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SACRED MUSIC Fall 2009 Volume 136, Number 3 EDITORIAL Ad orientem and Music | William Mahrt 3 ARTICLES Justine Ward and the Fostering of an American Solesmes Chant Tradition | Francis Brancaleone 6 Musical Styles and Commonplaces in a Contemporary Youth Songbook | W. Patrick Cunningham 27 The Council of Trent and the Reform of Gregorian Chant | Ronald Prowse 35 REPERTORY Offertory Chants with Repeats: Two Jubilate Deos, Precatus est Moyses, De profundis, and Domine in auxilium | William Mahrt 47 COMMENTARY Mixed Voices, Mixed Abilities | Mary Jane Ballou 51 Refections on a Hymn | Karl Bjorn Erickson 53 Mass Basics | Rev. Msgr. Stephen Giovanni 61 The Transformation of Music at St. Peter’s | Jeffrey Tucker 65 NEWS Sacred Music Colloquium 2009 67 William Byrd Festival, Summer 2009 70 St. Ignatius Loyola Concert Series 70 Global Chant Database 70 New Services from MusicaSacra.com 71 Dom David Nicholson, O.S.B. 71 THE LAST WORD Gnostic Traditionalists and Liturgical Singing | Kurt Poterack 72 SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistant: Janet Gorbitz Typesetting: Judy Thommesen Membership and Circulation: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President: William Mahrt Vice-President: Horst Buchholz Secretary: Janet Gorbitz Treasurer: William Stoops Chaplain: Rev. Father Robert Pasley Directors: Susan Treacy, Jeffrey Tucker, Scott Turkington Directors Emeriti: Rev. Father Ralph S. March, S.O.Cist; Kurt Poterack; Paul F. Salamunovich; Rev. Father Robert A. Skeris; Very Rev. Monsignor Richard J. Schuler† Membership in the Church Music Association of America includes a subscription to the quarterly journal Sacred Music. Membership is $36.00 annually. Parish membership $160 for six copies of each issue. Single copies are $8.00. Send requests and changes of address to Sacred Music, 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. Make checks payable to the Church Music Association of America. Online membership: www.musicasacra.com. Sacred Music archives for the years 1974 to the present are available online as www.musicascra.com /archives. LC Control Number: sf 86092056 Sacred Music is indexed in the Catholic Periodical and Literature Index, Music Index, Music Article Guide, and Arts and Humanities Index. Copyright © Church Music Association of America, 2009, under Creative Commons attribution license 3.0. ISSN: 0036-2255 Periodicals postage paid at Montgomery, Alabama. SACRED MUSIC is published quarterly for $36.00 per year by the Church Music Association of America 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. Periodicals postage paid at Richmond, VA and at additional mailing offices. USPS number 474-960. Postmaster: Send address changes to SACRED MUSIC, 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. EDITORIAL Ad orientem and Music by William Mahrt n our discussion of the American bishops’ document on music, Sing to the Lord, anthropocentric and theocentric emphases in liturgy were contrasted: anthropocentric, man-centered, focusing upon the congregation’s actions; theocentric, God-centered, focusing upon God as the object of worship. It is not a question of an exclusive choice of one or the other, but a proper balance and priority between them. There is, however, a center which transcends the contrast—Christ: the liturgy is Christocentric; it is the I action of Christ offering himself to the Father. As the action of the Body of Christ, the whole church offers it, it is in that sense anthropocentric; but, being offered to the Father, it is more importantly theocentric. The synthesis of the two poles is centered upon Christ, true man and true God. As sacred liturgy, the Mass has a transcendent object—almighty God—and an ultimate goal—happiness with him. But since the liturgy takes place in the here and now, these aspects of transcendence must be expressed in human terms, using human means. Two of the means, space and time, give rise to two important aspects of liturgy—the stance of the priest at the altar and sacred music. Traditionally churches were “oriented”; they faced East. The priest stood before the altar, facing East as well. This was because the rising sun in the East was seen as a symbol of Christ— the direction toward which he ascended and from which he will come again. This direction was East, no matter where in the world the church was located; thus, in contradistinction to Jerusalem or Mecca, which were geographic directions of prayer, the Christian direction was a transcendent one, not being focused upon any earthly focal point. After the Second Vatican Council, priests often faced the people, thus facing West in such churches. It is true that documents prescribed that when new churches were