2013, 07:50 Sacred Music | Winter 2016 Volume 143, Number 4 27 by Lorenzo Perosi, with the council fathers alternating verses of Gregorian chant with the choir’s polyphony.133 Th e reformers could Conclusion have done worse than In contrast to the seismic shift that Euro- pean Catholic music has undergone in the to remember the fourth wake of the Second Vatican Council, up until 2014 the music of St. Peter’s Basili- commandment: “honor ca changed in subtle ways which predomi- nantly reflected the documents issued by the thy father and thy council rather than its putative “spirit” of the council. As Massimo Palombella explained mother.” in my interview with him, this is in part be- cause St. Peter’s exists somewhat outside of the European framework of liturgical music, because it caters for pilgrims from across the The church’s first and foremost role is world, who therefore lack a common reper- to offer worship to God and this is swiftly toire of congregational music. followed by the spiritual care of his people. It also comes from adherence to the The first of these two principles forbids the aims of the pontificates of John Paul II church from depriving God of the worship and Benedict XVI. These were both men offered him by those who use the treasury who had participated in the council itself of Catholic musical patrimony to immerse and who saw how far from what the coun- themselves in prayer. The second forbids cil had called for the church had travelled. the church as an institution from depriv- Those responsible for papal liturgical music ing the people of God of their cultural her- sought to reflect the popes’ desires to return itage or injuring it by removing it from its the church to the path set out by the council intended context of the liturgy. However, as much in the music as elsewhere. this is exactly what has happened in the The imposition of reformist views that wake of the liturgical reforms. There is cer- obsess on the external aspect of actuosa par- tainly a place for external participation, and ticipatio, has been somewhat limited in part therefore there is certainly a place for pop- because it is nigh on impossible to have ular singing, but this can never be to the everybody at a papal liturgical celebration exclusion of what our forebears in the faith doing something, because of the diversity held dear, the intimacy of internal partici- of language groups which are always pres- pation in the work for the people performed ent at St. Peter’s. Music became symbolic by Christ. It strikes me that the reform- of a broader liturgical project in which the ers could have done worse than to remem- restoration of beauty would lead to a reaffir- ber the fourth commandment: “honor thy mation of truth, and thereby of goodness. father and thy mother.”134. 133Acta Synodalia, II:VI, 405. 134Exodus 20:12 28 Volume 143, Number 4 Sacred Music | Winter 2016 The Grammar and Rhetoric of Gregorian Chant Gregorian melodies reflect technical characteristics of their texts. by William Mahrt regorian chant is a synthesis of syllables became the solmization syllables text and melody, being a sin- ut, re, mi, fa, sol, la, which identified pitch G gle melodic line setting a sig- relations; words were described by the eight nificant liturgical text. The text parts of speech in grammar, four declinable is the foundation of these melodies, and and four indeclinable, while the analogy to in the Middle Ages, texts were principally grammar in the eight modes, four authentic understood in terms of grammar. Much of and four plagal was explicitly drawn by the the earliest theoretical work on Gregorian musical theorists. Analogy was also drawn chant was done by monastic theorists, for between the parts of the sentence—comma, whom grammar was a principal discipline. colon, and period in grammar—to the parts While the secular schools taught the seven of the musical phrase, called distinctiones, liberal arts: the trivium—grammar, rheto- but also called comma, colon, and period. ric, and logic (dialectic)—and the quadriv- All of this reflected the basic phenom- ium—arithmetic, geometry, music, and enon that the chant melodies reflected the astronomy, music having a place secured shape of their texts. Calvin Bower has set by the influential treatise of Boethius. The out the theorists’ description of distinctio- monastic schools, on the other hand, taught nes—comma, colon, and period, citing the only the subjects pertinent to the conduct of articulation of these parts in the melodies the monastic life: grammar to interpret the by cadences on stronger or weaker degrees scriptures, music to sing the liturgy, and the of the scale as described by theorists.1 computus—parts of arithmetic and astrono- This works for the few pieces the theo- my to figure the calendar. Under these cir- rists describe, but the more fundamental cumstances, music followed directly upon grammar, and so the sequence of topics in 1Calvin Bower, “Th e Grammatical Model of a music treatise followed the model of a Musical Understanding in the Middle Ages,” in grammar treatise. The letters of the alpha- Hermeneutics and Medieval Culture, ed. Patrick J. bet in the grammar treatise became the let- Gallacher and Helen Damico (Albany: State Uni- ter-names of the notes in the music treatise; versity of New York Press, 1989), pp. 133–145. William Mahrt is the president of the CMAA and the editor of Sacred Music. Sacred Music | Winter 2016 Volume 143, Number 4 29 aspect of the texts of Gregorian chant has meditation. This was so important that its to do with the fact that they are psalm texts. measurement was taught: the singer silently While the psalms in Latin are considered said “Ave” to measure the pause. Mary Berry poetry, they have neither meter nor rhyme. has recounted the monastic customaries Their poetry is constituted byparallelismus which prescribed such measurement, and membrorum, the parallel parts of the verse they varied somewhat. Some said “Ave,” oth- of a psalm—two (or sometimes three) com- ers said “Ave Maria,” a few said “Ave Maria plete statements which are poetically com- gratia plena,” and one said “Ave Maria, gratia plimentary. The classic example isJustus ut plena, Dominus tecum.” At first she thought palma florebit, sicut cedrus Líbani multiplicabi- this impossible, but then her choir sang at tur (Ps. 91:13). “The just shall flourish like a the Abbey of St. Alban, and when they sang palm tree, like a cedar of Lebanon shall he a psalm verse, she noticed the long rever- be multiplied.” Two different similes applied beration in the church, and she said, “why to “the just one” constitute the parallelism. I that is ‘Ave Maria, gratia plena, Dominus know of no medieval musical theorist who tecum’,” and concluded that the pause was a comments on the parallelism in the abstract, response to the reverberation of the particu- probably because it is so much second nature lar acoustics of the church. Thus, in practice that he does not give his attention to it. Still the distinction between the members of the this parallelism is at the root of the melodies. parallelism was very important. For the chanting of the psalms in the Parallelism can also be seen in the sim- Divine Office (all hundred and fifty chanted ple the psalm antiphons, such as that on in a week, necessarily quite simply), the Justus ut palma florebit;2 melody was the psalm tone, reflecting the grammar of the parallelism of the text; it set the two principal parts, each chanted upon a single pitch but articulated by a modest melodic cadence. The first half is a colon, consisting of a complete statement; the second half is another colon, which, however, is divided The monastic theorists, however had into two commas, “sicut cedrus Libani” and a very practical concern about singing the “multiplicabitur.” The whole antiphon can psalm verse that had to do with the paral- be called a period, setting the complete sen- lelism—the pause between the two halves. tence of the text. Each of these distinctiones When singing the psalms antiphonally— is articulated by a melodic cadence, either the two halves of the choir facing each other, each side singing a whole verse in turn—the 2Peter Wagner, Gregorianische Formenlehre: Eine alternation between sides was direct, with- Choralische Stilkunde, 3rd ed., vol. 3 of Einführung out a break. But between the two members in die Gregorianischen Melodien (Leipzig: Bre- of the verse, there was a definite pause, mea- itkopf und Härtel, 1921; reprint, Hildesheim: sured carefully, which provided an instant of Georg Olms, 1970), p. 11. 