CHRISTUS IMPERAT
EVERY ONE THAT IS OF THE TRUTH, HEARETH MY VOICE. Sacred Music Fall 2017 | Volume 144, Number 3
Editorial Gestures | William Mahrt ...... 3
Articles Enchanting Spanish-Language Liturgy in the United States: Experiences, Observations, and a Roadmap for the Future | Very Rev. Bryan W. Jerabek ...... 8 A Parish Orchestra and Conservatory for a Diverse Neighborhood | Lisa Knutson ...... 21 From Indianapolis to Nigeria: A Narrative of Experience of a Church Music Apostolate in the Onitsha Diocese | Rev. Jude Orakwe ...... 28 Introducing Gregorian Chant to an American Catholic Congregation | Kurt Poterack ...... 34
Document Introduction to the Russian Edition of Theology of the Liturgy | Pope Benedict ...... 40
Repertory The Communion AntiphonBeatus servus: An Expressive Commixture | William Mahrt ...... 42
Review Olivier Messiaen: Texts, Contexts, and Intertexts (1937–1948) by Richard D. E. Burton | Aaron James ...... 45
CMAA Announcements ...... 49 Formed as a continuation of Cæcilia, published by the Society of St. Cæcilia since 1874, and The Catholic Choir- master, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America since its inception in 1964. Office of Publication: 12421 New Point Drive, Richmond, VA 23233. Email: [email protected]; Website: www. musicasacra.com
Editor William Mahrt Managing editor Jennifer Donelson Editor at large Kurt Poterack Ty pesetter Judy Thommesen Membership & Circulation: CMAA, P.O. Box 4344, Roswell, NM 88202
Church Music Association of America Officers and board of directors
President William Mahrt Vice- president Horst Buchholz Secretary Mary Jane Ballou Treasurer Adam Wright Chaplain Father Robert Pasley Director of Publications Jeffrey Tucker Directors Jennifer Donelson, David Hughes, Susan Treacy, Edward Schaefer, Jonathan Ryan Directors emeriti Rev. Father Ralph S. March, S.O.Cist.†, Kurt Poterack, Paul F. Salamunovich†, Calvert Shenk†, Very Rev. Monsignor Richard J. Schuler†, Rev. Father Robert Skeris, Scott Turkington General manager Janet Gorbitz
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Sacred Music is published quarterly for $60.00 per year by the Church Music Association of America. P.O. Box 4344, Roswell, NM 88202. Periodicals postage paid at Richmond, VA and at additional mailing offi cies. USPS number 474-960. Postmaster: Send address changes to SACRED MUSIC, P.O. Box 4344, Roswell, NM 88201-9613. Editorial Gestures Physical gestures and postures represent and even effect proper interior dispositions appropriate to the various parts of the sacred liturgy.
by William Mahrt
esture is an integral part of litur- the liturgy. Just as gestures express the dy- gy. Far from being body and soul namic relationship between interior and ex- G in a state of tension, the human terior, so they express and effect the active being is an integration of the communal relation between members of physical and spiritual, a composite of body the congregation. Common gestures form a and soul, “an invisible inside and a visible bond which joins the congregation in com- outside linked by a dynamic relationship.”1 mon action. This is the basis of gesture in the litur- Just as music, particularly Gregorian gy.2 Physical gestures show forth external- chant, aids in the differentiation of the ly what is present internally, and vice versa: parts of the liturgy, so our posture in the a physical gesture can reinforce things hid- liturgy reinforces the differences between den in the interiors of the soul. Gesture in its parts. We stand when we join in com- liturgy is a means of making evident and munal prayer, whether the collects, which differentiating some of the basic realities of pull together and summarize the prayers of individuals of the community, or the chants 1Jean-Claude Schmitt, “Th e Rationale of Ges- of the Ordinary of the Mass, by which the tures in the West: Th ird to Th irteenth Century,” whole congregation, celebrant and peo- in A Cultural History of Gesture, ed. Jan Brem- ple join in hymns of petition, praise, and mer & Herman Roodenburg (Ithaca: Cornell University Press, 1999), pp. 59–70. confession of belief. The standing posture expresses our address to God and aids in 2Eloquent discussion of these topics can be found in Joseph Cardinal Ratzinger, Th e Spir- joining in the singing. Standing is an active it of the Liturgy (San Francisco: Ignatius Press, posture, and it expresses our common 2000), especially in Part IV, Chapter 2, “Th e action; all doing it together aids in forming Body and the Liturgy,” pp. 171–224; and in Ro- the sense of community. mano Guardini, Sacred Signs [1911], tr. Grace Branham (St. Louis, Mo.: Pio Decimo Press, We stand for the entrance procession, 1956; reprint, 2015). partly out of respect for the priest who
William Mahrt is the president of the CMAA and the editor of Sacred Music.
Sacred Music | Fall 2017 Volume 144, Number 3 3 will celebrate the liturgy, but also partly and receptivity, in which the words of the as an expression of our own participation scripture and the music of the chants reso- in the procession. If the procession moves nate deeply in our consciousness, where we around or through the church, it symbol- make them our own. This is its own kind ically incorporates the entire congregation of liturgical activity, of active participation. in its action, an action of purposeful motion It is worth repeating the words of St. John to the focal sacred place of the liturgy, the Paul II: altar, where the congregation, as members of the Mystical Body of Christ, will atten- Active participation certainly means tively join in Christ’s offering of the Sacri- that, in gesture, word, song and service, fice. We also stand for the Gospel; just as all the members of the community take in a court, when the judge enters, all stand, part in an act of worship, which is any- so when the Lord becomes present in the thing but inert or passive. Yet active par- Gospel, we stand out of respect. ticipation does not preclude the active But we kneel when it comes to the cen- passivity of silence, stillness and listen- tral act of offering the Sacrifice of the Mass, ing: indeed, it demands it. Worshippers the Canon, or the Eucharistic Prayer. In are not passive, for instance, when listen- Europe, where not every church traditionally ing to the readings or the homily, or fol- had chairs or pews, the congregation stands lowing the prayers of the celebrant, and for parts of the Canon, kneeling only for the the chants and music of the liturgy. These elevation. But in the United States, it has are experiences of silence and stillness, been the decision of the bishops’ conference but they are in their own way profound- that the posture for the entire Canon should ly active. In a culture which neither fa- be kneeling. If, in fact, we are to kneel for vors nor fosters meditative quiet, the art the consecration and elevation of the Blessed of interior listening is learned only with Sacrament, is it not appropriate for this pos- difficulty.3 ture to accompany the entire action of the Canon? Kneeling represents, even effects, A scarce but most impressive posture the adoration of the real presence of Christ, is prostration: at the beginning of the lit- Body and Blood, Soul and Divinity, which urgy on Good Friday, the ministers all fall adoration is a necessary preparation for flat on their faces and remain for a period of receiving him in the Sacrament. time, expressing abject submission to Christ We sit when we listen to the Word on the occasion of his death. This is one of of God in the lessons, in the meditation the most memorable aspects of the whole chants which complement them, and the Good Friday liturgy. In the ordinations to homily which is an integral part of the Lit- the priesthood, deacons prostrate while the urgy of the Word. Sitting is a posture of repose; it requires no activity or attention 3Pope St. John Paul II, Ad limina address to and allows us to give our full concentration the Bishops of Washington, Oregon, Ida- ho, Montana, and Alaska, October 9, 1998 to what we hear. Not only that, in this pos-
4 Volume 144, Number 3 Sacred Music | Fall 2017 Litany of the Saints is sung, another impres- mention of the name of Jesus. In the Mass, sive gesture. this includes the name of the saint of the Kneeling is a posture, but akin to it is the day. But there are bows that emphasize sig- action of genuflection. The bending of the nificant words in the Ordinary of the Mass. knee is a symbol of acknowledgement of the For instance, in the Credo at the words “Et higher standing of the person to whom the incarnatus est ex Maria Virgine, et homo genuflection is made. In the Middle Ages, factus est,” the congregation bows in awe it was an act of subordination to a ruler, but of the mystery of the incarnation expressed now, the presence of the greatest King of all by those words. Traditionally, the congre- in the tabernacle is appropriately acknowl- gation knelt at those words, and even in the edged by bending the knee, expressing a ordinary form, they still do on two days: drastic difference, humility, adoration. This March 25, the Annunciation, and Decem- has been a common practice among Cath- ber 25, Christmas, days on which the incar- olics since time immemorial, but it is not nation is the most vivid. always practiced now. In the extraordinary form, during the It used to be that the priest who celebrated Gloria, the priest makes a bow at the into- Mass facing the tabernacle, genuflected at nation of the Gloria, and a bow is made at a number of important points in the Mass. several further points: at “Adoramus te,” But when facing the people, the taberna- “Gratias agimus tibi,” “Jesu Christe,” and cle is often behind him. It has been thought “Suscipe deprecationem.” In the Credo, that the focus of attention should be upon the priest bows at “Deum” in the intona- the action at the altar, and so now, as pre- tion, and a bow is made at “Jesum Chris- scribed by the GIRM, the priest is to genu- tum,” and “simul adoratur.” A sign of the flect upon arriving at and departing from the cross is made at the end of both the Gloria altar at the beginning and end of Mass and and Credo. In the Sanctus, the priest bows at the elevations. Otherwise, when priests as he says “Sanctus” and makes the sign of pass in front of the tabernacle, though it is the cross at the Benedictus. At the Agnus not prescribed, they simply bow. This seems Dei, the gesture of striking the breast is logical, but now, it seems, that members of made three times. If Pope Benedict’s Sum- the congregation are imitating the priest and morum Pontificum,authorizing a wider use bow instead of genuflecting, whether in or of the extraordinary form has as one of its outside of the Mass. But the bow is often purposes, holding up a mirror to the ordi- used as a gesture of respect between equals, nary form for the sake of the recovery of not appropriate for the Blessed Sacrament. elements of the sacred, would it not be Bowing before the Blessed Sacrament cer- appropriate to take back these gestures in tainly does not apply outside of the Mass, the recitation and singing of the Ordinary and there is a question of whether it applies of the Mass also in the ordinary form? to the laity at all. Surely, if one is crip- Incensation is a most significant ges- pled, or has arthritis, the bow can replace ture of the liturgy. Incense itself is an obla- the genuflection. Bowing is an important tion: it is the immolation of a precious part of the liturgy: inside or outside of the material. And it is a sign of prayer; from Mass, the custom has been to bow at the the Psalm we have this symbolism: “let my
Sacred Music | Fall 2017 Volume 144, Number 3 5 prayer ascend, O Lord, as incense in thy contact with the thurible, depriving the rite sight.”4 It marks the sacredness of the altar of one of its expressive elements. It might be at the introit and offertory, and of the Gos- claimed that the “noise” of the thurible con- pel and the Blessed Sacrament. Since the flicts with the offertory chant being sung. altar represents Christ, it would seem that Quite the contrary, it is a completely inde- incense is always used as a sign of reverence pendent and independently perceptible ele- for a person. The most formal incensation ment; the ear can separate it out from the takes place at the offertory, when the priest music, without any loss to either element. incenses the altar, walking completely The only loss occurs when a mistaken sense around it, or when that is not possible, for purity reduces the richness of the action. walking back and forth before it; the dea- Walking can also be a purposeful con then takes the censer and incenses the sacred gesture. Entering a church should priest; the rest of the ministers are incensed be a matter of a certain transformation. in descending hierarchical order, including One walks up the steps to the door of the the congregation; this is, in fact, one of the church, and this suggests elevation of spirit ways the congregation is taken up into the as well as body. The door marks the thresh- sacred action—they are marked as a “holy old of the sacred, and we who enter should nation,” “a people set apart.”5 be aware of the transformation that occurs The incensation of the altar is an exam- as we cross it, a transformation from being ple of a circumambulation—a walking a private person to joining the great cloud entirely around a sacred object as a means of witnesses here on earth to exercise a of marking its sacredness. The swinging of sacred action together. Holy water aids the thurible has traditionally been done in in this transformation, being a reminder such a fashion as to allow the chains of the of baptism our original entrance into the thurible to clank against the body of the church. Upon entering the nave, the pano- thurible. This is a small detail of the ritual ply of stained glass windows and rest of the that bears a significance. In addition to the interior architecture remind us of heaven, visual effect of the motion of the priest and since the church building is itself a type of the rising of the smoke of the incense as heaven. We look to the altar as we move well as the olfactory effect of the fragrance up the nave, and we see a principal reason of the incense, there is the auditory effect that the building is sacred: the altar where of the rhythmic clanking of the chains of the Sacrifice of the Mass will be celebrated the thurible. In the Eastern Church, this and the tabernacle, where Christ himself auditory effect is so important that there resides. We genuflect and take our place in are bells on the thurible, so that it makes a pew imbued with the sense of the sacred- a pronounced rhythmic expression of the ness of the place and inspired to participate action. Priests of the West sometimes seem in sacred activities, whether communal or to think that this sound is an accident and individual. It might be useful to remind try to avoid letting the chains come into ourselves of this on occasion. Walking in procession is a more formal 4Ps. 140 (141):2. way to approach something sacred. Most 51 Peter 2:9, Deuteronomy 14:2. processions have the elements of both cir-
6 Volume 144, Number 3 Sacred Music | Fall 2017 cumambulation and moving to a goal. Cir- sung by a choir or congregation, it is diffi- cumambulation is processing around a cult to imagine it without music. sacred object, for examples, the altar, the Singing orders the congregation’s par- whole congregation, even the whole church ticipation. A simple example is the dialogue on the outside, as we still frequently do on between priest and people before the prayer Palm Sunday.6 This procession moves to over the offerings, “orate fratres,” (Pray, the goal of the altar inside the church, and brethren). When it is spoken, there is often this is a paradigm of all entrance proces- someone who rushes to finish before every- sions. I advocate an entrance procession on one else, while others take their time, being Sundays which goes from the sacristy down a little behind most of the people. When a side aisle, across the back of the church this dialogue is sung, the music orders the and up the central aisle to the altar. If the delivery of the text in such a fashion that procession is led by a cross and thurifers everyone does it together. and includes various ministers in appropri- The rhythmic motion of the preface dia- ate vestments, it is moving to see it making logue makes an effective musical introduc- orderly and purposeful motion to the focal tion to the preface, whose music makes a point of the liturgy, incensing the altar and further effective introduction to the Sanc- thereby marking it as the most sacred place tus,7 whose melody in turn makes an effec- in the building and the goal of the proces- tive preparation for the silence of the Canon sion. When the procession is beautiful, the in the extraordinary form; also the singing congregation’s most appropriate participa- of the Eucharistic Prayer in the ordinary tion is to observe and be moved by it and form makes a congruent continuation of to anticipate the action which is to come at that melody. The variety of styles of Grego- the altar; in this participation the congrega- rian chant corresponds to the variety of pos- tion is symbolically taken with the proces- tures—rhythmic chants for the motion of sion to the altar, where they as members of the introit, melismatic chants for meditation the Mystical Body of Christ will be partic- at the gradual, recitative chants for the priest ipants in His sacrifice. to lead the congregation in a collect, silence Singing is one of the most essential of for kneeling at the Canon, and so forth. gestures of the liturgy. It gives a procession All of these postures and gestures a sense of order and purpose and leads to together form a liturgy whose beauty is the goal, adding an element of beauty and made concrete by incorporating the whole motion to the proceeding. Its text and par- worshiper, body and soul, into the sacred ticularly its melody differentiate each day action. from the others. Once a procession is expe- rienced accompanied by music, whether 7It is commonly understood that the melody of the Sanctus of Mass XVIII is a direct contin- 6Th e medieval Sarum Rite held a procession uation of the music of the preface, and its nar- around the outside of the church on Palm Sun- row range allows a congregation to continue at day, Easter, Ascension, Pentecost, and Corpus whatever range the priest has sung the preface. Christi. Th e Easter Sunday liturgy of the Byz- It is less frequently recognized that many Sanc- antine Rite includes a procession three times tus melodies have beginnings that are musically around the outside of the church. congruent with the preface.