constructed, altars should be placed so that it was possible to celebrate Mass facing the people; still, this was not required. Indeed, the language of the Roman Missal, even the edition of 2002, seems to assume the opposite as a norm, since at several points it directs the priest to turn around and address the people. The posture facing the people has often been justified by the apparent precedent of the Roman basilicas, including St. Peter’s, where the pope has always faced the people at Mass, even in the rite of Trent. However, this stance is not a precedent for facing the people elsewhere, but just another instance of facing East, for these basilicas followed classical Roman custom and faced West. Louis Bouyer, Klaus Gamber, and others have questioned this precedent, conceding that at prayer the priest did face the people, but contending that the people also faced East, turn- ing away from the priest. Pope Benedict, when he wrote as Cardinal Ratzinger, wrote about the posture ad orientem. He spoke about addressing the symbol of Christ, but he added another forceful rationale: Early Christian churches frequently had great apses with prominent mosaics of Christ upon their upper reaches. Thus, when the priest faced East, he also faced this monumental image of Christ, William Mahrt is editor of Sacred Music and president of the CMAA. [email protected] 3 Sacred Music Volume 136, Number 3 Fall 2009 and even if the church did not face East, the orientation upon this image was truly Christocen- tric. Pope Benedict thus reasoned that when it was not practical to face East, a similar image of Christ could be faced when a crucifix was placed before the priest at the center of the altar. This “Benedictine order” is now what he consistently follows when he celebrates Mass. These days we have easy access to papal Masses, since they are frequently broadcast on EWTN, and there the Benedictine order can be observed; His Holiness can be seen intently looking at the cross as he celebrates Mass. This is a striking alternative to the widespread practice of the priest engaging the attention of the congregation and cultivating his own personal presidential style, which often has the undesirable effect of focusing attention on the priest or on the interaction of priest and people, rather than focusing the attention of both priest and people upon Christ whose work is the prin- cipal action of the Mass. It has often been said in support of the posture of facing the people that it was in order that the people “could see what is going on.” But what is going on is not visible to natural vision, only to the eyes of faith. Could it be that the unrealized promise of physically seeing what is going on is a factor in the current decline in Eucharistic faith? At the least, facing the people increases the possibility that the dialogue between priest and people will leave God as a remote observer, rather than the transcendent object of the entire proceeding. When Pope Benedict allowed greater use of the extraordinary form of the Mass (the so-called Tridentine Mass), the news media immediately reacted by saying that the priest turns his back on the people, but this is an ignorant caricature, for in the posture ad orientem, priest and people together face a transcendent direction, a powerful symbol of addressing God as a primary object and an important use of space in the service of the transcendent. Sacred things need to be differentiated, so that one kind can be distinguished from another, and so that the more sacred can be perceived as distinct from the less sacred. Thus by spatial dif- ferentiation the eastward direction is priviledged over other directions, and the image of Christ over other images. Time is also used in the liturgy to differentiate the sacred, in kind and degree, and to express the transcendent, particularly through music, the pre-eminent art of time. Important times of the day, Lauds and Vespers, are emphasized by receiving services with more music and slighty more elaborate music. Each day is distinguished from the others by different pieces of music (propers), and the major days easily become associated with their propers. Especially Holy Week and Easter are distinguished from the rest of the year by their unique music. Likewise music contributes to the sense of the sacred by structuring the time of the the rite it accompanies. By being based upon a sacred text, set to a sacred melody, performed for the duration of a sacred rite, it projects the sense of the sacredness of the rite itself, and extends this in time; the time of the rite by itself would be amorphous, but the addition of music expresses the purpose of the rite by giving it a temporal shape and direction.
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