30 Volume 143, Number 4 Sacred Music | Winter 2016 the descent or ascent of a step. The final cadence is to D, the final of the mode; the cadence of the first colon is to C, the penulti- mate note of the final cadence, and so a rela- tively strong pitch; the cadence of the comma at the beginning of the second colon is to F, the more remote pitch. But it is more than just cadences—it is also that each grammat- ical element receives a distinct melodic con- tour, the typical Gregorian contour of an arch, rising to a peak and descending again. The tract is a very different genre. It, too is based quite directly upon successive verses of a psalm, an arrangement known as direct psalmody—a series of psalm verses in numerical order, without any refrain. Its melody is much more extended, quite melis- matic, however, and so it usually consists of just a few verses. What is most consistent in these verses is the middle cadence. Consider the mode-eight De profundis,3 a tract of four verses. While the internal melodies of the verses vary considerably, the middle cadence (indicated in the example by the full bar) is very consistent; the end cadence (indicated by the double bar) is quite consistent as well, except for the final verse, which uses a dif- ferent formula to conclude the piece. These cadences articulate the ends of each element not very consistent, but occurs frequently of the parallelism. I have, of course, chosen enough that it can be part of the expres- the most consistent piece for the sake of illus- sion of the text. The declarative mood is by tration, but among the mode-eight tracts, the far the most common, and its manifesta- middle cadence is always very consistent. This tion might be seen in the typical contour of serves the same function as the pause in the a chant melody, an arch shape, which rises psalm tone—to articulate the break between from a low point to a higher point and then the two halves of the parallelism. descends to its conclusion, as in the anti- Another aspect of grammar that some- phon Justus ut palma, above. times appears in chants is mood: declara- Imperative mood differs from this; it often tive, imperative, and interrogative. This is reflects a stern tone of voice which begins higher and descends. This occurs frequently 3Ps. 129:1–4, Graduale Romanum (Tournai: De- enough in imperative sentences to be taken sclée, 1961), p. 75 as a phenomenon, The communion antiphon Sacred Music | Winter 2016 Volume 143, Number 4 31 not every text needs to be set with rhetor- ical figures. Rhetoric involves specific fig- ures—uses of words that are out of the ordinary for specific effect. One that most know today is hyperbole—an exaggeration to make a case: “I am so hungry I could eat a horse.” What would I look like if I had just eaten a horse? Impossible, but the case Tollite hostias 4 consists of three successive has been made effectively that I am really imperatives, each beginning on a high note hungry, although you would not say it very and descending. On the word “adorate” there often. Musical theorists of the Middle Ages is an additional meaning—adoration calls rarely mention specific figures, but rhetor- for a certain deference, a humility, and this ical phenomena appear in the chants, and phrase plunges quickly to the lowest note of these realize figures in the psalm texts the chant, reflecting the gesture of adoration, themselves. Such figures were the subject of before it rises again to the final. two very enlightening treatises. Cassiodorus (485–585) wrote a com- mentary on the whole psalter, in which 108 different rhetorical figures on 346 occasions are mentioned as they occur in the texts of the psalms under discussion. These figures are indexed in Patrick Walch’s three vol- ume translation of the commentary.6 I have checked out each of these mentions to see if they are set to chant and found 44 chants The interrogative mood is sometimes which give clear musical shape to the fig- seen in the conclusion of a sentence which ures Cassiodorus mentions, and an addi- turns upwards; for example, in the third tional 31 which are possibly settings of his line of the introit Dominus illuminatio mea,5 figure. These figures fall into three groups where parallel sentences are set to higher 1) parallel structures, 2) emphasis, and 3) pitches, and the concluding sentence of the description. second rises to the highest pitch of the two 1) Parallel structures. The use of the phrases as an expression of the question. same word at the beginning of successive While grammar describes the funda- statements is anaphora.7 In chant this word mental procedure of the sentence; rhetoric is then set to the same melodic figure. In pertains to elements that are used occasion- the introit Dominus illuminatio mea,8 the ally for specific effects; grammar is obliga- tory, rhetoric is optional—every text needs 6Cassiodorus, Explanation of the Psalms, ed. P. to be set with grammatical correctness, but G. Walsh, 3 vols., Ancient Christian Writers, 51–53 (New York: Paulist Press, 1990–91). 4Graduale, 374–75. 7Cassiodorus, Explanation, I:265. 5Graduale, 330. 8Ps. 26:1–2; see example 5, above. 32 Volume 143, Number 4 Sacred Music | Winter 2016 two halves of the parallelism begin with the reflecting precisely the character of the same word, “Dominus.” This receives the wonders mentioned. same melodic figure, except that the second makes a more intense expression by being set a fourth higher. 2) Emphasis. An emphasis can be cre- ated by shifting mode within the course of a piece. This occurs in the communion A more heightened contrast can be antiphon Manducaverunt.11 Cassiodorus found in the responsory Quis Deus mag- calls the figure heresynchoresis , or concessio, nus.9 Cassiodorus identifies the figure in “when things are granted to those who vio- this text as syndiasmos, collatio, or con- lently desire them.”12 The chant begins in junctio, in his description, “it occurs by a major (Hypolydian) mode for that whole comparison of opposites, persons or cases phrase. This mode is the mode that conven- being compared for contrast or similari- tionally speaks of things sensibly pleasing— ty.”10 The comparison is stated in a ques- it is the mode in which harvest communion tion, who is a great god like our God? chants are sung, for example. After that line and Cassiodorus mentions the gods of the of text, the mode shifts back to the minor. pagans, which he considers the lesser. The first Deus is set to a small three-note fig- ure, the second a considerable amplifica- tion of the same pitches, with a melisma upon noster, ending in an upward cadence suitable to the question. The rhetoric of the piece continues, an apostrophe, in which our God is addressed who does A shift of mode is made particularly wonders, and the wonders form the peak audible if it entails the use of accidentals. The of the piece, as the longest melisma with tract Qui seminant13 is on a text described by the highest pitches. Finally, the melisma Cassiodorus as antistathmesis or recompensa- ends upon a pitch lower than has yet been tio, a reward for leading a just life.14 This had in the whole piece, a true surprise, 11Ps. 77:29, Graduale, 84. 12 9Ps. 76:14, Nocturnale Romanum, ed. Holger Cassiodorus, Explanation, II:262. Peter Sandhofe ([Heidelberg]: Hartker Verlag, 13Ps. 125:5, Graduale, [24]. 2002), p. 515. 