St. John Paul II on the Centenary of Tra le Sollecitudini

On November 22, 2003, the Memorial of St. Cecilia, patron saint of musicians, St. John Paul II promulgated a missive commemorating the 100th anniversary of Tra le Sollecitundini, a on sacred music by Pope St. Pius X in 1903.

His purpose in doing so was to “recall the important role of sacred music, which St. Pius X presented both as a means of lifting up the spirit to God and as a precious aid for the faithful in their ‘active participation in the most holy mysteries and in public and solemn prayer of the Church.’” That last part about “active participation” is a direct quote from St. Pius X, who coined the expression now so familiar to us.

I would like to highlight several points that St. John Paul II made in 2003 to help us think about the qualities of sacred music, as distinct from other kinds of music.

First, sacred music is an integral part of the liturgy. Historically, the text of the liturgy and music developed together and are therefore inseparable. The Church, remember, did not invent the liturgy. Rather, the liturgy grew out of Jewish forms of worship and prayer that centered around the Psalter, which was Israel’s “hymnal” so to speak. Biblical scholars tell us, for example, that the hymn Jesus and his disciples sang at the end of the Last Supper (Matthew 26:30) was from the “Hallel” psalms – songs of praise that were a traditional part of the Jewish Passover. The musical roots of the , in other words, go all the way back to the Temple and the synagogue. The word of God and the sacred text of the liturgy are enhanced by singing, since music “interprets and expresses the deep meaning of the sacred text to which it is intimately linked.” 1 Sacred words and sacred melody combine in such a way so as to form a single, sacred liturgy.

Second, sacred music have “holiness as its reference point.” Not all music, St. John Paul II continued, is suitable for worship. If it doesn’t possess a sense of prayer, dignity and beauty it “precludes entry into the sphere of the sacred and the religious.” 2 Not every kind of music is able “to express adequately the mystery grasped in the fullness of the Church’s faith.” 3

Third, sacred music must possess “sound form.” It must be “true art”. In terms of both composition and execution, sacred music must not only possess the qualities mentioned above, it must strive for excellence. Good intentions are commendable, but they’re not enough. “Certainly as far as the liturgy is concerned,” Pope emeritus Benedict XVI said, “we cannot say that one song is as good as another. . . . text, music and execution ought to correspond to the meaning of the mystery being celebrated, the structure of the rite, and the liturgical seasons.” 4 Musical expression should enable the participation of the assembly without being “superficial” or “frivolous” while avoiding “those elitist forms of enculturation which introduce into the liturgy ancient or contemporary compositions of possible artistic value, but that indulge in a language that is incomprehensible to the majority.” 5

Fourth, sacred music must be universal. While “native” forms of music may be considered for use in worship, they are subordinate to the “general character of sacred music.” The liturgy, St. John Paul II said, “must never become a laboratory for experimentation” or allow forms of music to be allowed without careful review. Fifth, the musical expression that corresponds best with the qualities of sacred music, he continued, is . As the Constitution on the Sacred Liturgy said, it is “specially suited to the Roman Liturgy and should be given pride of place in liturgical services” 6 “The more closely a composition for church approaches in its movement, inspiration and savor the Gregorian melodic form, the more sacred and liturgical it becomes.” 7 That of course does not preclude the use of other kinds of music, but Gregorian chant is “the supreme model of sacred music.” 8 New musical expressions can be admitted into the sacred liturgy, but they should be able to “express the inexhaustible riches of the Mystery proposed in the Liturgy and thereby encourage the active participation of the faithful in celebrations.” 9

Sixth, choirs “must be assiduously developed.” The ministerial task of the choir is twofold: one, it is “responsible for the correct performance of its part” and two, it is to “help the faithful take an active part in the singing.” The words “of its part” indicate that the choir has a special role in the liturgy, like that of servers, readers or extraordinary ministers of Holy . Some pieces of music, such as the Propers, are intended to be sung by the choir alone enabling the assembly to watch and thereby participate in the liturgical action taking place. As the scripture readings and are meant to be listened to attentively, so some pieces of music are to be heard and contemplated. But the choir is also there to help the faithful sing those parts of the Mass that pertain to them, especially the (, Gloria, , ) as well as other hymns and songs. Here, the choir is meant to support the assembly, not replace it.

Finally, the Holy Father reiterated the importance of special diocesan commissions devoted to the cultivation of sacred music. Wherever they have been put into practice, he noted, they have yielded abundant fruit. “Sacred music lovers,” he concluded, “by dedicating themselves with renewed impetus to a sector of such vital importance, will contribute to the spiritual growth of the People of God. The faithful, for their part, in expressing their faith harmoniously and solemnly in song, will experience its richness ever more fully and will abide by the commitment to express its impulses in their daily life. In this way, through the unanimous agreement of pastors of souls, musicians and faithful, it will be possible to achieve what the Constitution on the Sacred Liturgy describes as the true ‘purpose of sacred music’, that is, ‘the glory of God and the sanctification of the faithful.’” 10

1 Chirograph for the Centenary of the Motu Proprio ‘Tra le Sollecitundini’ on Sacred Music, 1 2 Ibid, 2 3 Ibid, 4 4 Sacrament of Charity, 42 5 Chirograph for the Centenary of the Motu Proprio ‘Tra le Sollecitundini’ on Sacred Music, 6 6 Constitution on the Sacred Liturgy, 116 7 Tra le Sollecitundini, 3 8 Chirograph for the Centenary of the Motu Proprio ‘Tra le Sollecitundini’ on Sacred Music, 7 9 Ibid 10 Ibid, 15