Sacred Music | Fall 2017 Volume 144, Number 3 7 Articles Enchanting Spanish-Language Liturgy in the United States: Experiences, Observations, and a Roadmap for the Future What are the challenges and opportunities present in ensuring the sacred character of music and liturgy for the Spanish-speaking immigrant population?
by Very Rev. Bryan W. Jerabek
ne of the greatest challenges and The need is immense, and we are simply opportunities in the Catholic incapable of responding to it on the scale OChurch of the United States at that we might wish. this time is that of responding to One of the areas of Hispanic ministry the spiritual needs of the Spanish-speaking that tends to suffer the most in the parishes immigrant community. I have speculated where we do offer it—and I’m sure that I before, in the context of my own Diocese speak to the situation well beyond the con- of Birmingham in Alabama, that if we only fines of my own diocese—is that of liturgy had the resources, we should probably have and especially of liturgical music. In this a weekly Spanish Mass—if not an entire regard, I hope to propose some solutions Hispanic ministry program of some sort— here, particularly with regard to liturgical in every single one of the more than fifty music. I therefore intend to outline some parishes in our largely rural diocese: the of the observations that I have made, good Latino population is just that numerous. and bad, in my own experience of work-
This address was given as a conference paper on March 11, 2017 as part of the “Gregorian Chant in Pastoral Ministry and Religious Education” conference held at St. Joseph’s Sem- inary (Dunwoodie) in New York.
Father Jerabek is a priest of the Diocese of Birmingham in Alabama, currently serving as Rector of the Cathedral of St. Paul in Birmingham, Chancellor of the Diocese, and Judge on the Marriage Tri- bunal. He received his License in Canon Law from the Pontifical College of the Holy Cross in Rome.
8 Volume 144, Number 3 Sacred Music | Fall 2017 ing in Hispanic ministry as a parish priest. he raises the host at Mass? It happens fre- I then would like to address a call that was quently thus at Masses in Spanish. made in the so-called Aparecida document This people also has great energy: no concerning cultural enrichment. Finally, doubt this comes from their survivor men- I will propose some concrete solutions or talit y, the majorit y of them having risked life initiatives. and limb to come to this country. Indeed, There is also perhaps the need to make a many have suffered a great deal, not only few disclaimers. When I speak of the His- in the deplorable conditions of their home- panic or Latino people, I am largely refer- lands, but also through the process of com- ring to those who have immigrated to this ing here, and so many other things besides. country and have not really assimilated A priest-friend recently commented to me culturally: they have their own stores and about how a good number of his Latino restaurants, they speak Spanish at home parishioners would probably live in the and often-broken English outside, and they church if he let them; it was something of look to worship in their native language. In an exaggeration, of course, but is indicative addition, it should be clear that I am not of just how enthusiastic and energetic they dealing with political or legal issues here; I can be about participating in the life of the may take certain realities for granted that in church. As the psalmist exclaims, “Lord, I other circles or contexts might be the sub- have loved your house, the place where your ject of discussion or debate. glory abides.”1 Many of our Hispanic peo- ple embody the psalmist’s sentiment and Observations at Spanish Mass love the life of their local parish church. The Latino people who are in our parishes My Spanish-speaking parishioners often exhibit an incredible and beautiful have also been some of my best singers— faith. Even though some are under-educated not necessarily in tone quality or reper- and under-catechized, they have such a great toire, but certainly in willingness to sing faith—especially in the Holy Eucharist. and gusto in so-doing. While some of our When you go to Mexico and see an image English Masses have little participation of Our Lady of Guadalupe in a church, you when it comes to hymns or antiphons, I reg- very likely also see an inscription nearby that ularly have found that Latinos tend to have says Non fecit taliter omni nationi (He has less inhibition about singing at Mass and not done thus for all nations). This quota- truly enjoy that part of their church expe- tion from Psalm 147 refers to the singular rience. Of course, with singing often comes grace that God bestowed upon the Ameri- clapping and other gestures, so catechesis cas by sending his holy mother to introduce is needed as well to ensure proper liturgi- the gospel here in the year 1531. That special cal decorum. What is almost always clear, grace continues to bear fruit in a deep and however, is that there is much good will and intuitive faith on the part of so many who good intention behind what they bring to come to the United States from Mexico and their worship, as well as a willingness to be points south. What priest has not been edi- taught. fied upon hearing the people spontaneously proclaim, “My Lord and my God!” when 1Psalm 26:8.
Sacred Music | Fall 2017 Volume 144, Number 3 9 quite high. The group is placed in the sanc- tuary or beside it—at least this is very com- What priest has not been mon in my diocese. Among certain groups of Latinos, I have noticed also a tendency to edifi ed upon hearing form liturgical “bands” for which they even produce CDs, have logo shirts that they wear the people spontaneously to Mass, and go to other parishes and events to perform. The band members play by ear, proclaim, “My Lord and none or almost none of them knowing how to read music or chord symbols. This presents my God!” when he raises real challenges when asking them to learn something new, and explains also why many the host at Mass? parishes with Spanish Masses are seemingly in a musical rut that is even greater than what is often found in English Masses. A few years back, when the new transla- Let us turn now to some of the music tion of the English Mass was promulgated regularly encountered in Spanish-language and the “big three” liturgical publishers and liturgy in the parishes. Overall, the reper- others were putting out their new Mass set- toire in most parishes I have served has been tings, Jeffrey Ostrowski published an article in extremely limited. Within that scant reper- which he demonstrated how one of the popu- toire, there tended to be a mix of beautiful lar compositions, the use of which was being and charming folk songs and newer com- encouraged in many dioceses, had strong simi- positions of questionable value. Some of the larities to the “My Little Pony” theme.2 If such most common newer hymns that were heard English settings are banal, similarly problem- contained theological errors, whether of lib- atic is the Our Father set in Spanish to Simon eration theology or some other heresy. Very and Garfunkel’s “Sound of Silence,” which little of the music that I have mentioned is heard at some Spanish Masses. Another was suited for the sacred liturgy. Amongst “favorite” is the Gloria that is set to the tune of my parishioners there has been no knowl- the “Battle Hymn of the Republic,” complete edge of chant, apart from widespread use of with its familiar refrain. The irony is surely lost the eighth psalm tone for the responsorial on those who use this tune at Spanish Masses psalm. There has been no knowledge of the in Southern parishes . . . propers of the Mass, either; indeed, words Besides other parody settings, there like “antiphon”—antífona in Spanish— is the bigger problem of the words of the would not have been understood by most liturgical text very often having been without further instruction. changed to suit the melody or perhaps even In many places the music is also enshrouded in a performance mentality. The 2Jeff Ostrowski, “Why Can’t We Use Secular various choirs or music groups often set up Music During Mass?” Views from the Choir Loft large speakers that supersede the parish PA
10 Volume 144, Number 3 Sacred Music | Fall 2017 the poetic sensibilities of the songwriter. Overall, the greatest victims of parody Since the pipe organ and/or text alteration tend to be the Gloria and the Sanctus. With regard to the latter, remains the liturgical I quote here now, in translation, just the first half of one of the settings that enjoys instrument par popularity in some places: excellence, it is notable Holy, holy, holy, God of the universe. Holy, holy, holy is our King Yahweh. that it is so routinely Holy, holy, holy is the one who redeems us, absent from so many for my God is holy and the earth is full of his glory. Spanish Masses.
. . . and it goes on from there. As you can see, this is neither the approved liturgical text nor of this may indeed be the language barrier a real improvement on it—not that improv- and a fear of not communicating well on ing invariable texts is one of our options. the part of the organist or singers; in many A final observation about music at Span- cases there may be a willing organist, but ish Mass concerns the instruments used. with the problem that the music typically Guitar and piano are the most common, used at many Spanish Masses simply does perhaps accompanied by other instruments not sound correct with that instrument. such as tambourines or other percussion. In the face of these various challenges Pope St. Pius X called such instruments and problems, a busy parish priest or erst- “noisy or frivolous” in Tra le sollecitudini,3 while music director may hardly know yet today there is a rethinking in some cir- where to begin. Often, what these immi- cles as to whether their use may be per- grant peoples have in fact brought with mitted whenever a certain level of musical them are the liturgical experimentation and skill and quality may be achieved. In any other abuses that were prevalent or common case, considering the current “situation on in their countries at the time that they left. the ground,” in one parish that I served in Problems that we generally worked through there was a drum set used for the Span- in the English-language liturgy world some ish Mass, with the same predictable beat twenty or thirty years ago appear to us applied to most every tune. Since the pipe anew, now in Spanish. And while there is organ remains the liturgical instrument par a gradual availability of better Spanish-lan- excellence, it is notable that it is so routinely guage resources (for example, I know that absent from so many Spanish Masses. Part some are working on a Spanish propers project), yet there is still a long way to go. 3Pope St. Pius X, Motu Proprio, Tra le Sol- And in any case, we find that simply impos- lecitudini (1903), ¶19
Sacred Music | Fall 2017 Volume 144, Number 3 11 I remember when, in my first assign- us to use.7 But in that matter also, my ini- ment, I decided that I would have the tiative to regulate the liturgical music was Spanish-language choir sing the Sanctus not met with great comprehension. The and Agnus Dei of Mass XVIII (i.e., the fact that it was the church’s approved text easiest setting, promulgated by Pope Paul did not appear to them to be a compel- VI as one that every parish should know).4 ling enough reason for omitting other illicit This choir was led by a volunteer who did settings that they might have preferred. It not read music and did not have any par- became clear to me that there was a missing ticular musical training, so I had to step in link in my efforts to improve the music sit- and lead the way in this initiative. Know- ing that the Italianate ecclesiastical Latin 7One has to vet carefully all metrical Spanish pronunciation that we typically prefer in Mass settings, for they are not always consis- this country would be as unfamiliar as the tently faithful to the offi cial liturgical texts across Latin itself, I prepared phonetic texts that the entire setting. For example, paging through I thought would make learning easier.5 I OCP’s Flor y Canto hymnal, the Misa Juan Di- burned CDs for them to listen to and so ego is textually correct in the Gloria and Sanctus (leaving aside the issue of a refrain-Gloria), but hopefully assimilate the text and melody. I the Agnus strays from the approved text by add- rehearsed with them. Ultimately, they sang ing seven verses of tropes. Th e Misa San Pab- it—begrudgingly. They never liked doing lo—again, leaving aside the issue of refrain-style so, and I suspect that within minutes of my Gloria—is fi ne in both the Gloria and the Ag- transfer from that parish, that setting dis- nus but inserts an extra (i.e., a fourth) “santo” appeared from their repertoire. (“holy”) in the Sanctus. Th e Misa de la Aurora Whenever we did Spanish Mass set- has all of the correct words in Gloria, Sanctus, tings, on the other hand, I insisted on cer- and Agnus—except that it adds an “alleluia” af- tain ones that corresponded correctly to the ter the “amen” at the end of the Gloria, which is then repeated (it is also a refrain-style Gloria). liturgical text. At the time the main resource 6 Th e Sanctus and the Agnus of the Misa Melódi- we had was the Flor y Canto hymnal and, ca (OCP) are both textually accurate and easy to after I vetted the various Mass settings that play and learn. A refrain-Gloria that is faithful were provided for correct words and other to the liturgical text and has an easy-to-learn criteria, there were very few remaining for melody is from the Misa San José, also published in Flor y Canto. It is very diffi cult to fi nd a Gloria that does not have a repeating refrain and does 4Cf. Bl. Pope Paul VI, Letter, Voluntati obsequens not use psalm tones for the “verses” between (1974)
12 Volume 144, Number 3 Sacred Music | Fall 2017 uation; that missing link was a catechetical vision and then a more earnest and patient effort to realize it. In any case, I was called Th e liturgical to take on a new assignment and so my attempts at reform with that parish ended. expectations and
Indications for Improvement preferences of our The liturgical expectations and preferences of our Hispanic immigrant people reflect in Hispanic immigrant part the ecclesial crisis of the churches from which they originally hail. These are often people refl ect in part rural parishes that are visited only rarely by a priest. Village catechists keep the faith the ecclesial crisis of the alive, but in the end the level of catechesis is low. Many of the people in these places churches from which do not receive much of an education, either being unable to afford it or having to work they originally hail. instead. They are therefore in a self-perpet- uating situation: there is really little hope of improvement, apart from emigrating to the United States, Canada, Europe, or any was opened by Pope Benedict XVI, who number of other places. Here in this coun- was there on an apostolic visit. This docu- try there are new opportunities. But one ment is very lengthy,9 with a general thrust often stays with what one knows, unless towards missionary discipleship for all the called out of it by another. In this case, it is baptized as agents of the New Evangeli- the parish priest and those who work with zation. Pope Francis—then Cardinal Ber- him who have the greatest opportunity to goglio—was among its principle redactors, call the people to higher and more decorous and he has cited and praised the text multi- forms of worship. ple times during his papacy also.10 I do not The Bishops in Latin America have rec- 9 ognized the crisis in their midst and have For a brief overview of the Aparecida document sought to respond to it in various ways. The and a positive review of it, see George Weigel, Aparecida document of 20078 was the fruit “Light from the South,” First Th ings