14Th is tract is found for Sts. Agathae, Priscae, & 10Cassiodorus, Explanation, II:246. Felicis in René Hesbert, Antiphonale Missarum Sacred Music | Winter 2016 Volume 143, Number 4 33 figure is not found in the standard classical 3) Description. Identified chants include texts and is missing in Lausberg,15 but Put- texts for which Cassiodorus identifies the tenham gives it as recompencer16—balancing figures ofdiatyposis , tapeinosis, parabole, an unfavorable aspect with a favorable one. characterismos, and topothesia. The last of Its musical setting in this tract is striking, these, a geographical trope, is seen in the since the tract melody is quite formulaic. tract, Qui confidunt in Domino, the second One expects a rise to the reciting note G verse),17 referring to Jerusalem with moun- immediately, G-a-c; here, instead, the rise tains round about it. Cassiodorus calls it is to B-flat, F-G-B-flat, a figure not prop- topothesia, or loco positio, the description of erly belonging to the mode; this lasts for a place.18 I have always viewed this jagged the phrase, “those who sew in tears”; upon beginning on “Montes” as a vivid descrip- the beginning of the compensating phrase, tion of the peaks of mountains by a spatial “shall reap in joy,” the melody resumes the analogy. This figure is found in other tracts expected rise to C, ultimately restoring the at the beginnings of verses, but without as B natural in place of the B flat. much repetition. Yet, in the context of Cas- siodorus’s description, it is also a melodic figure which encircles the final of the mode with the intervals of a fourth above and below. The point, which Cassiodorus does not explicitly make—he does not really have to—is that the mountains are a fig- ure of the Lord, who surrounds his people. If “Montes” is really set to a musical fig- ure depicting encirclement, then the phrase “The Lord surrounding his people,” might show some encirclement as well. It is more subtle, but the notes leading to the cadence make a fourfold reiteration of the pitches aG. This is found in other tracts as a for- mulaic cadence preparation, but only with Sextuplex (Bruxelles: Vromant, 1935; reprint, two- or threefold repetition, (just as “Mon- Rome: Herder, 1967), pp. 30, 40, 42. tes,” without as much repetition). This extra reiteration points up that there is a subtle 15Th e standard compendium of rhetorical fi g- focusing upon that G final in this figure, ures, translated from the German edition of 1963; Heinrich Lausberg, Handbook of Liter- just as the Lord encircles his people. ary Rhetoric: A Foundation for Literary Study, tr. Cassiodorus’s commentary on the psalms Matthew T. Bliss, Annemiek Jansen, & David was read widely through the Middle Ages, E. Orton; ed. David E. Orton & R. Dean An- and must have been commonplace in the Car- derson (Leiden: Brill, 1998). olingian era when the Gregorian chants were 16George Puttenham, Th e Art of English Poesie, 17 ed. Frank Wigham & Wayne A. Rebhorn (Itha- Ps. 124:2, Graduale, 139. ca, N.Y.: Cornell University Press, 2007), p. 301. 18Cassiodorus, Explanation, I:288. 34 Volume 143, Number 4 Sacred Music | Winter 2016 being given their final shape, a shape which etition of the word answers its original ver- includes a rhetorical treatment of the text. sion with an opposite melodic direction, The other significant treatise is Venera- though the same range of pitches. The two ble Bede’s (now St. Bede, 672–735) De sche- words are thus paired by complementary matibus et tropis.19 Rhetoric, for Bede, was a contours, quite comparable to each other, part of grammar, and his treatise considers and quite distinct from the contours of the that part of rhetoric that made its way into rest of the antiphon. the end of the grammar treatise. Bede uses the schemes and tropes of classical rheto- ric but illustrated these classical principles with texts of the psalms. Just as for Cas- siodorus, I have found chants which set the texts which Bede used for examples. There are two ways in which these texts can be represented by a melody, by repeti- Bede describes epanalepsis as “the repe- tion, or by control of the height and depth tition of the first word of a verse at the end of pitches. Repetitions generally conform of the same verse,” and gives as an exam- to the schemes, which are figures of repeti- ple St. Paul’s well-known exhortation from tion, and pitch height to the tropes, which Philippians, “Rejoice in the Lord always; are figures of signification. again, I say, rejoice.”22 The Gregorian introit on this text23 sets the firstGaudete to a rising minor third preceded by turning around the first note of that third; after the middle portion of the line, the final word, the repetition of gaudete turns around the top note of the same third and then drops to its bottom note. The first is an ascending Among the schemes, Epizeuxis is the figure at the beginning of the phrase, the immediate repetition of the same word second a descending one at the end. within a sentence.20 One of Bede’s examples is from Isaiah, “Be comforted, be comforted, my people, says your God.” The Gregorian antiphon which sets this text21 recognizes the epizeuxis but does not represent it as a simple melodic repetition. Rather the rep- 19St. Bede the Venerable, Th e Art of Poetry and Rhetoric, Bibliotheca Germanica, Ser. nova, 2, (Saarbrücken: AQ-Verlag, 1991). 20Bede, Rhetoric, 172, 175; Is. 40:1. 22 21Antiphonale Romanum (Tournai: Desclée, Bede, Rhetoric, 172, 175; Phil. 4:4. 1949), p. 254. 23Graduale, 6. Sacred Music | Winter 2016 Volume 143, Number 4 35 Bede defines a trope as “an expression which, either for the sake of ornamenta- tion or from necessity, has been transferred from its proper meaning and understood by analogy in a sense which it does not have.”24 The first of the tropes for which there is an interesting Gregorian melody is autonomasia, “the substitution of a descrip- tion for a proper name: that is to say, the trope refers to a specific person by his or her attributes.” In Ps. 79:2, the Lord himself is described on the basis of place: “Thou that sittest above the cherubim.”25 The melody for the Gregorian gradual on this text Qui sedes, Domine, super Cherubim,26 makes the Lord’s position clear by setting “super” to Among the tropes, Bede lists allegory, a leap upward followed by two downward and develops this more extensively than leaps. Being at the top of the range of a other figures.27 Thus do the patristic four choir, this word stands out in contrast to senses of scripture find their way into the the Cherubim above whom the Lord sits. treatise28—theology finds its way into rhet- The chant proceeds to a subsequent verse oric.29 A moral allegory is depicted in the of the psalm, where it exploits the oppo- words from St. Luke, “Let your loins be girt site range: on “excita potentiam tuam, and lamps burning in your hands.”30 The et veni,” “stir up thy might and come,” it matins responsory on this text31 makes use reaches the lowest point of its range, quite of a distinction of range to distinguish the unusually low for this kind of chant. Is this 27 a description of the Lord as well? I sug- Bede, Rhetoric, 192–207; gest that it depicts the Advent theme of 28Bede describes the four senses: “sometimes it the power of the Lord as dormant, and the prefi gures an event literally, sometimes it prefi g- urgent plea of the singer is for it to become ures typologically [i.e., prophetic] and even in active. The whole chant depicts the Lord the life of Christ or of the Church, sometimes by extreme ranges, above the Cherubim, it fi gurtively expresses a tropological, or moral, principle, and sometimes it fi guratively express- and below, in a state of inactivity. es an anagogical sense, that is, a sense leading the mind to higher things,” Rhetoric, 203. 29Martin Irvine, Th e Making of Textual Culture: Grammatica and Literary Th eory, 350–1100 (Cambridge: Cambridge University Press, 1994), pp. 293–96. 24 Bede, Rhetoric, 183. 30Bede, Rhetoric, 205; Luke 12:35. 25 Bede, Rhetoric, 186, 187-88. 31Liber Responsorialis (Solesmes: E Typog- 26Graduale, 7–8. rapheo Sancti Petri, 1895), p. 202. 36 Volume 143, Number 4 Sacred Music | Winter 2016 two parts of the allegory; the girding of shall praise thee for ever and ever.”32 This text the loins (from the exodus) is set to a low occurs in a most interesting chant, which has range introduced by a prominent descend- received some attention for its text setting, ing figure; the burning lamps (from the but not the part Bede mentions. The com- gospel parable of the wise virgins) is set to munion antiphon Passer invenit33 draws from a higher range introduced by an upward the previous verse of the psalm, and expresses leap, the part from the Old Testament the seeking of the altars of the Lord in the in the lower range, from the New, in the metaphor of a sparrow finding a house and higher. But there is more, since the text a turtle-dove a nest. It is only in the verse in St. Luke goes on to make the allegory Bede cites that the anagogical significance more explicit: “and yourselves like to men is made explicit: while “blessed are they that who wait for the Lord.” This explains why dwell in thy house” could simply amplify “thy the loins should be girt and the hands with burning candles. The parallelism with the allegorical statements is made clear by the melody, which reviews the pitch structure of the allegorical part: repeating the fig- ure on “sint” at “et vos,” and renewing the Th e texts of Gregorian range of “et lucernae at expectantibus.” Finally, the narration of the coming of the chants are their sound Lord to the wedding feast as a fulfillment of all that has gone before is expressed by foundation. the melody rising to a pitch higher than has been heard until then. altars,” yet, when the last clause of this sen- tence evokes the context of eternity, they shall praise thee forever and ever, the temple is seen to be a figure for heaven. The melody of this chant is famous for the fact that it includes a kind of onomatopoeia, the representation of natural sounds; on “et turtur nidum,” “the turtle dove finds a nest,” the rising figures are expressed in liquescent neumes, which call for the singing of liquid consonants on their second notes; it has often been observed that this liquescence imitates the cooing of the turtle-dove. There is a more general matter of Bede cites an anagogical allegory of the temple in the words of Ps. 83:5, “Blessed are 32Bede, Rhetoric, 207. they that dwell in thy house, O Lord; they 33Graduale, 126–27. Sacred Music | Winter 2016 Volume 143, Number 4 37 text expression here, though; the first phrase on the text “in saeculum saeculi laudabunt centers around its higher notes at the begin- te.” Bede’s treatise made its way quickly, and ning, gradually descending to its lowest point, manuscripts of it are found at St. Gall just at making a descent as that of a bird finding a the time when the chants were receiving their point of repose; this descent includes moving final formation. through B-flat, creating a momentary Phry- The texts of Gregorian chants are their gian motion. The process is repeated on the sound foundation. In some cases, the chants employ melismas which depart from the text for a moment of sheer jubilation.34 But even there, the grammar and rhetoric of the text is the solid foundation for their melody. The Always present is the grammar of the text is a given—all texts con- form to the rules of grammar, and most chants fact that in chant— reflect their basic grammatical structure. This has been illustrated in the forgoing discus- monophonic music, the sion. Not all texts employ the figures of rhet- oric; the fact that not many do is grounds for relation of text and Cassiodorus and Bede to mention them spe- cifically. Likewise, not all rhetorical figures in music is one-on-one, an the text are reflected in the Gregorian melo- dies which set them. I have chosen the ones intimate interaction of which I think do this in the most interesting way. Always present is the fact that in chant— text and melody. monophonic music, the relation of text and music is one-on-one, an intimate interaction of text and melody. next phrase, the parallelism being empha- sized between the bird’s nest-finding and the speaker’s finding the Lord’s altars; the B-flat has been subtly replaced with a B-natural, but in the context of a cadence to G. The third phrase proceeds from there and reviews the entire range of notes in the piece; but it is 34Cf. William Peter Mahrt, “Jubilare sine ver- only at the end of the third phrase that the bis: Th e Liturgical Role of Melisma in Gregorian B-natural is effectively made the approach to Chant,” in Proceedings of the Gregorian Institute of a cadence on A, reversing the cadence of the Canada, August 8, 2013 (Lions Bay, British Co- first line. This reversal creates a sense of trans- lumbia: Institute of Medieval Music, 2014), pp. formation that underlines the transformation 1–22 38 Volume 143, Number 4 Sacred Music | Winter 2016 Repertory Antonio Salieri’s De profundis: Rediscovering a Gem Psalm 129 in Tonus peregrinus with an ostinato setting by Jane Schatkin Hettrick ntonio Salieri (1750–1825) held A the office of Hofkapellmeis- ter (court music director) of the Vienna imperial chapel for thirty-six years (1788–1824), the longest tenure in the history of that institution. He composed about a hundred pieces of liturgical music, including four orchestral masses, one Re- quiem, and some forty-five graduals and of- fertories, as well as settings of other texts.1 1Salieri’s four orchestral masses are avail- Because of the importance of his position, able in critical editions, edited by Jane Schat- the autograph scores of most of his sacred kin Hettrick: Messe in B-Dur, Denkmäler der works were preserved (rather than being Tonkunst in Österreich, vol. 146 (Graz: Akade- discarded after the preparation of parts, as mische Druck- und Verlagsanstalt, 1988); and was commonly done). Originally they be- published by A-R Editions (Middleton, Wis- longed to the working library of the Hof- consin) in the series Recent Researches in the musikkapelle (after the first World War, Music of the Classical Era: Mass in D Major, performance venue of the Vienna Choir vol. 39 (1994); Mass in D Minor, vol. 65 (2002); Boys); they are now housed in the Österre- Plenary Mass in C with Te Deum, vol. 139 ichische Nationalbibliothek, Musiksamm (2016); a critical edition of his Requiem Mass is lung. As Hofkapellmeister, Salieri had forthcoming in 2017. Dr. Jane Schatkin Hettrick, Prof. Emeritus of Music, Rider University, has written widely on sacred music. Sacred Music | Winter 2016 Volume 143, Number 439 at his disposal the resources of the court, A consideration of everything notated (or which supported a full instrumental ensem- annotated) on these manuscripts is essential ble as well the choir of men and boys. As a to interpreting the composer’s Fassung letz- result, most of his liturgical works involve ter Hand (final written version).4 large scores. This essay introduces one of Comprising 102 measures, De profun- his few compositions calling for a small en- dis is set for a three-part ensemble: unison semble: a setting of Psalm 129, De profun- soprano and alto, unison tenor and bass, dis. Using modest proportions and simple and organ continuo. The melodic material structure, Salieri gives us a powerful work, adapts the psalm tone called tonus peregri- which is at the same time well within the nus (wandering tone), here given with mea- grasp of the typical small choir found in to- sured rhythm. Also known as the ninth day’s churches. tone, the tonus peregrinus gets its name from De profundis survives in two (related) the unusual makeup of the chant. Unlike sources: the composer’s autograph score and the other psalm tones, which remain on a a set of performance parts made by a pro- single reciting note, it has two reciting notes fessional copyist under his direction.2 The or “tenors.” The final note of the second half version presented here is the first edition of the chant ends a fifth lower than the first that represents faithfully the composer’s note of the first reciting note. This fifth intent as found on these authentic sources.3 relationship makes it fit well for harmoni- cally-based music. The tonus peregrinus has 2Th e autograph score bears no date; the Öster- a long and manifold history. A recent study reichische Nationalbibliothek catalogue dates it by Mattias Lundberg traces its presence in around 1810. western music for over a thousand years and 3 examines its use in about a hundred compo- None of Salieri’s sacred compositions were 5 published during his lifetime. Two modern edi- sitions. Although this chant has been used tions of De profundis have been produced. Th e for a number of different texts through his- German fi rm Anton Böhm & Sohn issued in tory, it is most consistently associated with 1936 or 37 in the series Denkmäler liturgischer Psalm 113 (In exitu Israel), which is sung Tonkunst (under the general direction of Al- fred Schnerich) an edition by Louis Dité, the documentation is available because in a bomb- archivist of the Vienna Hofmusikkapelle. A ing of Augsburg in February 1944 the fi rm was statement on the cover claims that the edition completely burned down, destroying all records. is based on the autograph manuscript in the Vi- An edition by Arista (1970, no editor indicated) enna Hofkapelle. Despite this declaration, the was apparently taken without acknowledgment edition includes tacit editorial actions aff ect- from the Böhm edition. ing the original, mostly in the form of dynamic 4 and articulation markings. Dité also dates the Fassung letzter Hand usually refers to the last of piece as 1820 and gives Sept. 1, 1820 as its fi rst two or more manuscripts of the composer. Here performance, without noting the source of this it refers to the content of the manuscript after information. I am grateful to Herr Th omas Ball- numerous changes. inger-Amtmann for graciously supplying a copy 5Tonus Peregrinus: Th e History of a Psalm Tone of the edition and also for information about and Its Use in Polyphonic Music (Aldershot: Ash- its probable date. He also wrote that no further gate, 2011). 