Sacred Music | Fall 2017 Volume 144, Number 3 13 intend to undertake a critique of this docu- that there was not sufficient reference to solid ment, though I would contend that it really artistic elements to facilitate that all-import- does not assign liturgy its proper place or ant encounter, and that many liturgies were, devote to it the attention that it needs. But I in fact, quite horizontal in nature. do wish to quote one paragraph that is help- Then there is the encouragement to pro- ful with respect to our task of asking how mote Catholic cultural centers, especially to improve Spanish-language liturgy in our in the poorest areas. But shouldn’t every parishes here in the United States. Catholic parish be a sort of cultural center, Paragraph 500 of the Aparecida docu- where there is beautiful art and architecture ment gives the following concrete indication: to provide a fitting setting for the beautiful celebration of the sacred liturgy? This beau- It is crucial that liturgical celebrations tiful art would, of course, include the use incorporate into their expressions artis- of the chants and great works new and old tic elements that can transform and pre- from the church’s artistic tradition. This is pare the assembly for the encounter with the goal and it is to include the poor. Per- Christ. Appreciating the spaces of the haps there is the problem in many of our existing culture, including the church churches of there being a lack of good art buildings themselves, is an essential task or architecture. But we can at least address for evangelizing culture. Along these the area of liturgy—and particularly, litur- lines, the creation of Catholic cultural gical music. centers should be encouraged. They are In his opening address at Aparecida, especially needed in the poorest areas, Pope Benedict had recalled the historical where access to culture and augment- impact of the Catholic faith on the cultures ing respect for the human is all the more of the various Latin American countries: urgent. Faith in God has animated the life One of the things that impresses me about and culture of these nations for more this paragraph is that it has a proper vertical than five centuries. From the encoun- reference: the liturgical celebration is to facil- ter between that faith and the indige- itate the encounter with the Lord Jesus, and nous peoples, there has emerged the rich the artistic elements of the celebration can Christian culture of this Continent, ex- help with this. One supposes that the bish- pressed in art, music, literature, and ops, reflecting upon the state of many par- above all, in the religious traditions and ish liturgies they had celebrated, recognized in the peoples’ whole way of being, unit- ed as they are by a shared history and a shared creed that give rise to a great un- hortations/documents/papa-francesco_esor- derlying harmony, despite the diversity tazione-ap_20131124_evangelii-gaudium. of cultures and languages.11 html>; Pope Francis, Discourse during the Meet- ing with Clergy at Caserta (2014) 14 Volume 144, Number 3 Sacred Music | Fall 2017 Indeed, the missionaries who evangelized the American continent and their successors had great success in fomenting authentic Th e missionaries Christian culture. The movie “The Mis- sion” captures this aspect well, as it shows who evangelized the how missionaries taught beautiful music to the indigenous people. Think, for example, American continent and of the great Mexican baroque music, which would have been enjoyed by rich and poor their successors had great alike in its time—though it is now a distant memory, compared with what we hear in success in fomenting many parishes. Think of the great art of the Cuzco School in Peru, adorning churches authentic Christian visited by the rich and the poor and help- ing both to come to a deeper appreciation culture. of the faith. These historic examples remind us that we should not assume that higher forms of culture are beyond the reach of repeatedly exhorted us to return to what those who otherwise lack education or for- was beneficial in the past: for example, to mation: we can help them to learn to appre- form chant scholae and to perform the great ciate and embrace it. works of polyphony; to have qualified sing- The Latin American bishops were ers who can help make the riches of our therefore, in a certain sense, encouraging a musical tradition available to all. I main- return to tradition. And they were certainly tain that this is, moreover, what the people not the first to do so. In the various great really want, even if they do not yet realize it. sacred music documents of the last century Singing upbeat, popular pieces like “Santa or so, from Tra le Sollecitudini12 to Musi- María del Camino” at a Sunday Mass is cam Sacram13 and others,14 the popes have comfortable and accessible; singing chant is not. And yet, over and over again, when- ever I have had Latino parishioners come to content/benedict-xvi/en/speeches/2007/may/ documents/hf_ben-xvi_spe_20070513_confer- one of my English Masses—Masses where ence-aparecida.html>. we observe sacred silence, where the pipe organ is played, where we sing Gregorian 12Cf. Pius X, Motu Proprio, ¶27. chant, and perhaps where even a choir sings 13 Cf. Second Vatican Council, Instruction On a motet—they have told me how much they Music In Th e Liturgy, Musicam Sacram (March appreciated it. And that, even if they did 5, 1967), ¶¶18—21. not really understand the language! 14E.g., Pope St. John Paul II, Chirograph for the But this really brings us back to the Centenary of the Motu Proprio “Tra le sollecitu- beginning, where I mentioned my own dini” on Sacred Music (2003) ¶¶8-10 Sacred Music | Fall 2017 Volume 144, Number 3 15 really did not work—at least, not the way I us to partake in His divine life . . . . did it then. They might appreciate it when others sing such pieces, but having to try it Nevertheless, it seems incumbent to be themselves involved change and insecurity. very clear on what we mean by incultura- I probably moved too quickly. Moreover, tion. If we truly understand the meaning it is almost certain that I did not cate- of the term as an insight into the mys- chize enough. And that catechesis should tery of Jesus Christ, then we have the key have extended to the rest of the congre- to inculturation, which is not a quest nor gation also, so that they would recognize a claim for the legitimacy of African- when their choir sang something from the ization nor Latin Americanization nor church’s treasury of music and in their own Asianization in substitution of a West- way express appreciation to their family ernization of Christianity. Inculturation members and friends who sang in the choir. is neither a canonization of a local cul- A question then arises about liturgi- ture nor a settling into this culture at the cal inculturation. The Aparecida document risk of making it absolute. Inculturation speaks in a generally positive and uncriti- is an irruption and an epiphany of the cal manner of this reality.15 But it can be Lord in the depths of our being . . . . easily observed that a misguided incultura- tion process has been applied to the liturgy [Inculturation] is not essentially real- in many places, from the use of unwor- ized in the use of local languages, in- thy music—some examples of which are struments and Latin American music, given above—to the use of native dances African dances or African or Asian rit- and dress without the proper adaptation of uals and symbols in the liturgy and the these to the sacred rites. The examples are sacraments. Inculturation is God who manifold. In his excellent and important descends into the life, into the moral be- address at the Sacra Liturgia Conference haviour, into the cultures and into the in London in July 2016, Robert Cardinal customs of men in order to free them Sarah made some insightful remarks in this from sin and in order to introduce them regard, which I quote here at length: into the life of the Trinity. Certainly the Faith is in need of a culture so as to be I am an African. Let me say clearly: the communicated. This is why Saint John liturgy is not the place to promote my Paul II affirmed that a faith that does not culture. Rather, it is the place where my become culture is a faith that is dying: culture is baptised, where my culture is “Properly applied, inculturation must taken up into the divine. Through the be guided by two principles: “compati- Church’s liturgy (which missionaries bility with the gospel and communion have carried throughout the world) God with the universal Church.” (Encyclical speaks to us, He changes us and enables Letter, Redemptoris Missio, 7 December 1990, n. 54).16 15Cf. Latin American Bishops’ Aparecida Dou- ment, e.g., ¶¶94 & 99b. For a more critical 16Robert Cardinal Sarah, Keynote Address at viewpoint in the same document, cf. ¶479. the Sacra Liturgia Conference in London ( July 16 Volume 144, Number 3 Sacred Music | Fall 2017 The good Cardinal does not, therefore, rule In other words, the alleged inculturation of out the incorporation of “native” elements the sacred liturgy seen in some areas of the into the sacred liturgy; at the same time, such Spanish-language liturgy world may often elements should not be the starting point for indicate a failure to go deeper and to trans- proper liturgy either, which, in the Latin form the entire culture in the light of Jesus Church, always retains a certain Roman Christ. The liturgy becomes an easy tar- character regardless of where it is celebrated. get, a place for facile creativity. When the Any eventual incorporation of “native” ele- culture has been transformed, on the other ments, therefore, is subject to the church’s hand, authentic and organic Christian discernment—not to merely local initiative. expressions naturally arise from it. From The then-Cardinal Ratzinger, in his the foregoing, it is urgent that we recover seminal work, The Spirit of the Liturgy, the truly Roman spirit of the sacred lit- effectively takes this consideration a step urgy—with all of its noble simplicity—and further: allow it to shape and form our Latino peo- ple according to its proper genius. Whenever people talk about incultur- ation, they almost always think only of Some Practical Suggestions the liturgy, which then has to undergo Therefore, having reflected upon my own often quite dismal distortions. The wor- experiences and observations at Spanish shippers usually groan at this, though it Mass, as well as on the guidance of the is happening for their sake . . . . The first church, I would like to propose some con- and most fundamental way in which in- crete initiatives that we might undertake culturation takes place is the unfolding going forward, so as to help Spanish-lan- of a Christian culture in all its different guage liturgy in the United States start dimensions: a culture of cooperation, of to catch up to the great strides that have social concern, of respect for the poor, been made in recent years in the liturgy of of the overcoming of class differenc- our “Anglo” communities—or, at least, in es, of care for the suffering and dying; certain places that are starting to have a a culture that educates mind and heart knock-on effect. in proper cooperation; a political cul- The first suggestion is spiritual in nature. ture and a culture of law; a culture of di- It concerns the interior life. If you have not alogue, of reverence for life, and so on. read the classic book, The Soul of the Apostolate This kind of authentic inculturation of by Dom Jean-Baptiste Chautard, O.C.S.O.,18 Christianity then creates culture in the I strongly encourage it for priests and semi- stricter sense of the word, that is, it leads narians, and I think musicians could greatly to artistic work that interprets the world anew in the light of God.17 Liturgy (San Francisco: Ignatius Press, 2000), pp. 200–201. 5, 2016) Sacred Music | Fall 2017 Volume 144, Number 3 17 benefit from it also. Remember what the they are only too eager to help the priest or psalmist said: “If the Lord does not build those whom the priest indicates. These are the house, in vain do its builders labor.”19 It precisely the types of people to whom we does not matter how many good ideas we must dedicate special attention, forming in get from articles, conferences, or methods them first of all what we hope to form in the that we learn; ultimately we have to bridge larger group. With their zeal and enthusi- the gap between theory and practice in a asm, they can have a splendid effect on the prudent manner, and we need God’s help larger group. in this if we will have lasting results. We The second suggestion, then, concerns know what the Lord wants in the area of resources: to wit, we need better resources. sacred music, at least in general terms, for Many of us, I am sure, regularly consult the all of the recent popes have taught us so— Musica Sacra/CMAA web site, as well as to say nothing of an ecumenical council. If the Choral Public Domain Library, Can- this renewal is what he wants, then we can tica Nova, Corpus Christi Watershed, and be confident that he will guide us in it. But others. What was only available in isolated let us be sure to seek his guidance out. Each parishes here and there in the past is now one of us needs to cultivate a strong interior available to many, thanks to these sites. life and allow the Lord to take the lead in But they are still greatly lacking in Span- our work for the restoration of the sacred. ish-language materials. Several seminaries There is a particular concept in Dom are now doing great work in teaching more Chautard’s book that I believe can be applied elevated forms of Spanish-language liturgy in a certain way to our own situation, as well. and music to the next generation of priests.21 He speaks of the need in any apostolate to But we need the resources that they and identify certain strong and healthy individ- others are developing and teaching to be uals who can lead others by word and exam- made available on a wider scale, especially ple: he calls them “shock troops.”20 These are for the benefit of those of us whose training individuals who are well-grounded in their was less than optimal. faith and in prayer and who have a capacity Even if and when such resources are for leadership, thus being able to influence more widely available, there will still be the their peers toward the desired result and challenge of instituting them on a parish effectively reach those whom the priest (or, level. There needs to be a sort of “Best Prac- by analogy, the music director) alone cannot tices Guide” that chronicles how different reach. In every Hispanic ministry situation priests and music directors have gone about I have worked in, I have encountered a few restoring the sacred, step-by-step. This is individuals like this; again, recall what I said lacking, I think, even for the English- and earlier about the eagerness and energy of Latin-language liturgy world. Any such so many of these good parishioners. Often, guide must help a priest or music director to articulate a comprehensive vision, which 19Psalm 127:1. 20Cf. Soul of the Apostolate, 160ff . However, the 21To mention two by name, St. Joseph’s Semi- theme surfaces multiple times throughout the nary in Yonkers, New York and the Pontifi cal work. College Josephinum in Columbus, Ohio. 18 Volume 144, Number 3 Sacred Music | Fall 2017 he can then hand on to his people. In my the word “Mass” (Misa) to describe any sort mind, this vision would begin with trying of church ceremony. They would ask me if to broaden their ecclesial vision: Hispanic they could schedule a “Mass” for their child’s immigrants tend to come from small villages baptism, but as I spoke with them I real- where almost all of their family lived—they ized that they really did not expect there to may have a very provincial mentality, this be a baptism within Holy Mass. They sim- even extending to their understanding of ply meant “ceremony.” This equivocation of the church, which might be mostly limited “Mass” and “ceremony,” however, points to to the parish or local level. So I would begin a general lack of understanding about what my catechesis by catechizing on the univer- the Mass is and how it differs from the other sality of the church and our place in it. sacraments and rituals of our faith. An ideal That universality extends in space, but “Best Practices Guide” along the lines of the next step would be to teach on how it which I have been speaking would include a extends in time also: it connects us back to series of simple and direct catecheses on the saints and sinners in all the preceding gen- Mass and sacred music in Spanish, which erations, all throughout the world. Latinos could serve as base material for homilies and have a great love for the saints and many of other teachings. their countries boast of several home-grown A great opportunity for embarking heroes of the faith; we worship in union upon such a catechesis would be when the with them also. From there it becomes United States edition of the Misal Romano easy to introduce the various liturgical top- is finally published. Until now, we have ics, including that of liturgical music. For always used the Mexican edition of the example, let’s say that I decided to do what Missal, which is deficient in many ways— many parishes have done in their English or from the almost-complete lack of musical Latin Masses, namely, begin by introduc- notation, to a liturgical calendar that does ing the communion antiphon in place of, or not fully align with our national calendar. in addition to, a hymn: then I would do so The new U.S. edition of theMisal Romano on a Sunday when an ancient antiphon was is supposed to remedy these deficiencies used (even if it was on a different