40 Volume 143, Number 4 Sacred Music | Winter 2016 at Vespers.6 Lundberg does not mention the is appended the words “Requiem aeternam Salieri setting. &c.,” indicating that it would continue with The best-known examples of thetonus the text of the introit from the Requiem peregrinus in polyphonic music include mass: “Requiem aeternam dona eis Domine: its appearance in the introit of Mozart’s et lux perpetua luceat eis.” Salieri’s setting Requiem Mass and the “Suscepit Israel” consists only of the eight psalm verses plus of Bach’s Magnificat. Early in the history the Gloria Patri. of Lutheran musical practice, it was com- The musical structure of Salieri’sDe pro- monly found as the melody for both the fundis builds on an eight-measure ground Latin and the German Magnificat. Bux- bass, played by the continuo group. Above tehude scholar Kerala J. Snyder asserts that that the vocal lines alternate the half verses “the ninth Magnificat tone can properly be of the psalm and the chant, overlapping in called a chorale, for it appears with a prose the last two measures of each repetition of translation of the Magnificat: ‘Meine Seele the ground. Including the final Gloria Patri, erhebt den Herren’ in the Babst hymnal.”7 there are ten statements of the chant.9 Indeed, baroque and later composers of The autograph score consists of two organ preludes treat this melody as a cho- folios, with notation completely filling the rale, similar to their other chorale preludes. four sides. (The first page of the manuscript Examples are found by Johann Pachelbel, can be seen at the end of this article.) It Johann Gottfried Walther, Samuel Scheidt, is not a neat manuscript, but it is legible. and Johann Ludwig Krebs. Bach’s setting Salieri made numerous changes and correc- (BWV 648) appeared in the “Schübler tions, as can be seen in passages notated and Chorales,” a group of six pieces published then crossed out, notation crowded into a during his lifetime. margin, as well as verbal annotations writ- In the liturgical practice of the Vienna ten into the margins. The manuscript also court of Salieri’s time, psalm 129 was part contains material added by other hands to of the Office for the Burial of the Dead. the original document. It is important to In the Rituale Viennense (1774), it is placed distinguish between what the composer after the opening prayer.8 To the psalm text wrote and what additions came after he created the manuscript. Salieri wrote the 6Liber Usualis (Tournai; Desclée, 1961), p. 254. entire musical notation and he labeled the performing parts “Soprani e,” “Tenori e 7 Buxtehude: Organist in Lübeck, Revised Edition Bassi,” and “Organo.” Note that he failed (Rochester, New York: University of Rochester Press, 2007), pp. 269–70; published in 1545 by Valentin Babst in Leipzig, Geystliche Lieder. Mit 1774, p. 273 (Offi cium Sepulturae Adulti, sive einer newen vorrhede, D. Mart. Luth was the most Clerici, sive Laici.). infl uential and complete hymnal of its time. 9It is quite diff erent from his other setting of De 8Rituale Viennense ad usum Romanum Accomoda- profundis, which is set for four-part choir accom- tum, Authoritate et Jussu Eminentissimi ac Celsis- panied by the ensemble of the Hofkapelle: two simi Sacrae Romanae Ecclesiae Presbyteri Cardi- oboes, two bassoons, two trombones, strings, nalis, Domini, Domini Christophori E Comitibus and organ. Th e autograph of this manuscript is Migazzi . . . . Ex Typographia Arch-Episcopali dated by the composer Dec. 1805. Sacred Music | Winter 2016 Volume 143, Number 441 to add “Alti,” so literally he wrote “sopra- [also] the bassoons, except that these last nos and [blank].” He penned the title “De [named] in the ritornello and only when the profundis,” underlined on the top margin of basses sing.) These directions, intended for the first page. Into the left top margin he the copyists, supply information about the entered the following sentence: “NB. Guar- ensemble not found in the score. First, the date sotto le battute aggiunte de Ritor- annotation specifies two instruments that nello.” (N.B. Note below the additional are not given in musical notation, but are beats of the ritornello.)10 He refers here to nevertheless part of the ensemble: viola and the six additional measures notated at the bassoon. Further, it reveals that there are bottom of the page which are intended to two each of both and it specifies what they be played by the continuo group before play: the violas double the bass (an octave the first entrance of the voices. This sug- above), and the bassoons play the bass line gests that he had originally begun the piece when the low voices are singing. From these on what is now measure 7. He placed the directions, copyists were able to create per- tempo indication (Andante) with the ritor- formance parts for unnotated parts as well nello, because it was the beginning of the as those written out on the score. piece. This ritornello statement also shows Finally, also present is a comment found the phrasing of the ground melody, which at the right side of the top margin. Because he does not write in any subsequent state- Salieri wrote this in pencil, which has faded ments. Because the composer most likely over time, it is now quite faint: “Copiato. intended this four-note grouping to pro- Sarà meglio mettere le cifre in [nota?].” This vide a model, it is applied here to the mov- too seems to be a comment for the copyists: ing bass line throughout the piece. He gives “Copied. It will be better to place the fig- the direction “unis.” with the ritornello, ures with the notes [last word almost illeg- instructing the performers to play only the ible].”11 Because the last word is not clear, bass line, without organ realization. (He it is difficult to determine exactly what he apparently wanted to stress this, given that is advising. In general, Salieri’s practice the absence of continuo figures conveys the was to write the continuo figures below same information.) Interestingly, the single the organ/bass line. In the present manu- dynamic direction that Salieri wrote on this script, it appears that the figures were orig- manuscript is in the ritornello: sf in mea- inally written below the bass line, and that sure 6. Since this melodic figure does not most of them included three long extension recur, the sf too does not come again. lines. Salieri crossed out (with his usual Down the right margin of fol. 1r Salieri heavy circular strokes of the pen) many of noted the following direction: “NB Le viole these figures and their extension lines. In col Basso, e così li Fagotti, ma questi ultimi nel Ritornello e solamente quando cantano 11Th e fact that this was written in pencil sug- i Bassi.” (The violas with the bass, and so gests that it was added later than the other an- notations on the manuscript. Salieri did write 10Th ough Salieri lived most of his adult life in comments, suggestions, and opinions after the Vienna, he almost always wrote in his native fact on fi nished scores, his own and also those Italian. of other composers, almost always using pencil. 42 Volume 143, Number 4 Sacred Music | Winter 2016 replacement, he entered new figures above non-autograph entries that affect the musi- the respective bass notes; some of these are cal content of the work. These are usually less detailed and most have only a single attributable to conductors or other musi- extension line. Those original figures lack- cians who may have performed it. In this ing long extension lines remain positioned case we find five dynamic markings added below the bass. by other hands, all intended to increase the As is the case with most organ/bass lines volume towards the end of the piece: “fo” in scores of this period, the figures are left (m. 70), “ffo” (mm. 88, 97, 101), and “fff” unrealized in the source—that is, the organ- (99). Four of these are written in blue pen- ist would be expected to supply chords above cil, which is attributed to Carl Luze, the the bass by interpreting the figures. Here, last titular Hofkapellmeister.12 The “fo” in however, Salieri did write out a simple three- measure 70 is in pencil, in an unknown part realization once, in the opening state- hand. A question remains about the “p” vis- ment of the melody (mm. 8-16), which was ible in measure 7. Here a “p” in blue pencil clearly intended as a model to be repeated appears to be superimposed on an existing with each succeeding verse of the psalm. “p,” the original possibly written by Salieri. This manuscript also contains mate- The user of blue pencil also wrote the word rial that does not stem from the composer. “Tenor” (m. 16), marking the second state- Most commonly such markings come from ment of the psalm tone. Finally, someone court scribes and conductors. The former altered the content of the last measure (m. probably added on fol. 1r the “Nr2,” to the 102) by penciling breve lines and a fermata right of the title and the name “Salieri” to on each of the three notes. Such interpreta- the right of the first system. The number tive markings, along with the several forte “2” identifies it as the second of two set- signs are both superfluous and incompati- tings of this text by Salieri. The number “7” ble with the aesthetic of the music and cer- may reflect the fact that at some point in tainly do not convey the composer’s intent. its history this manuscript was bound into They do, however, document the perfor- a volume entitled “Psalmen von A. Salieri,” mance practice of a later time (probably late although the volume actually contains only nineteenth or early twentieth century). six pieces. The library stamp “K.k.Hof- More insight into the composition and musikkapellen-Archiv” in the right mar- its history may be gleaned from the set of gin indicates that the manuscript belonged performance parts (HK 3012). The set con- to the archive of the Hofmusikkapelle. This sists of twenty-six individual parts: five is important to know, for the manuscript is each of soprano, alto, tenor, and bass; two of now housed in the music collection of the violoncello/violone; and one each of viola, Austrian National Library, but the stamp bassoon, organ, and M.D. C. (Maestro di reveals the provenance of the manuscript. Cappella, which essentially duplicates the This origin is reflected in the shelf number organ part, is thought to have served as a of the manuscript, assigned by the present conductor’s rehearsal score). The number of library: HK 2976. Very important for an editor or any- 12I thank the staff of the Musiksammlung for one reading this manuscript is to recognize this information. Sacred Music | Winter 2016 Volume 143, Number 443 parts tells us what the size of the ensem- Individual parts often contain clues ble was in Salieri’s time, and thus suggests about how a given work was performed, a model for choirs today. These parts show based on what musicians wrote into their much wear, reflecting that the piece was parts. The organ part, for example, reveals performed frequently. More specifically, some details about registration: “Ohne many copies of the parts are dated, docu- Schweller” (without the swell), “Oben menting numerous performances between anfangen” (begin above [upper manual]), 1891 and 1955. Dates of performance are “organo serrato” (organ closed), “Pleno” (m. entered more systematically on the inside 88. at the Gloria Patri), and “Pedal” (m. cover of the cardboard wrapper. Here we 94). It is difficult to determine when these find a lengthy list of dates, particularly con- anonymous directions were written into centrated in certain periods: 1821–1840, the part, or if they are all the work of the 1866–1882, and 1919–1924. These dates same person. I would propose that most are correspond to various liturgical occasions late in the history of the manuscript, possi- and seasons, including Sundays in Lent bly excepting “organo serrato,” a direction and Pentecost, and Marian feasts. Sources that Salieri himself wrote occasionally into recording performances during most of organ parts on his autograph scores. Salieri’s lifetime are lacking, except for In conclusion, De profundis is a powerful the date 1823 found on the bassoon per- work that deserves to be reclaimed for the formance part. In three cases, annotations church today. Its long performance history on a part identify the specific occasion of in the Vienna Hofkapelle clearly demon- the performance. These were: a concert in strates that (1) it fitted numerous liturgical the Hofkapelle (June 18, 1934), obsequies occasions and (2) it was a favorite with music (Trauerfeier) for Prof. Weissgärber (Octo- directors. Indeed, Viennese scholar Rudolf ber 10, 1951), and the 125th anniversary of Nützlader wrote in 1924 that this piece still the death of Schubert (November 22, 1953; in his day was much beloved. Today’s needs Schubert died on November 19, 1828).13 may not differ from those of Salieri’s day, even from those of an imperial chapel. As 13Archival documents (Austheilungen) detail- mentioned above, an average church choir ing music performed in the Hofkapelle show a should be able to learn this piece without dif- cessation of entries for a four-month period in ficulty. The continuo part can be rendered 1934, stopping after June 17 and resuming on by the organ alone without damaging the October 7. Th e absence of such entries indicates essential structure of the piece. I hope that by that either no Mass took place or, at least, no this brief window into the background of the polyphonic music was performed. Th is refl ects composition and description of the sources, troubled times in Austria. Th e year 1934 had be- gun with a wave of Nazi terrorism: bombings, those who perform De profundis may do so shootings, and murders. For example, on June with a deeper understanding of the music 10 a series of bomb attacks struck train stations and its historical significance. throughout the country. Conservative Catholic Chancellor Dollfuss vainly attempted to control and danger took a toll on church services, even the situation, but he was assassinated in a Putsch worship in the imperial chapel. I have not been in Vienna. Not surprisingly the climate of fear able to fi nd information about Prof. Weissgärber. 44 Volume 143, Number 4 Sacred Music | Winter 2016 De profundis Antonio Salieri ed. Jane Schatkin Hettrick Andante p Soprano b Alto b bb C ∑ ∑ ∑ ∑ ∑ ∑ ˙ ˙ ˙ œ œ ˙ ˙ & pro - fun - dis cla-ma - vi De Tenor ? Bass bbbb C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Organ b b w w Viola & b b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ w w Violoncello [ ] Bass p Bassoon S ? œ nœ œ œ œ œ œ bœ œ œ œ nœ œ œ œ œ œ bœ bbbb C œ œ œ œ œ œ Œ ˙ ˙ n˙ ˙ Ó Œ unis. 5 –––––– 6–––––– 10 j bbbb ˙ ˙ œ. œ ˙ Ó ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ Ó ∑ & ad te Do-mi-ne: Do - mi-ne ex - au - di vo-cem me˙ - am.˙ [ ] p ˙ ˙ ˙ ˙ ˙ ˙ ? b b ∑ ∑ ∑ ∑ ∑ ∑ b b Fi - ant au - res tu - ae 10 b ˙ & b bb w ˙ ˙ ˙ ˙ Ó w w ˙ ˙ ˙ œ œ w w ˙ ˙ ˙ ˙œ œ ˙ w w ˙ ˙ ˙ n˙ w w œ œ ? b b œ œ œ œ œ ˙ Ó Œ nœ œ œ œ bœ œ ˙ Œ nœ œ œ œ œ bœ b b 8–– 3–––œ 5––– 6–––œ 3 5 –––––– ––––––––œ ˙ ˙8 6 5––––––– 6–––––– 6 4 ˙ 8 19 n bbbb ∑ ∑ ∑ ∑ ∑ ∑ ˙ ˙ ˙ ˙ ˙ ˙ & Si i - ni - qui - ta - tes ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ? b b Ó ˙ ˙ Ó ∑ b b in - ten - den - tes in vo - cem de-pre-ca-ti - o - nis me - ae. 19 b b ˙ & b b w ˙ ˙ ˙ ˙ Ó w w ˙ ˙ ˙ œ œ w w ˙ ˙ ˙ ˙œ œ ˙ w w ˙ ˙ ˙ n˙ w w ? œ œ œ œ œ œ œ œ bb b œ œ œ œ ˙ Ó Œnœ œ œ bœ œ œ ˙ ˙ Œ nœ bœ b 8–– 3–––œ 5–– 6–––œ 5––––– ––––––––– ˙ 8 6 5––––––– 6––––––– 6 4 ˙ 8 n Sacred Music | Winter 2016 Volume 143, Number 445 2 De profundis 28 b j & b bb ˙ ˙ œ. œ ˙ Ó ˙ œ. œ ˙ w ˙ ˙ ˙ ˙ Ó ∑ ob - ser - va - ve-ris Do - mi-ne:J quis sus - ti - ne - bit?˙ ˙ ˙ œ œ ˙ œ œ œ œ ? b b ∑ ∑ ∑ ∑ ∑ ∑ b b Qui - a a-pud te pro - pi-ti- 28 b b & b b w˙ ˙ ˙ ˙ ˙ Ó w w ˙ ˙ ˙ œ œ w w ˙ ˙ ˙ ˙œ œ ˙ w w ˙ ˙ ˙ n˙ w w œ œ ? b b œ œ œ œ œ ˙ Ó Œ nœ œ œ œ bœ œ ˙ Œ nœ œ œ œ œbœ b b 8–– 3–––œ 5––– 6–––œ 5–––––––– ––––––––œ ˙ ˙8 6 5–––––––– 6––––––– 6 4 ˙ 37 n bbbb ∑ ∑ ∑ ∑ ∑ ∑ Œ œ œ. œ œ œ œ œ ˙ œ œ & Sus-ti-nu-J it a-ni-ma me - a in ˙ œ œ ˙ ˙ œ œ œ ˙ ˙ ˙ œ œ œ œ œ œ ˙ ? b b Œ ˙ ˙ Ó ∑ b b a-ti-o est: et pro-pter le - gem tu-am sus - ti-nu-i te Do - mi - ne. 37 b b ˙ & b b w ˙ ˙ ˙ ˙ Ó w w ˙ ˙ ˙ œ œ w w ˙ ˙ ˙ ˙œ œ ˙ w w ˙ ˙ ˙ n˙ w w œ œ ? b b œ œ œ œ œ ˙ Ó Œ nœ œ œ œbœœ ˙ Œ nœ œ œ œ œ bœ b b 8–– 3–––œ 5–– 6–––œ 5–––––– –––––––œ ˙ ˙8 6 5–––––– 6––––––– 6 4 ˙ 46 n bbbb ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙ Ó ∑ & ver - bo e - jus: spe - ra - vit a - ni-ma me - a in Do - mi˙ - no.