Sunday or and, if I have understood correctly, intro- feast in the old Missal and calendar), and duce some tweaks to the translation as well would preach about how on whatever Sun- (such as correcting the translation of “pro day or feast in the year 1531, St. Juan Diego multis”). It will thus provide an occasion might have heard that same chant at a sol- for any priest and those who work with him emn Mass—albeit in Latin. Or how St. to make some fanfare and awaken interest. Rose of Lima likely sang this same Agnus The publication of this new missal has been Dei that we are, on a Sunday when I intro- announced as proximate on more than one duced a Latin ordinary or a part thereof. occasion in recent years; hopefully it will in This particular focus of music really must fact be published soon.22 form part of a larger catechesis on the lit- urgy itself. I remember when I first realized 22In fact, the November 2016 number of the that many immigrants, who had little edu- U.S. Bishops’ Committee on the Liturgy News- cation in the faith or otherwise, often used letter confi rms that the needed recognitio from Sacred Music | Fall 2017 Volume 144, Number 3 19 with the current Spanish Missal. Just as regional, national, and international sacred music conferences have taken on a life of Th e time has come their own in recent years, with healthy numbers and even people coming from to promote more afar to attend, so I hope that by beginning in earnest and pressing on, such Spanish widely a restoration liturgical music conferences might become a mainstay and attract those priests, musi- of the sacred in our cians, and “shock troops” who are keen on restoring the sacred and transforming Spanish-speaking their parishes into places of beauty, deco- rum, and culture. communities. Conclusion The Latin American Bishops at Aparecida gave a valuable indication as to what must I could also envision training work- be done to connect our worship back to shops not unlike those offered at St. John something greater: namely, the great artis- Cantius in Chicago for the Latin Mass— tic tradition of the church, with all of its but in this case, for priests and musicians evangelical power. In so doing, they have to learn how to “do” good Spanish liturgy.23 effectively repeated what the church has Such workshops should take into account been teaching us through her popes and an the needs of clergy who may not have a full ecumenical council for the past one hun- grasp on the Spanish language but at least dred-plus years. The saving encounter with know how to pronounce it and, in any case, Christ must be the focus, then, in how the will need to serve the Latino population. liturgy is celebrated, and in particular, in One important skill that is to be acquired the sacred music that we use. Great prog- by many priests is that of singing the ora- ress has been made in recent years in pro- tions and prefaces, especially when no moting a restoration of the sacred in our notation is provided, as is largely the case English-speaking communities. I com- mend all who do this important work! The time has come to promote this same work the Holy See has now been obtained, and the more widely in our Spanish-speaking com- new Misal will be published soon 20 Volume 144, Number 3 Sacred Music | Fall 2017 A Parish Orchestra & Conservatory for a Diverse Neighborhood What role can excellent music education play in the lives of those who face economic and social hardships? by Lisa Knutson hree years ago, I came back to of opening up their orchestra to the com- work part-time for a parish that munity. Already we had several parishio- TI hold very dear. It is an old mis- ners who played a string instrument, and sionary parish in Southern Min- so the Buela Youth Orchestra was begun. nesota, run by the Jesuits for almost 150 As our mission solidified for this commu- years. In 2008, after the Jesuits pulled out nity orchestra, we saw a need to reach out of parish ministries, the Institute of the to those in our own neighborhood, many of Incarnate Word (I.V.E.), a missionary order whom are immigrants or in impoverished with an Ignatian charism, took charge of situations, by offering free musical instruc- the parish. At the same time, they began tion. Our hope is to win hearts for Christ their high school minor seminary in our old through beauty. convent building, which has now grown to In only our second season, we are now over twenty boys attending, all of whom a free after-school string program which feel a call to the priesthood. works in conjunction with the I.V.E. minor When I came back to work after a five- seminary. Local professionals give private year absence, the boys had all switched and group instruction, and section leaders from learning a band instrument to a help train beginners. The parish and sem- string instrument, for the purpose of learn- inary own instruments, and lend them to ing more sacred music. Our pastor and I students if needed. We have about forty stu- sat down and talked about the possibility dents of varying abilities and backgrounds. This address was given as a conference paper on March 11, 2017 as part of the “Gregorian Chant in Pastoral Ministry and Religious Education” conference held at St. Joseph’s Sem- inary (Dunwoodie) in New York. Lisa Knutson is an organist, children's choir and conservatory director, and Administrator of the Zip- oli Institute, an apostolate of sacred music for the Institute of the Incarnate Word (domenicozipoli.org). Sacred Music | Fall 2017 Volume 144, Number 3 21 Hispanic children make up nearly forty per- choir school continued and grew through- cent of our enrollment. Others come from out the middle ages, expanding to England large homeschooling families, our Catho- and throughout Europe to instruct singers lic school which no longer has an orchestra in sacred music. The training of youth in program, or from difficult home-life situ- this system relied largely on the direction of ations. We even have one young-at-heart preceptors, former students and head teach- member who is eighty years old. ers under the charge of the master teacher. This fall, we celebrated the canoniza- Eventually universities evolved out of tion of the seminary’s patron saint, José these schools, where the seven liberal arts Sanchez del Río, with a sung Mass for the included music as part of the quadrivium. feast of Christ the King which featured the In these schools was the beginning of the Misa a San Ignacio by Domenico Zipoli, S.J. church’s use of the pipe organ, first used as (1688–1726). The Buela Youth Orchestra, a tool for education in the sciences. Slowly, still developing its ability to play an entire the instrument was introduced into liturgi- Mass, played the Agnus Dei, a piece by an cal use for the aide of singers, and gained unknown composer from the Jesuit Reduc- acceptance in church worship as early as the tions of Paraguay, as well as hymns, psalms, tenth century.2 and a prelude. They also had the opportu- In the High Renaissance, colleges such nity to experience an orchestral Mass with as the Collegio Romano, the German col- professional singers and string players, and lege, and other Jesuit colleges in Munich, some of those students would not have gone Graz, Vienna, Prague, Cologne, Mainz, to Mass that day had it not been for their and Augsburg became important centers orchestral requirement. for musical learning and musical instrument While our program may seem to lie far development in Europe. Musicians trained beyond the bounds of a typical music pro- at the Jesuit colleges included Carissimi, the gram, we are, in fact, inspired by the his- leading developer of the oratorio, the music torical mission and outreach of the church’s that would largely lead to the opera. Pro- educational work. The first centers for musi- fessors at these schools also included Pal- cal training in the Christian tradition were estrina, Victoria, and Charpentier. the scholæ cantorum and cathedral or monas- tery choir schools of the sixth century. The orphanages and the schola cantorum, see Joseph boys trained here were trained in singing, Dyer, “Th e Boy Singers of the Roman Schola Cantorum,” Young Choristers: 650–1700 (Roch- and utilized in the chant for the liturgi- ester: Boydell and Brewer, 2008), pp. 19–36. For cal celebrations of the stational churches in a look at the development of choir schools, see Rome. In the Eastern church and to some Anthony Pierce, “Choirs and Choir Schools in extent in the West, these choir schools had the History of Church Music” (Master’s Th esis, a strong link to orphanages, affording boys Boston University, 1956) 22 Volume 144, Number 3 Sacred Music | Fall 2017 While Catholic and public school music programs are still somewhat common, pro- Th is relegation of musical grams of excellence are more rare. Most stu- dents receive their best musical training in a training and artistic privatized way, and this usually comes with high cost, and little incorporation into the excellence to the secular life of the church. The Suzuki method pro- grams, for example, cost at least ninety dol- sphere is not necessary. lars per month for a beginning student in our area. At the university level, the best music conservatories in our country are sec- ular and expensive. Next, we consider Paris, and the devel- This relegation of musical training and opment of the conservatory. Formed in 1795 artistic excellence to the secular sphere is not as the combination of recently founded insti- necessary, however. As in the past, there is a tutions, the Royal School of Singing and vital link between artistic education and the the National Institute of Music, it was as a liturgical and missionary life of the church. secular or government school. Throughout And we can look to the writings of people its history, however, the links with Catho- like Pope Benedict to understand the “Way lic musicians and Catholic sacred music are of Beauty,” whereby beauty is laid down as a strong, and demonstrated through its long, path for the New Evangelization. Since his illustrious list of directors, organists and motu proprio in 2007, Summorum Pontifi- composers including Dubois, Fauré, Widor, cum, the Canons Regular of St. John Cantius Guilmant, Dupré, Vierne, Duruflé, Saint- and others have produced beautiful resources Saëns, Langlais, Marie-Claire Alain, Messi- and training for the sung Mass. This grow- aen, Tournemire, and today’s titular organist ing parish and order of priests have as their of Notre Dame de Paris, Olivier Latry, who crest the alabaster jar, that symbol of the is professor of organ at the conservatory. expensive oil poured at the feet of Jesus. This Also worth mention is the Catholic symbol makes clear the efforts of beauty to schools movement of America in the nine- pour gifts of music and art generously at the teenth and twentieth centuries, and how feet of Our Lord in the sacred liturgy, spar- important the role of musical education was ing nothing in artistic creation. “The poor,” in its essence of the educational whole. Cer- the grateful recipients of such graces, “will tainly the Ward Method is the prime exam- always be with you,” says Our Lord to the ple of this, but even in rural Catholic schools, disciples in that moment. In bowing down musical training, at least singing and basic at the feet of our Lord as the humble woman theory, was very good. Most Catholic school did, and pouring out our gifts of beauty to children, through the 1960s, had a basic him, we are providing a service to the poor knowledge of note-reading and singing. by allowing them the opportunity to lift their In contrast, consider today’s practice of eyes upward to him who is Beauty itself, giv- musical learning through lessons, conser- ing hope to troubled situations, enlightening vatories, and youth orchestras or choirs. those in darkness. Sacred Music | Fall 2017 Volume 144, Number 3 23 As Pope Benedict said, “The encounter them in as far as they prove a hindrance with the beautiful can become the wound to him. . . . of the arrow that strikes the heart and in this way opens our eyes.”3 Quite possibly, Our one desire and choice should be our times see ugliness in ways earlier cul- what is more conductive to the end for tures had not. With the problem of pornog- which we are created.4 raphy and human trafficking, the human body, itself highest in the order of created In this precept, we have the basis of beauty, is debased of aesthetic value—and what I call the “missionary school.” First while the eyes see, the heart is hardened of all, there was a flexibility—myriad ways with ugliness. that beauty was used to bring about con- Evangelizing with beauty to such a version, to strengthen communities, and pagan culture as ours is not a new method- to give the very best of available materials ology. Beauty was, in fact, the common tool to almighty God in holy Mass and in daily utilized by the missionaries of the sixteenth life. The Jesuits created plays, operas, elabo- and seventeenth centuries in the “New rate paintings for forty hours devotions, and Worlds.” The Jesuits followed the spiritual- music. They crafted beautiful architectural ity of St. Ignatius of Loyola in the Spiritual designs, sculptures, and ornate decorations Exercises, and held that every created thing, for churches and other buildings. One of material, and sound, could be employed for the first buildings established at a new mis- the greater glory of God and the sanctifica- sion was the workshop, where native people tion of people. learned a trade and employed skills in the building and decoration of churches and The First Principle and Foundation their associated furnishings, art, sculpture, and musical instruments. Man is created to praise, reverence, and There was a diversity of instruments, serve God our Lord, and by this means languages, and functions for music. Instru- to save his soul. ments such as the harp were introduced in Paraguay by Father Antoin Sepp, S.J., and The other things on the face of the earth it is now their national instrument. The are created for man to help him in at- bagpipe was taught to the Guarani to build taining the end for which he is created. community and Christian culture. Organs Hence, man is to make use of them in as were built in many places, especially Mex- far as they help him in the attainment ico. Compositions in the native language of his end, and he must rid himself of were developed. Compositions in Span- ish helped the missionaries teach natives 3Joseph Cardinal Ratzinger, Message to the Com- munion and Liberation Meeting at Rimini, “Th e Feeling of Th ings, the Contemplation of Beauty,” 4St. Ignatius of Loyola, Th e Spiritual Exercises, 24–30 August, 2002 24 Volume 144, Number 3 Sacred Music | Fall 2017 a common language. Works in Latin were painting was two-dimensional, pure and taught so that the people could learn to clean, reflecting purity. The mutual enrich- pray the sacred liturgy. The singing of the ment of West and East in the field of art Laude—a sort of catechism in song—was inculcated trust between the two cultures, always employed, complete with attractive and presented an opportunity for dialogue. processions of children to the church for catechesis. The Orchestra, Sacred Music, and “Give me an orchestra of musicians and Education I will convert all the Indians for Christ,” is a Today the orchestra, in large part, exists popular saying by Manuel de Nobrega, S.J. outside the church, and has for some time. from 1549.5 The musical style of the mis- While the church is open to the use of sions of South America in the fifteenth and non-organ instruments within certain sixteenth centuries was that of adaptability guidelines, modern composition for the to the voices and resources available. It was Catholic Church has largely relied upon often complimented by the native styles, instruments like the piano and guitar rather which were elevated into a larger Italian than the orchestral instrumentation of the Baroque framework. Polyphonic Masses Baroque and Classical periods. For this rea- were composed for the native people and son, the use of instruments, as in times past, children’s voices to accommodate the abil- has largely remained controversial because ities of each place’s choir. These amazing of its ability (arguably more than singing efforts, most notably by Domenico Zipoli, alone) to introduce secular styles of music S.J., were an education in beauty, utilized into the sacred liturgy. to save souls. In the secular world, however, the In the “mission school,” there was an orchestra has an established place in the emphasis on education in a diversity of concert hall, and in more recent years has fields, all of which worked to build a com- been the locus of musical outreach to diverse plete Christian culture. In Asian lands and communities. In Venezuela, a nation-wide the Indies, the visual arts were employed effort