˙ œ œ œ œ œ ˙ œ ˙ ˙ ? b b ∑ ∑ ∑ ∑ ∑ ∑ b b A cu-sto-di - a ma - tu - ti - na 46 b ˙ & b bb w ˙ ˙ ˙ ˙ Ó w w ˙ ˙ ˙ œ œ w w ˙ ˙ ˙ ˙œ œ ˙ w w ˙ ˙ ˙ n˙ w w œ œ œ œ ? b b œ œ œ œ œ ˙ Ó Œnœ œ œ œbœœ ˙ Œ nœ œ œ bœ b b 8–– 3–––œ 5–– 6–––œ 5–––––– –––––––œ ˙ ˙8 6 5–––––– 6––––––– 6 4 ˙ n 46 Volume 143, Number 4 Sacred Music | Winter 2016 De profundis 3 55 bbbb ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ ˙. œ ˙. œ & Qui-a a-pud Do - mi-num mi- ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ? b b Ó ˙ ˙ Ó ∑ b b us-que ad no - ctem, spe - ret Is - ra - el in Do - mi - no. 55 b ˙ & b bb w ˙ ˙ ˙ ˙ Ó w w ˙ ˙ ˙ œ œ w w ˙ ˙ ˙ ˙œ œ ˙ w w ˙ ˙ ˙ n˙ w w œ œ ? b b œ œ œ œ ˙ Ó Œ nœ œ œ œ bœ Œ nœ œ œ œ œ bœ b b 8–– 3–––œ 5–– 6–––œ œ 5––––––– –––––––-œ œ ˙ ˙8 ˙6 5––––– 6–––––– 6 4 ˙ 64 n b j b bb ˙ ˙ œ. œ ˙ Œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ . j Ó ∑ & se - ri - cor-di-a: et co-pi - o-sa a - pud e-um re - demœ - ptiœ - ˙o. ˙ w w ? b b ∑ ∑ ∑ ∑ ∑ ∑ Ó b b Et ip - se 64 b b ˙ & b b w˙ ˙ ˙ ˙ ˙ Ó w w ˙ ˙ ˙ œ œ w w ˙ ˙ ˙œ œ ˙ w w ˙ ˙ ˙ n˙ ? b b œ œ œ œ œ ˙ Ó Œ nœ œ œ œ bœ Œ nœ œ œ œ œ œ bœ b b 8–– 3–––œ 5––– 6–––œ œ 5–––––– ––––––––œ œ ˙ ˙8 6˙ 5––––––– 6––––––– 6 4 ˙ 73 n bbbb ∑ ∑ ∑ ∑ ∑ ∑ ˙ œ œ w w & Glo - ri-a Pa - tri, ˙ œ œ œ. œ ˙ ˙ ˙. œ œ œ œ œ ˙ œ œ ˙ ? b b J Ó ˙ ˙ Ó ∑ b b re - di-met Is-ra-el ex om - ni-bus i-ni-qui - ta-ti-bus e-jus. 73 b & b bb w˙ ˙ ˙ ˙ ˙ Ó w w ˙ ˙ ˙ œ œ w w ˙ ˙ ˙ ˙œ œ ˙ w w ˙ ˙ ˙ n˙ w w œ œ ? b b œ œ œ œ ˙ Ó Œnœ œ œ œbœ Œnœ œ œ œ œ bœ b b 8–– 5–––œ 5–– 6–––œ œ 5–––––– –––––––––œ œ ˙ ˙8 ˙6 5–––––– 6––––––– 6 4 ˙ n Sacred Music | Winter 2016 Volume 143, Number 447 4 De profundis 82 b ˙ j & b bb œ œ œ. œ ˙ Ó ˙ ˙ ˙ œ. œ ˙ ˙ ˙ ˙ ˙ Pa - tri et Fi - li - o, et Spi - ri - tuJ - i San - ˙ ˙ ? b b ∑ ∑ ∑ ∑ ∑ ∑ b b Si - cut 82 b ˙ & b bb w ˙ ˙ ˙ ˙ Ó w w ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙œ œ ˙ w w ˙ ˙ ˙ n˙ œ ? b b œ œ œ œ ˙ Ó Œ nœ œ œ œ bœ b b 8––– 3––––œ 5––– 6––––œ œ 5––––––––– –––––––––––œ œ ˙ ˙8 ˙6 6 4 ˙ 89 n bbbb Ó ∑ ∑ ∑ ∑ ∑ ∑ & cto.˙ œ œ œ œ œ. œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ. œ ˙ ? b b J Ó J b b e-rat in prin - ci - pi-o, et nunc et sem - per, et in sae - cu-la 89 b & b bb w w ˙w ˙ ˙ ˙ ˙ Ó w w w w ˙ ˙ ˙ ˙œ œ ˙ w w œ œ ? b b Œ nœ œ œ œ œ bœ œ œ œ œ ˙ Ó Œ nœ œ œ œ bœ b b 5–––––––– 6–––––––––– 8––– 3–––œ 5–––œ 6–––œ 5–––––––– –––––––––––œ œ 96 w bbbb ∑ ˙ n˙ w w & a-men, a- - -nw -men.w œ œ œ œ ˙ w w ? b b ˙ w w w b b sae - cu - lo - rum, a-men, a- - - -men. 96 b b ˙ ˙ & b b ˙ ˙ ˙ n˙ w w w nw w ˙ ˙ ˙ w w w w w ? b b ˙ ˙ w w b b ˙ ˙8 6 w 8 w 6 4 6 w 4 n 7n 48 Volume 143, Number 4 Sacred Music | Winter 2016 Österreichische Nationalbibliothek, Musiksammlung, HK 2976. fol. 1r. Sacred Music | Winter 2016 Volume 143, Number 449 News Sacred Music Workshop in Lincoln, Nebraska by Amy Flamminio n Saturday, August 27th, the Dio- and felt a little overwhelming to all. But cese of Lincoln hosted its first ever as Bishop Conley said in his address to the OSacred Music Clinic at the beauti- attendees in the morning: ful Newman Center on the campus of the University of Nebraska-Lincoln. It was a Singing the Mass is not easy. But we day to encourage and educate the musicians come together in gatherings like this to of the diocese. The Diocese of Lincoln ex- learn to make the mystery of the Mass as tends along the length of Nebraska, south beautiful as possible. To make a gift of of the Platte River from the border with ourselves, by giving God our best efforts, Iowa to the border with Colorado, and mu- and our best music, and our trust. . . . I sicians were in attendance from as far away know that what we learn here will be a as Grant, Nebraska, a town of just over a lot. And I know that some of it might be thousand people. unfamiliar. I know it might seem like the Early in 2016, the bishop sent each musi- chants, and propers, and polyphonies of cian and parish a letter personally inviting the church’s tradition might not fit in or- them to come, and they responded gener- dinary parish worship. Do not be over- ously with over 230 in attendance in a venue whelmed. Everything starts with small that was soon bursting at the seams! Fea- steps. I encourage you to take what you tured guests were Adam Bartlett, Matthew learn here today, and pray about how you Meloche, and David Clayton, while local clinicians included Fr. Michael Zimmer (Diocesan Master of Ceremonies), Jessica Ligon (Cathedral Music Teacher), Nicho- las Lemme (Music Director at Our Lady of Guadalupe Seminary [FSSP]), and Amy Flamminio (Cathedral Choir Director). For close to twelve hours, attendees sang, listened, and learned. The day was packed with a lot of information to take in Amy Flamminio is an organist, choir director, piano teacher, and writer, currently serving as a choir director at St. Peter’s in Lincoln and Cathedral of the Risen Christ. 50 Volume 143, Number 4 Sacred Music | Winter 2016 liturgical commission, said in his homily at the closing Mass, “just as in the parable of the talents, some of us have been given one talent, some five, and some ten talents: we must give the best that we can, even if for some of us that is only one talent.” For most attendees, the most useful part of the day was a session on hymn selection. Most parishes are not at a point in which they can switch to singing the antiphons, so participants were encouraged to find ways to use the antiphons when they pick a “suitable might incorporate what you have learned hymn” for different parts of the Mass. They in the worship at your parish. To begin were also encouraged to consider introduc- at the beginning, with small steps, and ing antiphons at Communion before sing- to trust the Lord, as he leads us all to ing a hymn, whether using a simple psalm worship him with beauty, making sacred worship all about God, who loves us, and gives himself to us, who is the source of all beauty, and who is a mystery. As one attendee shared, it As one attendee shared, it was a day that awakened her to the church’s vision of was a day that awakened beauty, and while much of what was done at the liturgies of the clinic, at the opening her to the church’s vision Morning Prayer and closing Mass, won’t be able to be put into practice at her small town of beauty. parish, it led her to desire an awareness of the beauty of the Propers of the Mass as well as singing the Mass, and not just at the Mass. As another attendee shared, they left excited to find ways to “implement some tone or some of the wonderful resources in new and beautiful things in our liturgies English available through Illuminare Pub- over time!” lications, CMAA, CCWatershed, and oth- Due to the wide variety of sizes of par- ers. For others, the clinic will lead to a focus ishes and musical experience and abilities of on singing the ordinary, the responsorial almost entirely volunteer musicians through- psalm, and dialogues of the Mass. out the diocese, the goal of the clinic was to Responses to the day, while varied, were provide the tools that will enable musicians overwhelmingly positive, as people were to begin a liturgical renewal in their par- moved by beauty and by the knowledge that ish, at whatever level they are capable. As they can use “small steps” in their move to Fr. Daniel Rayer, chairman of the diocese’s better “singing the Mass and not just at the Sacred Music | Winter 2016 Volume 143, Number 4 51 Breakout Sessions Jessica Ligon and Amy Flammi- nio, Responsorial Psalm 101 and Selecting Hymns for Mass Rev. Michael Zimmer, The “Spirit” of Vatican II: How We Got to Where We Are and What the Council Mass.” The committee is already planning Teaches and organizing next year’s clinic and plan to have more sessions geared to the wide vari- Matthew Meloche, Accompanying ety of level musicians, choirs, and resources Hymns and Chant on the Organ throughout the diocese. The “small steps” in this renewal of the Adam Bartlett, Chant—A Deeper Look liturgy will include making the Sacred Music Clinic an annual event, with var- Chant Breakout Sessions ious breakout sessions and varying focus each year. In an effort to reach all parts Chant I with Adam Bartlett focused on of the diocese, smaller clinics may eventu- the responsorial psalm and Alleluia ally be offered in different towns and cit- as well as the ordinary for the Clinic’s ies along Nebraska. In the month since the Ordinary Form Mass. clinic was offered, many parishes through- out the diocese have begun taking these Chant II small steps to “sing the Mass,” whether it Women, led by Amy Flamminio, is in focus on singing the Mass Ordinary had a quick introduction in how to in their parishes, incorporating the sung read the 4-line staff to equip them propers, or forming new scholas to sing for learning chant at home and were chant and polyphony, there is growth and in responsible for the introit, from movement afoot. This beginning is one of Illuminare Publications, for the eve- communication, education, beauty, and ning liturgy. God’s grace. Men, led by Matthew Meloche, pre- pared the offertory, also from Illu- Talks and topics included: minare Publications, for the day. Adam Bartlett, Singing the Mass: The Chant III, led by Nicholas Lemme, Musical Structure of the Liturgy prepared and sang the Gregorian communion antiphon for Mass, alter- Matthew Meloche, Introducing Sacred nating verses and antiphon between Music to a Parish Community men and women. 