was made in the 1970’s by Catholic for communication with such a different Dr. Jose Antoin Abreu to save the souls of culture. While the Chinese courts were its poverty-stricken people through the art impressed—or perhaps amused—by the of music and the orchestra. He says, Westerners’ instruments such as the tele- scope and armillary sphere, they did not An orchestra is the only community that like Renaissance painting. Looking much comes together with the fundamental too dark with all the realistic shadows and objective of agreeing with itself. There- life-like representations, the Jesuits learned fore the person who plays in an orchestra about the Asian culture’s desire for the ideal begins to live the experience of agree- in the after-life, represented in art. Their ment. And what does the experience of agreement mean? Team practice—the 5Th is saying was slightly adapted and used in the practice of the group that recognizes it- Hollywood’s production of Th e Mission (Warner self as interdependent, where everyone is Brothers, 1986). responsible for others and the others are Sacred Music | Fall 2017 Volume 144, Number 3 25 responsible for oneself. Agree on what? and serve God and by this means save our To create beauty.6 soul, and in this to love and serve our neigh- bor, we remember the words of St. Ignatius Gustavo Dudamel, perhaps the most who says that “love ought to manifest itself famous conductor of our times, is from in deeds rather than in words.” “Love,” he Venezuela and has seen the success of the says, “consists in a mutual sharing of goods, Dr. Abreu’s “El Sistema” program in his for example, the lover gives and shares with country. Today over a million young peo- the beloved what he possesses, or something ple in Venezuela are in the nuclei of these of that which he has or is able to give; and programs, receiving the finest music edu- vice versa, the beloved shares with the lover. cations in the world for free, and turning Hence, if one has knowledge, he shares it from other harmful activities of poverty to with the one who does not posses it; and so the hard work and accomplishment of daily, also if one has honors, or riches. Thus, one intense, musical practice. There are thou- always gives to the other.”9 sands of these El Sistema-inspired pro- If we as musicians in the church posses grams popping up in poor neighborhoods not only the patrimony of the world’s best around the world.7 musical heritage, but also the Holy Word of Gustavo Dudamel says, God infused within it, should we not share this with those who do not possess it? My main goal, and it’s a big one, is that Dr. Abreu says every child has a chance to get close to music—as a right—that as they have ac- What do people feel (in music)? A rev- cess to food, health, and education, they elation. God reveals something, some- get the chance to have art and culture— thing ineffable, something that cannot especially music.8 be penetrated by rationality, that is only penetrable by intuition. It is that young Secular musicians today sound pretty person who, penetrated by music, chal- charitable! Most orchestras, like the Los lenged by the musical impulse of the Angeles Philharmonic, have some sort tasks of the orchestra, begins a psycho- of outreach program for youth, especially logical transformation. We must let our- low-income children. But as the church of selves be moved by that art that brings Jesus Christ, whose first charge it is to love us together—through music, plastic arts, literature, cinema—and begin to recog- 6Alberto Arvelo, Tocar y Luchar, DVD (Los nize ourselves in our essences, our iden- Angeles: Cinevolve, 2006). tity—through art, which is the only 7Christine Witkowski, El Sistema: Music For So- world where we can find the true revela- cial Change (London: Omnibus Press, 2015). tion of our being. The authentic being is revealed through art as a bearer of beau- 8Quoted in Frank Fitzpatrick, “Why Mu- ty, goodness, and truth.10 sic, Part 5: Music and Education,” Huffi ngton Post, December 3, 2012 26 Volume 144, Number 3 Sacred Music | Fall 2017 Thinking about the missionaries’ priori- could be utilized as a workshop for the ties for art, workshops, and building Chris- training in liturgical arts (woodworking, tian culture when establishing missions in metalwork, sculpting, etc.)? Perhaps we the neighborhoods they entered, let us con- have parishioners already trained in a craft sider what we may be able to utilize for our who could offer their skills to train a new own “missionary schools,” which are today generation. the Catholic parishes of our communities. The greatest mentor of the orchestral In Amoris Lætitia, Pope Francis says Masses in America is Msgr. Schuler of St. something important for us as we reflect on Agnes parish in St. Paul, Minnesota. His the dwindling number of choir members, example, not only of musical leadership, but volunteers in general, and life of the aver- also liturgical, has reaped fruit for the very age parish community, especially in rural or life of his parish, which is situated in Frog- poverty-stricken parishes: town, a poor neighborhood. The parish has produced numerous vocations to the priest- Nowadays, pastoral care for families hood for the archdiocese, and is flourish- has to be fundamentally missionary, ing through the involvement of many young going out to where people are. We can families. In an interview with Deacon Ed no longer be like a factory, churning out Schaefer regarding the Viennese Classi- courses that for the most part are poorly cal Masses they are so famous for, Monsi- attended.11 gnor Schuler said, “I don’t think that these Maybe one’s parish does not have much. Masses should be sung everywhere all the Maybe one is already being asked to do too time. But they should be sung somewhere, 12 much in one’s ministry to help out an over- and we can sing them, so we do.” burdened pastor. Perhaps there is a reorga- Thinking about the flexibility that the nization of efforts that one could consider missionaries have had in their work with when looking to prioritize ministries for the diverse cultures throughout the ages, utiliz- future. ing beauty as the way of evangelization, the Can we open our doors to the children of question perhaps is not “what our limita- our neighborhood for the training of music? tions are because of our lack of resources?” Can we allow the use of our rooms for prac- but rather “what can we do for the greater tice rooms? Can our music staff give lessons, glory of God?” teaching theory and singing? Is it possible to allow for the study of instruments using our pipe organs and grand pianos? Do we have a maintenance garage that 11Pope Francis, Amoris Lætitia, ¶230 Sacred Music | Fall 2017 Volume 144, Number 3 27 From Indianapolis to Nigeria: A Narrative of the Sacred Music Apostolate in the Onitsha Archdiocese The number of organizations and schools which teach and promote sacred music is on the rise in Nigeria, thanks to the initiatives of priests and bishops, combined with the love of the Nigerian people for music. by Rev. Jude Orakwe y first ever experience of the My experience of the Indianapolis col- M colloquium of the Church loquium left a yearning in me, the yearning Music Association of Amer- to learn to offer the Mass according to the ica was at Indianapolis in 2014. That was venerable usus antiquior, otherwise known as about a year prior to the end of my stay in the vetus ordo, or extraordinary form. This Bloomington, Indiana, where I received yearning was fulfilled in Bloomington a my doctorate on July 31, 2015 from Indi- few months before I left the United States ana University. Today, I am coming back and went back to Nigeria. Incidentally, the for a second time, here at St. Thomas Uni- first pastoral assignment I was given by my versity, St. Paul, Minnesota, accompanied Archbishop—and an urgent one at that— by two of my brother priests, at the insis- was to become the chaplain of a group in the tence of our Archbishop, Most Rev. Vale- Archdiocese of Onitsha presently known as rian Okeke. St. John XXIII Liturgical Group. This is a This address was given as a breakout session on June 20, 2017 as part of the annual CMAA sacred music colloquium. Rev. Fr. Jude Orakwe is a lecturer at Chukwuemeka Odumegwu Ojukwu University, Anambra State in Nigeria, Chairman of Onitsha Archdiocesan Liturgical Music Commission, and Director of Music at St. Joseph’s Parish in Onitsha. 28 Volume 144, Number 3 Sacred Music | Fall 2017 group of Christ’s faithful that meets every third Sunday of the month for the celebra- tion of the extraordinary form of the Mass at the mission-station of a nearby parish. Part As these youth musical of my initiative in accepting this assignment is to guide the group in adopting a liturgical groups are springing spirituality and to foster beauty in the cele- bration of the sacred liturgy. up, there is also an An important question arises here: what has it been like working in the fields of intensifi cation of music sacred and classical music in Nigeria after six years of intensive studies in the United studies in our junior States? Take note that these six years were preceded by another six years of sojourn in seminaries. Europe, during which I studied Gregorian chant and ancillary courses in sacred music at the Pontifical Institute of Sacred Music in Rome. I felt on my return that there was Already such schools are rapidly being the presumption on the part of the Arch- replicated in various parishes of the Onit- diocese that I was coming back home to sha Archdiocese at the expressed wish of Nigeria to serve full time in the field of our Archbishop who—without necessarily sacred music—and so it was. being a theorist of the “Mozart effect”— Thus, the first task I picked up as soon strongly believes in the efficacy of music as I came back to Nigeria was to insert education in character and spiritual forma- myself into and adapt to the tremendous tion of the young. As a result, the Voice of work already being done by some of my for- an Angel Music Academy has been devel- mer students at All Hallows’ Seminary in oped in another part of the city of Onitsha. Onitsha, two of whom are here today (Fr. I also formed the George Handel Music Patrick Orjiakor and Fr. Steve Ifeanyi). I Academy in my parish. There are a host of discovered that Fr. Steve’s music school, the others! Archbishop Valerian Okeke Music Acad- As these youth musical groups are emy, has developed vocal and instrumental springing up, there is also an intensifica- music education programs for children and tion of music studies in our junior semi- teenagers. Each year, the academy orga- naries (All Hallows’ Seminary in Onitsha nizes a music festival in which the students and St. Joseph Seminary School in Awka- exhibit their talents as performers of var- Etiti). This intensification has become dis- ious orchestral instruments (violin, viola, tinctive under the guidance of Fr. Patrick cello, flute, piccolo, clarinet, French horn, Orjiakor who is my fourth successor as our saxophone) together with various genres junior seminary’s music director ever since of vocal music. Presently, this yearly event I left All Hallows in 2003 for my studies packs the halls to capacity with thousands in Rome. The music formation of seminar- of guests in the audience. ians of St. Joseph’s is under the guidance Sacred Music | Fall 2017 Volume 144, Number 3 29 culture, only “riff-raff” would devote them- selves full-time to the professional practice or even study of music.2 Music in Igbo culture A second area in music apostolate I had to focus on was the direction of the Arch- is seen as what Italians diocesan choir. In Onitsha, we have an archdiocesan choir of about two hundred defi ne as passatempo but singers. This Archdiocesan choir is most directly under Fr. Patrick as the principal never as an occupation or chaplain and music director. Similarly— as the chairman of Onitsha Archdioce- a professional career. san Catholic Choir Association informed me—in each of the five episcopal regions that make up the Archdiocese of Onitsha, there is also a regional choir of about a hun- dred singers. I am usually asked by Fr. Pat- of Fr. Paschal Okonkwo, also one of my rick to direct the Archdiocesan choir while past students. Indeed, as far as our Arch- he plays the keyboard or coordinates the diocese of Onitsha is concerned, the decree instruments and supervises the sound sys- of the Constitution on the Sacred Liturgy tem. The repertoire of the choir ranges from with regard to music pedagogy in seminar- simple hymns through Gregorian chant to ies reigns supreme: “great importance is to a general classical style. Latin, English, and be attached to the teaching and practice of music in seminaries.”1 Igbo are the languages used—the last being A characteristic of these music estab- the local language spoken throughout the lishments in the Archdiocese of Onitsha is entire southeastern Nigeria. that they are pushed forward by the extraor- In our Archdiocese (and in Nigeria in dinary zeal of priests involved. Among general), reading music is done predom- ourselves, we have an unwritten rule that inantly with tonic sol-fa notation (mov- whoever wants to foster music within the able do) although the use of staff notation parish or school setting must be ready to is also prevalent especially among those spend much of his personal savings because who have studied Western music. The tonic our native culture, although intensely musi- sol-fa notation is a system of music read- cal, has never fully accepted music as some- ing that was developed and systematized by thing on which somebody should spend John Curwen, an English clergyman, and much time or resources. Music in Igbo cul- employed extensively by missionaries of var- ture is seen as what Italians define aspas- ious denominations in the musical aspects satempo but never as an occupation or a of their nineteenth- and twentieth-centu- professional career. In pre-colonial Igbo ries’ missionary endeavors in various parts of 1Second Vatican Council, Constitution on the 2Chinua Achebe, Th ings Fall Apart (New York: Sacred Liturgy, Sacrosanctum Concilium, ¶115. First Anchor Books, 1959/1994), c. 1. 30 Volume 144, Number 3 Sacred Music | Fall 2017 Africa.3 The sol-fa system “involves the use of the first letters of the solfège scale do,( re, mi, fa, sol, la, ti) as mnemonics to help the singers to learn and mentally conceptualize the melody in order reproduce the required Nigerians really love pitches while singing the lyrics.”4 Someone would ask, how does a Nige- and cultivate music— rian choir sound? This is a reasonable ques- tion because sometimes it may be quite easy church music, western to imagine that African music is basically drumming and dancing. I also remember a or African. But the idea funny experience I had in Italy after playing the organ at a Mass. A lady approached me of dedicating oneself and exclaimed something like: “we are used to hearing about the Africa of elephants full-time to its studies is but not quite about the Africa of playing the organ.” Perhaps, some clips of a video bit of a novel idea. will help in giving answer to this import- ant question. Next, I received from the Archbishop the major assignment of founding the Sha- nahan Institute of Music. The Archbishop’s diploma at the end. In this work, Fr. Steve, directive for the erection of the institute Fr. Patrick and other priests—who have the follows the instruction of the Constitution American equivalent of a master’s degree on the Sacred Liturgy, Sacrosanctum Con- in theology and are gifted with talent and cilium (¶115): “It is desirable . . . to found musical experience from their junior sem- higher institutes of sacred music whenever inary formation years—assist. The aim of this can be done.” The institute meets on the institute is to open the students to the Saturdays since many of the students are study of music, ancient and modern, West- adults—school teachers, university stu- ern and African, vocal and instrumental. dents, workers, and traders. We project the We basically train the students so that they music formation to last for three years with in their turn would be able to train others. the possibility of the students acquiring a What courses do we teach? In the first year the following courses are taken: Solfège, Choral Rehearsal, Basic The- 3Clara Henderson, Dance Discourse in the Mu- sic And Lives of Presbyterian Mvano Women in ory of Music, Fundamentals of Gregorian Southern Malawi (Ph.D. diss., Indiana Univer- Chant, Keyboard Basics, Voice, Latin, Lit- sity, 2009), p. 223. urgy/Liturgical Musicology. In the next two years, the courses to be taken before 4Jude Orakwe, Joyful Noise And Violent Prayer: Music and Charismatic Worship Performance in the award of diploma are: Choral Ensem- Nigerian Catholic Communities in Rome, Italy ble, Harmony and Counterpoint, Gre- (Ph.D. diss., Indiana