52 Volume 143, Number 4 Sacred Music | Winter 2016 Colloquium 2016 Group Photo, Shrine of St. Joseph, St. Louis, MO Photo courtesy of Rene Zajner Support the CMAA Annual Fund In 2014, the CMAA board of directors established the CMAA Annual Fund – a campaign to generate contributions beyond dues from members and others. Monies raised through the annual fund are intended to support the organization’s general operating expenses as well as specific programs. The annual fund allows the CMAA to meet the organization’s day-to-day challenges and strengthens its financial foundation. Gifts to the fund are used to support: Annual Fund Projects and Programs □ Online publication of a comprehensive free library of educational materials for choir directors and others. Materials include numerous books on chant, including the recently uploaded Antiphonale Romanum, as well as the many CMAA publications □ Publication, distribution, and sponsorship of a wide array of books useful in promoting sacred music. The CMAA is also active in sponsoring new publications such as the Parish Book of Chant, the Simple Choral Gradual, the Simple English Propers, the Parish Book of Psalms, and Mystic Modern: The Music, Thought and Legacy of Charles Tournemire. Work is currently underway on development of a Songbook for use in Children’s Programs. □ Continuing-education programs, including Chant Intensive workshops, the annual Colloquium, our new Winter Sacred Music courses, seminars, and master classes. The CMAA continues to develop new educational programs and training to support the needs of musicians and clergy. The CMAA also supports regional workshops sponsored by local groups. □ Commissions of new music. Although promoting the use of the vast repertory of existing music in the public domain is a key part of our annual programs, it is also crucial to encourage the composition of new music. In addition, commissioned engravings of public domain music used in our programs are made available to the general public as a part of our work. □ Scholarships for students and seminarians to attend our programs. Every year we receive many requests for funding; providing scholarships to support these requests is crucial for the future of the Church in promoting sacred music to seminarians and students. Because of your generosity, many scholarships were awarded for attendance at the 2016 Colloquium, as well as the 2016 Winter Sacred Music conference. With your continued support, the CMAA may be able to expand our scholarship program to include our other workshops. □ Colloquia on the national level for all members, including special events such as the Pro-Arte St. Louis Early Music concert and Orchestral Mass at the 2016 Colloquium. These events are open to the public. Please send your tax-deductible* gift to the CMAA Annual fund today. With your help, we will be able to strengthen our services and enhance our support of the profession in the new millennium. If you wish to donate securities, please contact us. CMAA ♦ P.O. Box 4344 ♦ Roswell, NM 88202-4344 ♦ musicasacra.com * The Church Music Association of America is a 501(c)(3) organization. Donations are deductible to the extent of the law. Sacred Music | Winter 2016 Volume 143, Number 4 53 MusicaSacra CHURCH MUSIC ASSOCIATION OF AMERICA □ Please accept my gift to the CMAA Annual Fund. I am donating because (please check all that apply): ____ I am grateful for all that the CMAA has done for me, including free online resources ____ I want to support the work and programs of the CMAA, including scholarships ____ I believe in the value of Sacred Music in the liturgy and would like to support new music composition commissions and/or book publications ____ I want to underwrite an orchestral Mass at the Colloquium. ____ I want to make a donation in memory of ______I would like to underwrite a new CMAA Training program for chant and polyphony ____ I would like to underwrite the Colloquium’s Orchestral Masses or Special Events. ____ Other: ______ ___ $50 ___ $75 ___$125 ___ $250 ___ $650 ___ $1,300 ___ Other: ______ Your gift of $50 allows us to scan and upload an out-of-print issue of Sacred Music to our archive. Your gift of $100 allows us to scan and upload an out-of-print book to our resources page. Your gift of $125 allows us to offer a student/seminarian rate course tuition to one worthy applicant in 2017. Your gift of $250 allows us to offer two student/seminarian rate course tuitions to two worthy applicants in 2017. Your gift of $650 allows us to offer two full-tuition seminarian/student scholarship to the 2017 Colloquium. Your gift of $1300 allows us to offer four full-tuition seminarian / student scholarships to the 2017 Colloquium. Your gift of $3000 underwrites the cost of an orchestral Mass at a Colloquium. □ Enroll me as a Sustaining Contributor to the CMAA. I authorize you to charge my credit card below on the 15th day each month in the following amount until I ask you to discontinue my donation. __ $10 ($120/yr) __ $20 ($240/yr) __ $50 ($600/yr) __ $100 ($1,200/yr) __ Other ______ Name ______□ I prefer to remain anonymous for purposes of recognition in Sacred Music. Address ______ ______ City ______State ______Zip +4 ______ Email ______Phone ______ ____ I have enclosed a check. ____ Please charge my ____ Visa ____ MasterCard ____ Discover ____ Amex Credit card number: ______ Expiration ______Validation Code (3 or 4 digit Code on back of card) ______ Signature ______ Name of Cardholder (PLEASE PRINT) ______ Please mail your donation to: Church Music Association of America PO Box 4344, Roswell, NM 88202 You may also make an online contribution at our website at http://musicasacra.com 54 Volume 143, Number 4 Sacred Music | Fall 2016 'R\RXORYHUHFHLYLQJ\RXU 6DFUHG0XVLF-RXUQDO" 0RVW0HPEHUVKLSV DUHH[SLULQJDWWKH HQGRI %HVXUHWRUHQHZVR WKDW\RXGRQ·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olume 143, Number 4 Sacred Music | Fall 2016 REGISTER NOW FOR THE 2017 Sacred Music Colloquium Sponsored by The Church Music Association of America June 19 – 24, 2017, University of St. Thomas, Saint Paul, Minnesota Three Venues for Liturgies: Chapel of St. Thomas Aquinas, University of St. Thomas Church of St. Mark, St. Paul, Minnesota Church of St. Agnes, St. Paul, Minnesota Organ Recital at: Cathedral of Saint Paul, St. Paul, Minnesota The Church Music Association of America (CMAA) invites you to join us and experience the beauty and majesty of the Roman liturgy. Sing chant and polyphony with top conductors; attend plenary sessions and breakout sessions on directing, organ, semiology, children’s programs, and more. Get all the details at: MusicaSacra.com/Colloquium Member Discount Code: STP2017 Church of St. Mark, St. Paul, Minnesota Register at MusicaSacra.com 56 Volume 143, Number 4 Sacred Music | Fall 2016 2//248.80##" *,.675&7.21*7&./6 81* =81* > &.17 &8/.11*627& :75<@C5C76;E53C6A3J>7?E>FDE355@>A3?J 3JC3E7D;?5=F67=F?5:8@CE:763JDD5:76F=76 "8J@F C79;DEC3E;@? )79;DEC3E;@?3?68F==A3J>7?E>FDE47 H;D:E@AFC5:3D7@E:7C>73=D;?E:753>AFD6;?;?9:3== A@DE>3C<76@?@C478@C7%3C5: DE 3C=J;C6@C%3J A=73D75@?E35EFD6;C75E=J3E9>>FD;53D35C3 5@>8@C E:)79F=3C )79;DEC3E;@?DA@DE>3C<7638E7C%3JE: AC;5;?9 H;==475:3C9763 =3E7877 0@F>3JC79;DE7C@?=;?7 3EHHH >FD;53D35C3 5@> )79;DEC3E;@?D>FDE47 )).7.21&/1+250&7.21 C757;G763EE:7 %'88;574J>3;=@C@?=;?74JE:7 5=@D7@84FD;?7DD#F?7E: 8E7C#F?7E:C79;DEC3E;@?;D 203&1.21)8/7+:@D7C79;DE7C;?93D5@>A3?;@?D @?=J3G3;=34=74JE7=7A:@?74J53==;?9@FC@88;573E 3C7H7=5@>7E@355@>A3?J38F== @==@BF;F>C79;DEC3?E @?3DA3573G3;=34=743D;D E@3==35E;G;E;7D*;(*374C73<@FED3?65:@;CC7:73CD3=D D7A3C3E7C79;DEC3E;@?8@C>>FDE478;==76@FE8@C*&(- &1(*//&7.21)7BF7DEDC757;G76;?HC;E;?93EE:7 5@>A3?;@?;?5=F6;?9A3J>7?E8@C3?J366;E;@?3= E: %'88;57A@DE>3C<76@?@C478@C7#F?7 H;== 35E;G;E;7D3?6>FDE;?5=F67E:7?3>7@8E:7 F== C757;G73C78F?6=7DDE:7?@?C78F?634=767A@D;E @?G7?E;@?)79;DEC3?E 8E7CE:3E63E7C78F?6D3C79;G7?@?=J;?E:78@C>@83 5C76;EE@H3C6C79;DEC3E;@?8@CE:7 @==@BF;F> (-2/&56-.366.67&1(*;D3G3;=34=78@CA3CE;3=EF;E;@? )78F?6D>3J47AC@57DD7638E7CE:7 @==@BF;F> == 8@CA7CD@?D@CA3C;D:7D@8=;>;E76>73?D @C C7BF7DED8@C5C76;E>FDE47C757;G76;?E:7 % ;?8@C>3E;@?34@FEE:7D5:@=3CD:;AG;D;EE:7 %D;E7 @88;57@C4J7>3;=AC@9C3>D>FD;53D35C3 5@>4J 3E:EEA >FD;53D35C3 5@> 'CC7BF7DE3A35<7E8C@> #F?7 E:;?@C67CE@475@?D;67C768@C5C76;E $3E7 E:7 %@88;574J53==;?9 //+)#!3).- C7BF7DED>3J@?=JC757;G73A3CE;3=5C76;E67A7?6;?9@? $%!$+)-%)2/1)+ 5:3C97DE@E:7 %8@C>73=D -272,5&3-6&1) *(25).1,60@F3C7H7=5@>7E@ *0'*5.6(28176 E3<7A:@E@D3?6G;67@D4FEA=73D76@?@EFD78=3D: 7DA75;3==J6FC;?9D35C76=;EFC9;7D .;E:35FCC7?E %>7>47CD:;AE:7>7>47CDMC3E7 ;D3G3;=34=7E@J@F;E;D?@EEC3?D87C34=7E@3?@E:7C .7H7=5@>7AC;G3E7C75@C6;?9D6FC;?9E:7 @==@BF;F> A7CD@? 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