University, 2015.), p. 212. gorian Semiology, Piano Study, History Sacred Music | Fall 2017 Volume 144, Number 3 31 of Music, Liturgical Musicology, African chant like torculus initio debilis or scandicus Music, Instrument (with the choice made quilismaticus! Nevertheless, I am particularly by the student), Music Informatics, (Ethno) aware that many of them feel empowered by musicology, Form and Analysis, and Gen- taking a course in the Latin language. eral Musicianship. Apart from the regular Are there challenges? We have a good activities of the institute, we organize an number of them. Perhaps some of the chal- annual seminar for members of the Catho- lenges we face may be similar to what a lic Choirs of Onitsha Archdiocese. church musician may also have to grap- Do we have successes? I can say that ple with here in the United States. But the greatest success we have registered so some of our difficulties may be specifically far is our ability to convince the children peculiar to our Nigerian terrain. As I have of our music academies and the adult stu- already indicated, it is pretty difficult cul- dents of our music institute that there is tivating church/Western music in a for- genuine need for dedicating quality time to mal way as some of us are presently doing the systematic study of music. This is pretty because formal/professional music study is counter-cultural. Nigerians really love and easily perceived in Igbo culture as econom- cultivate music—church music, western or ically useless. Although we may sometimes African. But the idea of dedicating oneself receive some measure of material support full-time to its studies is bit of a novel idea. from our pastors and the people of God, I teach music in the university and know there are just some limits we cannot cross the amount of humiliation some of my stu- in our requests or demands. For example, dents are subjected to at the hands of their for all the zeal we may have for cultivating fellow students. The business or entrepre- music, none of us would have the audacity neurial bent of a typical Igbo person is cul- to request from his immediate superior the turally irreconcilable with “wasting” time funds to purchase something like a French in professionally studying and performing horn. Such funds don’t exist, you might be music, an activity that has been philosophi- told. I imagine that this may not be so dif- cally defined as “economically useless.” ferent from what can happen in certain But our children are almost everyday parishes in the United States, especially if in our parishes—whether we are there or the pastor is not very artistically-inclined. not—studying their music and trying to Or imagine me requesting one of my figure their way through playing the vari- parishioners for a donation to purchase an ous instruments, sometimes on their own, upright piano! He or she will think I’m because in Nigeria, professional study and being crazy in making such “an outrageous pedagogy of instruments is still an emerging request.” So, in our work in the archdiocese, reality. Our adult students also show great we can hardly have an upright piano or any interest in what they are learning, although such costly musical instruments unless one the academic challenge is great for some of hits a jackpot like Fr. Patrick did when them since they are older. They are chal- one of the senior priests of our archdiocese lenged when, for example, I happen to shock (who was formerly a professor at St. Mary some of them by mentioning some Latin of the Lake Seminary Mundelein) donated terminologies used in the study of Gregorian his grand and upright pianos to the minor 32 Volume 144, Number 3 Sacred Music | Fall 2017 erfully propelled in our pursuit of this apos- tolate by the ideas expressed in these lines drawn from E. G. Schellenberg: We rejoice to Music lessons [are] unique . . . because of their focus on a particular combina- see the liturgical tion of factors, such as hours of indi- vidual practice, learning to read music, sensitivity of our choir attention and concentration, timing, ear training, sight reading, constructive members and church feedback from the instructor, and expo- sure to music. Thus, positive transfer ef- musicians grow. fects to nonmusical domains, such as language, mathematics, or spatial rea- soning, could be . . . unique for individu- als who take music lessons. On the other hand, music lessons are likely to improve many general skills, such as attending to Seminary on his return to Nigeria. But I rapidly changing temporal information, have the dream that, by Divine Providence, honing skills of auditory stream segre- we shall be able to arrive at whatever target gation, developing the ability to detect we set for our music schools and establish- temporal groups, becoming attentive to ments even if it might be matter of years. signals of closure and other gestalt cues Presently, we succeed in fostering the music of form, developing emotional sensitivity apostolate in our various archdiocesan insti- and expressiveness, and developing fine tutions by making the sacrifice of our per- motor skills. These general skills should sonal resources added to whatever support be particularly likely to transfer to a vari- or subventions we may receive. ety of nonmusical domains.5 To conclude, I must confess that those of us engaged in the music apostolate in the Schellenberg’s position as stated above is archdiocese really feel fulfilled. We fill ful- significant enough and has much relevance filled in the sense that it gives us joy to see in any discussion about general benefits of the progress our students are making not music instruction and this includes church only in the field of music but also in other music. We will go back from this collo- areas of Christian and human living. We quium; even more powerfully and positively rejoice to see the liturgical sensitivity of our charged to do more and greater things for choir members and church musicians grow. the growth of the liturgical music aposto- We feel encouraged by seeing their spiritual late in our archdiocese. and moral lives mature. Above all, we are happy to see some of our children perform 5E. G. Schellenberg, “Music and Nonmusical a quantum leap in their general academic Abilities,” Annals of the New York Academy of Sci- performance. In line with this, we feel pow- ences, 930, (June 2001), 355–371, here 367–368. Sacred Music | Fall 2017 Volume 144, Number 3 33 Introducing Gregorian Chant to an American Catholic Congregation What underlies the sense that worship should be as brief and as silent as possible? by Kurt Poterack [W]henever rites . . . make provision for lar Mass he attended was the High Mass communal celebration involving the pres- with the cathedral’s famous men and boys ence and active participation of the faith- choir singing a Renaissance polyphonic ful, this way of celebrating them is to be mass setting. According to the observer, it preferred, so far as possible, to a celebra- was during the choir’s singing of the Glo- tion that is individual and quasi-private.1 ria that he looked to his side and saw, across the aisle, the famous author. However offer two vignettes, one from unlike most of the people in the congrega- I before Vatican II, and the other tion, who were prayerfully engaged in the after Vatican II. choir’s beautiful rendition of the Gloria, Mr. Sometime in the late 1940’s, the English Waugh had a pained, unpleasant expression Catholic author Evelyn Waugh, was seen on his face. Suddenly, Waugh observed a attending Mass at Westminster Cathedral. priest go to a side altar to say his daily Mass. This was unusual because he was not a res- According to the observer, Evelyn Waugh ident of London and thus this was not his immediately got up and went to that side parish church; he might have been in Lon- altar where the priest was, to assist at his don on business. At any rate, the particu- Mass. The priest, relatively quickly, finished his private Mass while the High Mass was 1Second Vatican Council, Constitution on the still in progress. Then Evelyn Waugh, hav- Sacred Liturgy, Sacrosanctum Concilium, ¶27, ing just fulfilled his Sunday obligation, left emphasis added. the cathedral smiling. Th is address was given as a conference session on March 11, 2017 as part of the “Gregorian Chant in Pastoral Ministry and Religious Education” conference held at St. Joseph’s Seminary (Dunwood- ie) in New York. Dr. Kurt Poterack is the Director of the Christendom College Choir and Schola Gregoriana. He also serves as the coordinator of the college’s Beato Fra Angelico Fine Arts Program. 34 Volume 144, Number 3 Sacred Music | Fall 2017 Many decades later, in October 2016, I ant step toward a successful introduction of was helping celebrate the sung Sunday Ves- Gregorian chant to any congregation. It is pers at the college where I teach. Our Ves- important to understand a context and the pers is simple—in the vernacular, sung out limitations (or challenges) that are a part of the Mundelein Psalter, with me leading it of that context. So, first I will look at this from the pews, and the other ten to twenty context and then proceed to recommenda- people responding. Still, it is the public tions as to how to get a congregation to sing prayer of the church and our chaplain pre- chant. sides over it. At any rate on this one partic- Admittedly, the two examples that I ular Sunday, I noticed in our midst a young gave at the beginning were rather striking— lady not singing along with the rest of us, some would even say extreme—illustrations but engrossed in her small private prayer of a type of behavior. Nonetheless, I think book. After about ten minutes—while Ves- that the clarity of these examples makes pers was still proceeding—she closed her them good starting points for understand- prayer book, crossed herself, genuflected, ing behavior patterns that go back to our and walked out of the chapel. She had the European forbears and persist among many smile of someone who had just completed American Catholics today. In a nutshell, I an important obligation of the day. think that there are two basic assumptions What was interesting to me was that about worship that many American Catho- this college-aged girl was just about young lics hold. They are that the worship of God, enough to have been one of Waugh’s great ideally, should be: 1) as private as possible; geat grand-daughters. I am certain that and 2) to a lesser extent, as brief as possi- she was not, but she was definitely young ble—but, as you will see, I think this needs enough to have been a friend of a great some nuancing. So, let us explore these grandchild of his. And yet over the dis- before we proceed to any solution concern- tance of almost seventy years, and on two ing the introduction of Gregorian chant to different sides of the Atlantic Ocean, these a typical congregation. two people seemed to share a common First, let us deal with the notion that outlook, a set of assumptions about how a the worship of God should ideally be as pri- Catholic should worship God—and these vate as possible. Let me begin, ironically, assumptions were practiced rather noncha- by looking at the most quintessentially lantly in the midst of other Catholics who “American” of Protestants: the Evangel- were worshipping God in a somewhat dif- icals. While there are certainly different ferent manner. These assumptions, how- types of Evangelicals with different types ever, are not limited to these two people. I of worship it is not unusual for there to be have encountered them many times among an Evangelical worship service that will go Catholics today. What are these shared for several hours—not brief at all!—but in assumptions, and how do they relate to the which there may be no communal worship introduction of Gregorian chant to a Cath- whatsoever. There will often be an hour- olic congregation? long sermon by the pastor, and there also In my opinion, identifying and dis- will be a series of “testimonies” by individ- cussing these assumptions is an import- uals; sometimes there also will be musical Sacred Music | Fall 2017 Volume 144, Number 3 35 performances by individuals or choirs, even line” Protestants—preserved a sense of skits—but there may not be a single hymn “corporate worship” among themselves for or even a prayer recited in common (e.g., centuries. Otherwise we wouldn’t have the an Our Father). And sometimes these are great hymn-singing tradition of Lutherans mega-churches with congregations of up to or the wonderful tradition of choral Angli- a thousand people. However, these people can Evensong. However, in the fertile soil are in essence present as a thousand indi- of American individualism—and prescind- viduals being exhorted to encounter Christ ing from the important difference of sacra- privately. mental doctrine for the moment—one could I sometimes stun my Catholic students reasonably inquire if devotionally there is by saying that, if you want to understand the really that much to distinguish the individ- origins of modern American religiosity, that ual Evangelical’s “Me and Jesus” from the of the hand waving, come-to-Jesus evangel- individual Catholic’s “Me and Jesus (albeit ical Protestant, there is a sense in which you Jesus in the Blessed Sacrament).” have to go back to the Catholic devotional According to Dom Gregory Dix, the life of the late Middle Ages. It certainly did effect of frequent low Masses in the Mid- not come out of the Orthodox East. The late dle Ages was that as the “part of the indi- Dom Gregory Dix, High Church Angli- vidual layman in that corporate action [of can liturgical scholar, is well worth a look the Mass] had long ago been reduced from in this regard. He traced the emergence of ‘doing’ to ‘seeing and hearing’ . . . [the lay- this privatized Protestant piety largely to the man then retreats] . . . within himself to popularity of low Mass in the second mil- ‘thinking and feeling.’ . . . [and from there] lennium: “[t]he old corporate worship of [h]e is even beginning to think that over- the Eucharist is declining into a mere focus much ‘seeing’ (ceremonial) and ‘hearing’ for the subjective devotion of each separate (music) are detrimental to proper ‘thinking worshipper in the isolation of his own mind. and feeling.’”4 And it is the latter which is beginning to And this—believe it or not—gets us to the seem to him more important than the cor- notion that the worship of God should ide- porate act.”2 Dix also contends that the pur- ally be as brief as possible. Now we all know pose of early Protestant worship, that is, how some Catholics treat Sunday Mass as “stimulating devout emotions and reactions a legalistic obligation that they want to get in the minds of worshipers,” is actually quite over with as quickly as possible—like a visit reminiscent of the tone of “the fifteenth cen- to the dentist or the DMV—and I think tury (catholic) devotional books for the use that we all would agree that this is a bad of the layfolk at low Mass.”3 thing. However I think something much Now, of course, some Protestant more complicated is going on in many cases. groups—what we would today call “main- What seems at first to be impatience with length is really something else. 2Dom Gregory Dix, Th e Shape of the Liturgy Let me give an example. (Westminster, England: Dacre Press, 1945), p. Years ago at a parish where I was 599. 3Ibid., 600. 4Ibid., 599. 36 Volume 144, Number 3 Sacred Music | Fall 2017 employed, someone came to me with a communal participation could go together complaint about the length of a weekday with his personal contemplation in the lit- Mass. He asked whether it was really neces- urgy was the sad thing to me. I suspect that sary for us to have sung the Gloria. I replied many American Catholics are like this, to that, since the Gloria was required on that one degree or another. particular day, we had to do it anyway, so So, I think that it is important to we might as well have sung it. He then understand that we are dealing with a cer- asked why we couldn’t have just recited it. tain sensibility, an unstated set of assump- Still thinking that brevity was his real con- tions about how to worship God that goes cern, my reply was that a sung Gloria only back centuries; and these assumptions cen- added about an extra minute to the Mass as ter upon the notion of the Mass as being opposed to a recited Gloria. He didn’t dis- a kind of back drop for the individual’s agree with my point, but didn’t seem per- contemplation. This is present in differ- suaded either. ent degrees in different people—young as Later, I observed this very same person well as old—and it is something that has as part of a group organizing a rosary to be to be engaged respectfully and thought- recited right after the Mass. This rosary, fully. However, along with the musi- when implemented, took about twenty cally illiterate culture in which we live, it minutes to recite. So, he was campaign- hampers our ability to assist Catholics in ing to add twenty minutes to the end of recovering their role as participants in the the Mass, without any qualms, but when it corporate worship of the Mystical Body came to sung prayer, he wanted to quibble of Christ by means of its sacred music. over one minute. Time itself did not seem to be the issue. From what I could discern, ______it was time spent doing something at Mass (i.e., singing) which he considered inessen- So now, let us finally begin with some tial, distracting or, perhaps, even unpleas- practical recommendations. ant. While this is, again, an extreme example, it is important for what it seems • Let us start with the simplest, most to reveal. I certainly got the impression that non-threatening thing for a congrega- what it really came down to was that he felt tion—singing the simple responses, such he couldn’t “think and feel” as Dix said, or as “Amen” and “Et cum spiritu tuo.” This better yet, “contemplate and reflect” while is, of course, the first of the “degrees of singing the Gloria, as opposed to while participation,” recommended in the 1967 reciting the much longer rosary—which to instruction Musicam Sacram in its arti- me is a very sad thing. cle 29. For those not familiar with the As sad as it is, however, this example degrees of participation, in a nutshell, does offer us some sort of an “ecumenical” they involve gradually leading the con- common ground: contemplation—some- gregation from singing simple responses thing that we would both agree is a good to increasingly more difficult chants. The thing. That this man didn’t think music next step would be parts of the simpler was an avenue for contemplation nor that Mass Ordinaries known as the Missa Sacred Music | Fall 2017 Volume 144, Number 3 37 Primitiva or the Jubilate Deo Mass of ticipation that I noted in Musicam Sacram Pope Paul VI, both of which have that of the simple responses to the priest. These very easy to learn Kyrie from Mass XVI. are actually referred to as “of greater impor- tance” even though they are musically sim- • This gets me to thesecond recom- pler than just about anything else in the mendation. In order to begin by hav- chant repertoire. They should come first ing the congregation sing the simplest liturgically, laying the foundation for the responses regularly, such as “Amen,” the other chants. person to whom they are responding has to sing, too; and, of course, that would • Now, when we get to those other be the priest. So, the involvement of the more challenging chants—the Ordinary clergy is indispensible. The music director of the Mass (Kyrie, Gloria, Credo, Sanc- cannot do it all by himself convincingly. tus, Agnus Dei)—I have a recommenda- It is very important that the congrega- tion. Especially for the longer prayers, like tion does not see this as a “pet project” of the Gloria and the Credo, I recommend the music director; rather that it is some- that the organ accompany them. This is thing that the celebrant is fully behind. my third recommendation. I know that Therefore, I would urge priests and sem- chant purists would balk at this sugges- inarians to learn how to sing these sim- tion, but few congregations are made up ple parts of the Mass in both English and of purists—let alone professional vocal- Latin and practice them regularly at least ists. The fact is that most ordinary people at the main Mass on Sundays and Solem- need that support when they are learning nities. As the most recent edition of the the chants, and they need it afterward, General Instruction of the Roman Mis- as well—especially on the long chants— sal says in article 40: to stay on pitch and to keep the tempo moving. You can remove the accompani- Although it is not always necessary (e.g., ment occasionally but ultimately, entropy in weekday Masses) to sing all the texts kicks in and the pitch sags and the tempo that are in principle meant to be sung, drags. No one is happy with that, includ- every care should be taken that singing ing the congregation itself. by the ministers and the people not be absent in celebrations that occur on Sun- • My fourth recommendation is to days and on Holydays of Obligation. . . have the printed music available, whether However, in the choosing of the parts in hymnals, hand outs, worship aids— actually to be sung, preference is to be whatever you want to call them—make given to those that are of greater impor- sure that they are within easy reach of tance and especially to those which are the people. And yet, be ready to accept to be sung by the Priest . . . with the peo- that many congregants will never touch ple replying. them—ever. I call it “hands free worship”; many Catholics seem to be of this per- So what the second half of this quota- suasion. Whether a congregant can read tion is referring to is that first degree of par- music or not, the basic up and down of the 38 Volume 144, Number 3 Sacred Music | Fall 2017 printed notation helps them. However, and there was no request from the celebrant sadly, many just don’t want to be both- to do it. However, perhaps inspired by the ered. I have seen this with my own eyes traditional Latin music up to that point so many times. (I see everything from the the celebrant unexpectedly intoned Credo choir loft!) Now this doesn’t mean that III. I did not have the organ accompani- they won’t sing, it just means that many ment with me, I was totally unprepared, in the congregation will sing when they but without missing a beat the graduating are ready and on their terms. This means seniors sang Credo III back to him with employing the old-fashioned approach, incredible strength, staying in tune, keep- before musical notation was invented, ing the tempo, and singing it completely of learning a new piece aurally and by from memory. means of constant repetition. So, don’t Without realizing it, I had prepared them have any illusions that you are going to for this very moment through frequent repe- teach a typical congregation all eighteen tition of Credo III at Sunday Masses over the chant Masses—or even half of that—in course of four years. I suppose that I felt kind one year’s time! of like a parent whose child had finally flown the nest. Except that there was no ambiva- • My fifth recommendation is: lence; it was a very exhilarating experience. patience. Rome was not built in a day. The students no longer needed me—at least Most people are open to singing the in this instance. It was fine with me. So let Mass, however you have to go slowly and me conclude with a quotation from the doc- at the their pace. Often you do have to ument Musicam Sacram, now celebrating its challenge them, true, but in general you fiftieth anniversary: have to know and respect your congrega- tion. If you continually ask too much of One cannot find anything more religious them, they will silently protest by keep- and more joyful in sacred celebrations ing their mouths clamped shut. Even if than a whole congregation expressing its you do everything right, some people will faith and devotion in song. Therefore the still gripe and complain—and most of us active participation of the whole people, church music directors have a few emo- which is shown in singing, is to be care- tional bumps and bruises resulting from fully promoted . . .5. these encounters. However, every once and awhile the hard work pays off, and you get to enjoy the fruits of your labor— sometimes in unexpected ways. A few years back, we had a guest cel- ebrant for my college’s graduation Mass, a Mass that always occurs on a Friday. 5Sacred Congregation for Rites, Instruction on So, there is normally no provision for the Music in the Liturgy, Musicam Sacram (1967), Creed. We made it very clear on the liturgy ¶16. sheet that we weren’t going to do the Creed, Sacred Music | Fall 2017 Volume 144, Number 3 39 Document Introduction to the Russian Edition of Theology of the Liturgy by Pope Benedict XVI he eleventh volume of the Col- of the work, he contributed a new preface lected Works of Joseph Ratzinger, particularly for the Russian edition. It is consists of his writings on the presented here. T 1 liturgy. This volume of 634 closely-packed pages, is headed by his “Nothing precedes divine worship.” The Spirit of the Liturgy, and followed by With these words, St. Benedict, in his his voluminous writings under six addi- Rule (43.3), established the absolute pri- tional headings: “Typos—Mysterium— ority of divine worship over any other Sacramentum”; “The Celebration of the Eucharist—Source and Summit of Chris- tian Life”; “The Eucharist—Heart of the Church”; “Theology of Church Music”; and “Further Perspectives.” Pope Benedict has written an introductory essay particularly for this volume, something of considerable interest. A translation into Russian of the entire volume has recently been published for the editions of the Patriarchate of Moscow. On September 25, Metropolitan Hilarion at an ecumenical conference presented Pope Francis and Pope Emeritus Benedict XVI each with a copy of the volume. Although Pope Benedict had written the aforemen- task of monastic life. This, even in mo- tioned introduction to the German edition nastic life, was not immediately taken into account because the work in agri- 1Joseph Ratzinger, Th eology of the Liturgy: Th e culture and science was also an essen- Sacramental Foundation of Christian Existence, tial task for monks. Both in agriculture Collected Works, vol. 11, ed. Michael J. Miller and in craftsmanship and in training (San Francisco: Ignatius Press, 2014). work, there could be some demands on 40 Volume 144, Number 3 Sacred Music | Fall 2017 time that might appear more important than the liturgy. Before all this Benedict, with the priority given to the liturgy, un- equivocally emphasizes the priority of God Himself in our lives: “At the hour of the Divine Office, as soon as you hear the bell, leave everything you have between hands,” he cautions with utmost care (43,1). In the consciousness of contemporary people, the things of God and thus the liturgy do not appear urgent at all. There is an urgent need for everything possible. Things of God do not seem to be urgent. Now, one might say that monastic life is in any case some- thing different from the life of men in the world, and that is certainly right. And yet the priority of God which we have for- gotten is worth it for everyone. If God is no longer important, the criteria move urgy and so in life. The deepest cause of which establish what is important. Man the crisis that has upset the Church lies and woman, in setting aside God, sub- in the obscurity of God’s priority in the mits himself to the constraints that make liturgy. him the slave of material forces and thus opposed to his dignity. All this led me to devote myself more to the theme of the liturgy than in the In the years following the Second Vat- past because I knew that the true renew- ican Council, I became aware again of al of the liturgy is a fundamental con- the priority of God and the divine lit- dition for the renewal of the Church. urgy. The misunderstanding of the li- Based on this belief, the studies that turgical reform that has spread widely have been collected in this volume 11 of in the Catholic Church has led to more the Opera Omnia have been born. But and more emphasis on the aspect of ed- at the bottom, albeit with all the differ- ucation and its activity and creativity. ences, the essence of the liturgy in the The doings of men almost completely East and West is unique and the same. obscured the presence of God. In such And so I hope that this book will also a situation it became increasingly clear help the Christians of Russia to under- that the Church’s existence lives in the stand in a new and better way the great proper celebration of the liturgy and that gift that has been given to us in the Holy the Church is in danger when the prima- Liturgy. cy of God no longer appears in the lit- Sacred Music | Fall 2017 Volume 144, Number 3 41 Repertory The Communion Antiphon Beatus servus: An Expressive Commixture Two modes effectively convey the distinction between two aspects of the text. by William Mahrt Beatus servus, quem, cum venerit Blessed is that servant whom, when his dominus, invenerit vigilantem: amen lord shall come, he shall find watching; dico vobis, super omnia bona sua Amen, I say to you, he shall set him over all constituet eum. T.P. Alleluia. his goods. In Easter time: Alleluia. mong the early texts for the the propers, seven saints’ days use this com- Proper of the Mass there is an munion.2 While none of these from the ear- A unusual communion antiphon: Beatus servus. It belongs to the commons named for their introits: Sacerdotes tui Common of the Saints—several saints’ days for a confessor bishop and Os justi for a confessor draw upon a single set of propers for their not bishop; in the missal of 1969, it is grouped chants. This communion is included in two with several other chants under the rubric Com- common sets.1 Among the earliest texts of mon of Pastors. 2Antiphonale Missarum Sextuplex (AMS), ed. 1It is included in the missal of 1962 in sets of René-Jean Hesbert, O.S.B. (Brussels: Vromant, William Mahrt is the president of the CMAA and the editor of Sacred Music. 42 Volume 144, Number 3 Sacred Music | Fall 2017 lier occasions is retained, it occurs on fully sung communion antiphon on saints’ days. twenty-eight days in the extraordinary In the tradition, including the extraordi- form (1962). Twelve of these are retained in nary form, communion antiphons differ from the ordinary form (1969), which also intro- the rest of the Propers of the Mass (whose duces it to seven new days.3 It is a widely texts are drawn mainly from the Psalms) by often being based upon the gospel reading 1935; reprint, Rome: Herder, 1967, 1985). of the day. Thus for the common of a confes- 3Th is illustrates the situation of saints days in sor-bishop, the gospel is from St. Matthew the history of the calendar. While the Propers (24:42–47)—the servant who keeps watch of the Mass for major feast days and Sundays over his household, so that when his lord show a great stability and continuity, those for comes, he will find him prepared, and the saints’ days show quite a variable history. For lord will set him over all his goods. The text example, perusal of the Antiphonale Missarum of this communion is a précis of this gospel Sextuplex (AMS)—the collation of the six earli- story. The “lord” here is the earthly master est manuscripts with the Propers of the Mass— of the servant, but an allegorical meaning, shows essentially the same chants for Sundays of course, is directly implied: you must keep and major holy days that are still prescribed for watch, so that the divine Lord, when he the ordinary form. But for the saints’ days, the comes will find you ready and reward you. employment of propers over the long history is The expressive elements of the chant quite unstable. For example, Beatus servus occurs are based upon the juxtaposition of two dif- on seven saints’ days in AMS. Not a single day ferent modes (called a commixture): mode in the calendar of the extraordinary form (1962) employs this communion on these days of early three (Phrygian) on a and mode eight usage. Th e extraordinary form, however, has at (Hypomixolydian) on G. There are four least twenty-eight days for this chant, includ- main things which define a mode, 1) the ing several feasts of early saints, Polycarp, Blaise, final (analogous to the tonic in tonal music); Martin, Augustine of Canterbury, and others, 2) the scale, particularly the half and whole but also including numerous well-known more recent saints: Vincent Ferrer, John Vianney, identify the missal of 1962 closely with the Tri- Francis Xavier, and numerous others. Th e calen- dentine Council—but that is not so. Before that dar of the ordinary form (1969) includes twelve council, there was practically a saint for every saints’ days with our communion also found in day of the year; the reform of the council aimed 1962, as well as seven other saints’ not in 1962 to clear the missal of most of these, leaving a (two saints found in the Tridentine calendar but quite spare calendar of saints, many from the not 1962—Sts. Callixtus and Clement—and early years of the church. Th us, only three of the fi ve days which occur in 1962, but with a dif- days of 1962 are found there, with two of AMS ferent communion there). As an example of a and two of 1969 also found in the Tridentine calendar of the high Middle Ages, the Sarum calendar. Cf. Th e Sarum Missal, ed. J.Wickham Missal is replete with saints’ days: twenty-eight Legg (Oxford: Clarendon Press, 1916; reprint, use this communion, but only three are in com- Oxford, 1969); Missale Romanum, Editio Prin- mon with 1962 (two in common with AMS and ceps (1570), ed. Manlio Sodi & Achille Maria two in common with the ordinary form). One Triacca, Monumenta Liturgica Concilii Tri- might expect most days of 1962 to be found in dentini (Vatican City: Libreria Editrice Vati- the Missal of the Council of Trent (1570)—we cana, 1998). Sacred Music | Fall 2017 Volume 144, Number 3 43 steps immediately around the final—this prominent and a very distinctive property can be placed wherever the pattern obtains, of the mode-three intonation, the b-natu- so the finalsD , E, and F can be placed on ral comes as a surprising shift of scale. This a, b, and c;4, D and E can be placed on G surprise resembles a kind of discovery, and and a with a b-flat; 3) the reciting tone, the so it represents the text “invenerit,” “finds,” note upon which psalmody is recited, and or “discovers.” The descent toG touches on 4) characteristic melodic patterns outlining c intimating the notes of the psalm into- important notes of the scale, especially the nation for mode eight. This is confirmed psalm-tone intonation, which arrives upon on “amen dico vobis,” which rises explic- the reciting tone and more elaborate into- itly through the psalm tone intonation and nation figures relating to it. The two modes descends again to G. Surprisingly, then the of this chant are differentiated by the pat- same intonation figure is transposed up to tern of intervals around the final: mode c, where it sets “super omnia bona sua con- three has a whole step below and a half step sti-,” rising to f. This juxtaposition of the above; mode eight has a whole step below same figure on lowerG and then higher c and two above the final. The two modes, clearly represents the text “super bona sua,” however, have the same psalm-tone into- “super” meaning above or over, the c-figure nation: ut-re-fa with the reciting tone on fa being above its counterpart on G.5 But this (either G-a-c or c-d-f, or F-G-b-flat). Thus c-d-f framework is identical with the into- with a b-flat, mode three can be placed on nation figure of mode three ona , and serves a, allowing the half step above the final. as a link to the return of the original mode; The most characteristic intonation pattern the motive on “constituet” is identical to the for mode three on E is E-F-D-G-a-c. when motive at the beginning of “servus” at the it is placed with the final ona , that same beginning of the chant, the point at which pattern is a-b-flat-G-c-d-f, exactly the it is clear that it is still mode three. It then framework for the initial melody on “Bea- drops to c and, using the b-flat, makes a tus servus,” which at its end turns around strong Phrygian cadence to a.6 f and makes a cadence to e. The phrase The striking juxtaposition of the two “quem, cum venerit Dominus” begins a modes, which, on the one hand, have com- descent from f, now through e. “Invenerit mon intonation figures, but, on the other vigilantem” then moves down, centers upon hand, have prominently conflicting versions d and then descends to G. While it centers of b-flat and b-natural, serve to underline on d, however, it touches upon b-natural. two important aspects of the text: that the Since the b-flat at the beginning has been blessed servant be discovered waiting atten- tively, and that he will be rewarded. 4Pitches are designated by the letter names of 5 Guido of Arezzo’s scale -A-B-C-D-E-F-G- Th anks to David Wilson and Gabriel Ellis a-b-c-d-e-f-g-aa-bb-cc-dd-ee, lower-case c be- from my seminar in modal analysis for pointing ing middle C. Th ere is one fl at, B-fl at in Guido’s this out. system, which is indicated by the fl at sign (b and 6Th e concluding Alleluia is a formulaic addition bb—no B-fl at occurs in Guido’s scale two steps only for Easter time, and is not an essential part above ). of the melody. 44 Volume 144, Number 3 Sacred Music | Fall 2017 Review Olivier Messiaen: Texts, Contexts, and Intertexts (1937–1948) by Richard D. E. Bur- ton, ed. Roger Nichols. New York: Oxford University Press, 2016. 246 pages. ISBN: 9780190277949. $78. by Aaron James livier Messiaen’s position as one from a variety of sources including Grego- of the most significant compos- rian chant, Indian and Andean traditional Oers of the twentieth century is music, and birdsong. Recent studies have by now unchallenged. The cele- shown that Messiaen’s borrowing was even brations of his centenary year in 2008 pro- more extensive than the composer admit- duced numerous retrospectives, scholarly ted; borrowings from earlier music, partic- tributes, and a 32-CD complete edition, a ularly the works of Claude Debussy, are so testament to the continuing attraction of extensive in Messiaen’s music as to consti- his unique musical language. One cannot tute an integral part of his musical style.1 confront the music of Messiaen without Messiaen was equally prolific in borrow- coming to grips with his devout Catho- ing from non-musical sources, turning for lic faith; the composer’s voluminous inter- inspiration to the theological and devotional views and written commentaries describe works in his personal library.2 Among Mes- how his works are informed by images and siaen’s most treasured books were many ideas from the Bible and from the Cath- volumes familiar to general Catholic audi- olic theological tradition. Yet despite all ences: St. Thomas’s Summa theologiæ, the of this, Messiaen’s music continues to be Imitation of Christ, and works by St. Thérèse mysterious, and often confusing for the uninitiated. His written descriptions of 1Yves Balmer, Th omas Lacôte, and Christopher his music are often idiosyncratically vague Brent Murray, “Messiaen the Borrower: Recom- and sometimes contradictory, leaving both posing Debussy through the Deforming Prism,” the neophyte and the seasoned Messi- Journal of the American Musicological Society, 69, aen listener in doubt as to his aesthetic no. 3 (Fall 2016), 699–791. intentions. 2See Yves Balmer, “Religious Literature in Mes- Unlike many of his contemporar- siaen’s Personal Library,” tr. Christopher Brent ies, Messiaen was not a builder of systems Murray, in Messiaen the Th eologian, ed. Andrew but an eclectic, borrowing omnivorously Shenton (Aldershot: Ashgate, 2010), pp. 15–27. Aaron James is the Director of Music for the Oratory of St Philip Neri, Toronto. Sacred Music | Fall 2017 Volume 144, Number 3 45 of Lisieux, Columba Marmion, and Hans losopher Jean-Paul Sartre’s nearly-forgot- Urs von Balthasar. Messiaen, after all, grew ten drama Bariona. The conditions of the up a vibrant period of religious renewal in camps had equally intense, but profoundly French cultural life, in which authors like different effects on the Catholic composer Jacques Maritain and Georges Bernanos and the atheist philosopher: Messiaen’s brought the Catholic intellectual tradition quartet portrays the eternity of the world to to the forefront of the national conscious- come, while Sartre’s play, astonishingly, is a ness.3 This cultural context is precisely the Nativity drama stressing Christ’s solidarity focus of Richard D. E. Burton’s important with prisoners, outcasts, and exiles. Besides new volume, Olivier Messiaen: Texts, Con- being an illuminating account of how an texts, and Intertexts. unbelieving writer could come to present Richard Burton (1946–2008) was a a sympathetic portrayal of the Christian prolific cultural historian, known for his faith, the comparison emphasizes Messi- expertise on the French literature of the aen’s unworldliness: where his contempo- nineteenth and twentieth centuries, espe- raries emphasized Christianity’s relevance cially the poetry of Baudelaire; although to present-day social conditions, Messiaen not trained as a musicologist, he produced focused his attention on the most timeless a short biography of Francis Poulenc before and abstract aspects of Christian theology. beginning this larger study of Messiaen.4 Burton’s account of Messiaen’s work As one might expect, the volume contains insists that we look carefully and respect- no musical analysis or score examples; its fully at the texts for his vocal works. Previ- interest lies in Burton’s encyclopedic knowl- ous critics have often dismissed Messiaen’s edge of French literary and religious cul- lyrics for the songs and choral works as ture, which he applies to Messiaen’s body mediocre poetry; Burton, an expert on the of work in novel and unexpected ways. Bur- French poetic tradition, disagrees, showing ton is a master of the unexpected juxtapo- how Messiaen draws upon his deep famil- sition, as in his illuminating comparison of iarity with scripture to create fresh and two near-contemporary works written for unexpected verbal images. Burton is equally performance in the Stalag prisoner-of-war attentive to the subtleties of Messiaen’s prose camps: Messiaen’s famous Quatuor pour descriptions of his own works. In a series le fin de temps and the existentialist phi- of careful analyses, Burton tracks down the theological sources alluded to in Mes- 3 siaen’s musical works, many of whom were See Stephen Schloesser, Jazz Age Catholicism: mentioned by the composer in interview or Mystic Modernism in Postwar Paris, 1919–1933, in written introductions to his works. Bl. Studies in Book and Print Culture (Toronto: University of Toronto Press, 2005), as well as Columba Marmion, St. Thérèse of Lisieux, Jennifer Donelson and Stephen Schloesser, eds., and St. John of the Cross figure in the piano Mystic Modern: Th e Music, Th ought, and Legacy cycle Vingt regards sur l’enfant Jésus; Paul of Charles Tournemire (Port Royal, Va.: Church Claudel’s commentaries on the Apocalypse Music Association of America, 2014). are related to the Quatuor; and Ernest Hel- 4Richard D. E. Burton, Francis Poulenc (Bath: lo’s nearly-forgotten religious work Paroles Absolute Press, 2002). de Dieu proves to be an essential influence 46 Volume 144, Number 3 Sacred Music | Fall 2017 siaen’s theology.5 Some readers may also be frustrated by the author’s frequently ironic and irreverent tone; like many British schol- ars of his generation, Burton is unabashed about revealing his personal opinions about the music that he studies, and several asides in the text and footnotes make it clear that he finds the devotional culture of French Catholicism to be personally uncongenial. What can the practicing church musi- cian learn from Messiaen’s lifelong engage- ment with scripture and theological works? By and large, Messiaen’s works are not well suited to liturgical use; the composer’s pub- lished writings and preserved liturgical improvisations make it clear that he consid- on Visions de l’Amen, L’Ascension, and numer- ered Gregorian chant to be unsurpassable as ous other works. Burton’s enthusiasm for music for the Mass. Instead, Burton’s study these works will encourage curious readers might suggest to us how Messiaen’s non-li- to explore the religious literature of Mes- siaen’s time; in particular, Burton makes a 5On Messiaen and Ernest Hello, see Stephen compelling case that Ernest Hello is one of Schloesser, Visions of Amen: Th e Early Life and the unacknowledged major religious writers Music of Olivier Messiaen (Grand Rapids, Mich.: of the nineteenth century. Eerdmans, 2014), as well as Jennifer Donelson, Readers familiar with other scholar- “How Does Music Speak of God? A Dialogue of ship on Messiaen’s religious thought will Ideas Between Messiaen, Tournemire, and Hel- find much of this material familiar. Bur- lo,” in Donelson and Schloesser, Mystic Modern, ton’s insights often duplicate material that 317–329; on Messiaen, the Maritain circle, and has been published by other authors, as a the Th omist tradition, see the essays by Douglas result of the book’s unusual publication his- Shadle and Vincent Benitez in Shenton, Messi- tory: Burton had to abandon the book man- aen the Th eologian, 83–126; on Messiaen and von uscript in late 2007 due to a serious illness, Balthasar’s theological aesthetics, see Sander von leaving the work unfinished, and the work Maas, Th e Reinvention of Religious Music: Olivier was edited for publication by Roger Nich- Messiaen’s Breakthrough Toward the Beyond (New ols after the author’s death in January 2008. York: Fordham University Press, 2009). Many of the works discussed by Burton also fi gure in As a result, many of the areas explored by Siglind Bruhn’s three books, Messiaen’s Contem- Burton have been independently researched plations of Covenant and Incarnation (Hillsdale, by the many other scholars who have pub- N.Y.: Pendragon Press, 2007), Messiaen’s Ex- lished on Messiaen between 2008 and 2016. plorations of Love and Death (Hillsdale, N.Y.: Readers should therefore not take Burton’s Pendragon Press, 2008), and Messiaen’s Interpre- book as the last word on the subject without tations of Holiness and Trinity (Hillsdale, N.Y.: consulting other recent literature on Mes- Pendragon Press, 2008). Sacred Music | Fall 2017 Volume 144, Number 3 47 turgical music—organ cycles, piano works, of this Protestant thesis, showing that the chamber music, and song cycles—could desire for the beloved points necessarily be contextualized for a broader audience. towards God as its completion and fulfill- Musicians familiar with the theological ment.7 Few, if any, composers have explored themes of Messiaen’s works could partner this philosophical terrain in such detail, with theologians and catechists, perhaps and amidst the continuing controversy over through an existing concert series or adult issues of marriage and family sparked by education program, to explore aspects of the Pope Francis’s apostolic exhortation Amoris Christian faith in dialogue with Messiaen’s lætitia, Messiaen’s themes seem especially music. One of the great virtues of Burton’s relevant.8 book is that it reveals just how much there Any reader of this fine study is certain is in Messiaen’s words and music that sheds to come away from the book profoundly light on some of the great themes of Chris- impressed by the depth of Messiaen’s life- tian theology: body and spirit, time and long study of the Bible and of the Catholic eternity, action and contemplation, agape theological tradition. This, perhaps, is the and eros. most significant lesson that the book might It is this last theme that preoccupies prompt for readers of this journal: Messi- Burton throughout much of this study; in aen’s assiduous study reminds us that the two long chapters, he explores Messiaen’s most effective church musicians are those treatments of romantic love, as treated in who have not only mastered their craft but the Tristan trilogy of the mid-1940s (the also absorbed the Catholic tradition at a song cycle Harawi, the Turangalîla-Sym- deep and personal level. phonie, and the choral Cinq rechants) and the two earlier song cycles (Poèmes pour Mi and Chants de terre et de ciel). Burton argues that Messiaen was familiar with the thesis of historian Denis de Rougemont (L’Amour en occident, 1939) that the tradition of roman- tic love (eros) is essentially egocentric and foreign to Christianity, a Gnostic impor- tation that contradicts the ideal of love as a pure gift of self (agape).6 Messiaen’s evo- 7 cations of eros—first in the form of mari- Roger Scruton argues for this “religious” inter- tal love in Poèmes pour Mi, and then in the pretation of the Tristan legend in Death-Devot- form of forbidden love through the Tristan ed Heart: Sex and the Sacred in Tristan und Isolde (Oxford: Oxford University Press, 2003); he re- trilogy—serve as an energetic refutation sponds to de Rougemont at pp. 18–19. See also 6Translated as Love in the Western World, tr. Pope Benedict XVI on agape and eros in his En- Montgomery Belgion, rev.ed. (Princeton, N.J.: cyclical Letter, Deus Caritas Est (2005), ¶¶3–11. Princeton University Press, 1983). A similar 8No one would be more likely than Messiaen to thesis is held by Anders Nygren, Agape and Eros, cheer Pope Francis’s opening observation that tr. Philip S. Watson (Chicago: University of “the joy of love experienced by families is also Chicago Press, 1982). the joy of the Church” (Amoris Lætitia, ¶1). 48 Volume 144, Number 3 Sacred Music | Fall 2017 ZĞŐŝƐƚĞƌEŽǁ͗ :LQWHU6DFUHG0XVLF -DQXDU\ 6W0DU\¶V$VVXPSWLRQ&KXUFK1HZ2UOHDQV /RXLVLDQD/RXLVLDQD :ŽŝŶƵƐĨŽƌƚŚĞϯƌĚDtŝŶƚĞƌ^ĂĐƌĞĚDƵƐŝĐtŽƌŬƐŚŽƉ͙ džƉĞƌŝĞŶĐĞŚĂŶƚĂŶĚWŽůLJƉŚŽŶLJ ǁŝƚŚĞdžƉĞƌƚĚŝƌĞĐƚŽƌƐƌ͘,ŽƌƐƚƵĐŚŚŽůnjƌ͘,ŽƌƐƚƵĐŚŚŽůnjƌ͘,ŽƌƐƚƵĐŚŚŽůnjĂŶĚƌ͘WĂƵůƌ͘WĂƵůƌ͘WĂƵůtĞďĞƌtĞďĞƌtĞďĞƌŝŶƚŚĞůŽǀĞůLJEĞǁKƌůĞĂŶƐ 'ĂƌĚĞŶŝƐƚƌŝĐƚ͘ džƉĂŶĚLJŽƵƌŬŶŽǁůĞĚŐĞŽĨ^ĂĐƌĞĚDƵƐŝĐǁŝƚŚďƌĞĂŬŽƵƚƐĞƐƐŝŽŶƐďLJƌ͘ƌ͘ tŝůůŝĂŵDĂŚƌƚtŝůůŝĂŵDĂŚƌƚ͘͘͘ ŶũŽLJĂŶĞǀĞŶŝŶŐĐŽŶĐĞƌƚǁŝƚŚEĞǁKƌůĞĂŶƐ͛<ƌĞǁĞĚĞsŽŝdž<ƌĞǁĞĚĞsŽŝdž<ƌĞǁĞĚĞsŽŝdžŚĂŵďĞƌŚŽŝƌ͘ WĂƌƚŝĐŝƉĂƚĞŝŶƚŚĞŚĂŶƚĂŶĚWŽůLJƉŚŽŶLJĐŽƵƌƐĞƐŽĨLJŽƵƌĐŚŽŽƐŝŶŐĨŽƌƚŚĞǁĞĞŬ͕ĂƐǁĞůůĂƐ ďƌĞĂŬŽƵƚƐ͕ŵŽƌŶŝŶŐĂŶĚŶŝŐŚƚƉƌĂLJĞƌĂŶĚƚǁŽDĂƐƐĞƐĚƵƌŝŶŐƚŚĞǁĞĞŬ͘ >ĞĂƌŶŵŽƌĞĂƚ͗>ĞĂƌŶŵŽƌĞĂƚ͗>ĞĂƌŶŵŽƌĞĂƚ͗ ŵƵƐŝĐĂƐĂĐƌĂ͘ĐŽŵŵƵƐŝĐĂƐĂĐƌĂ͘ĐŽŵŵƵƐŝĐĂƐĂĐƌĂ͘ĐŽŵͬĞǀĞŶƚƐͬǁŝŶƚĞƌͬĞǀĞŶƚƐͬǁŝŶƚĞƌͬĞǀĞŶƚƐͬǁŝŶƚĞƌͲͲͲϮϬϭϴϮϬϭϴ ZĞŐŝƐƚĞƌďLJEŽǀĞŵďĞƌϭϱƚŚƚŽŐĞƚĞĂƌůLJďŝƌĚƉƌŝĐŝŶŐ 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