NATIONAL ASSOCIATION of PASTORAL MUSICIANS PASTORAL October 2009 Music There’s never been a better time to have OCP missals in your pews

Designed for you.

We listen to your input and count on your feedback as we shape our missal programs. Our staff is dedicated to offering you the best resources to serve your pastoral needs.

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It’s not too early to plan for these international events: June 2-5, 2010 Sing Debney's "Pasion Oratorio" in St. Peter's Square with Prague Philharmonic, Candace Wicke, Conductor. New Year's 2011 Pueri Cantores Congress in Rome: Let us customize a program for your Youth Choir! 25 S. Service Rd • Suite 240 • Jericho, NY 11753 • Midwest Office: 1-800-443-6018 • NY Office: 1-800-225-7662 Email: [email protected] or [email protected] • Visit us at: www.petersway.com chapter events, and conversations with colleagues. Sometimes musicians and other ministers feel a lack of support in the face of a difficult staff relationship, an experience of isolation, low enthusiasm, a sense of mu- sical inadequacy, insufficient liturgical knowledge, or a complicated pastoral situation. We need to remember that support is there for us if we are willing to seek it out—the listening ear of a friend, a time of quiet prayer, an online resource. Plan now to take part in next year’s NPM National Convention, “Hope and Harmony,” in Detroit, Michi- gan, July 12–16, 2010. Come to be refreshed and renewed, to kick start the support you need to enrich your ministry throughout the year. From the President NPM Annual Fund NPM carries out its mission of fostering the art of musical liturgy largely through its support of members Dear Members, in their continuing growth. The Association provides the broadest and most diverse opportunities of any or- We hope that you will enjoy this annual convention ganization or institution for musicians, clergy, and other issue of Pastoral Music. Whether or not you were able to pastoral leaders to deepen their knowledge and skill in participate in this year’s NPM National Convention in the field of liturgical music. We provide services to our Chicago, this issue offers you the opportunity to reflect on members in a variety of ways, including Pastoral Music some of the very fine convention addresses, to be affirmed magazine, newsletters, books, online resources, conven- and challenged by Cardinal Daniel DiNardo’s homily, to tions, institutes, seminars, scholarships, and chapter view many delightful photos of events and people during events. the week, and check out a sampling of comments from Over the next few years, we will be working to address the evaluations (see page seventy-five). the liturgical and musical needs of Hispanic Catholics; NPM conventions provide enormous support for to ensure greater outreach to youth and young adults; musicians, clergy, and others who serve the worship- and to develop programs and resources to assist in the ing community. Like most others who participate in implementation of the new English-language edition of the conventions, I have come to appreciate the support the Roman Missal. I receive from praying, singing, listening, learning, re- Membership dues account for less than a third of the flecting, chatting, laughing, and being with others who income needed to sustain the work of the Association. share a love of liturgy and music along with a passion Please make a tax-deductible donation today to the 2009 for pastoral music ministry. We return home with new NPM Annual Fund. No amount is too small to provide insights, new music, new and renewed friendships, and the support we need to serve the musicians, clergy, and a stronger commitment to serve the faith community in others who in turn serve parishes and other communities its sung worship. in their worship. Conventions alone, however, cannot sustain us in min- You may make a secure online donation at www.npm. istry—we need ongoing support as well. All ministers, org or simply send a check to NPM, PO Box 4207, Silver lay and ordained, need the personal support that comes Spring, MD 20914-4207. Thank you for your generous with developing healthy and loving relationships with support! family, friends, and colleagues. Effective leadership and service also require the spiritual support that comes from a deep connection to God and the Church along with a robust life of prayer. Pastoral musicians in particular need a spiritual life deeply rooted in Scripture and lit- urgy. We also need professional support that fosters our continued growth in ministry—the kind of support we receive from reading, study, practice, classes, workshops, J. Michael McMahon, President

2 October 2009 • Pastoral Music estudio, la práctica, las clases, los talleres, los eventos de los diversos capítulos y las conversaciones con nuestros colegas. Hay veces en que los músicos y otros ministros sienten una falta de apoyo cuando enfrentan alguna relación difícil con el personal, viven alguna experiencia de aislamiento, poco entusiasmo, sensación de ineptitud musical, cono- cimientos insuficientes sobre la liturgia o una situación personal complicada. Debemos recordar que el apoyo está a nuestra disposición si es que lo queremos buscar—el oído dispuesto de algún amigo, un momento de quieta oración y los recursos que hay en línea. Desde ahora empiecen a planificar su participación en la Convención Nacional de NPM “Esperanza y Armonía”, que se realizará el próximo año en Detroit, Michigan, del 12 al 16 de julio de 2010. Vengan para que se actuali- De Parte del Presidente cen y se renueven y activen el apoyo que necesitan para enriquecer su ministerio a lo largo del año. Queridos miembros, El fondo anual de NPM Esperamos que disfruten de esta edición especial de Pastoral Music que está llena de información sobre nuestra NPM lleva a cabo su misión de fomentar el arte de la convención anual. Ya sea que hayan podido asistir o no liturgia musical principalmente mediante el apoyo que a la Convención Nacional de NPM realizada en Chicago les ofrece a sus miembros para su continuo desarrollo. este año, esta edición les ofrece la oportunidad de re- La Asociación, más que cualquier otra organización flexionar sobre algunos de los excelentes discursos que o institución, proporciona las más grandes y diversas escuchamos, de ser afirmados y desafiados por la homilía oportunidades a los músicos, al clero, y a otros líderes del Cardenal Daniel DiNardo, de ver muchas fotos de pastorales para que profundicen sus conocimientos y personas y de eventos ocurridos durante la semana y de habilidades en el campo de la música litúrgica. A nuestros leer algunos de los comentarios que se hicieron en las miembros se les ofrecen servicios diversos que incluyen la hojas de evaluación (ver la página setenta y cinco). revista Pastoral Music, boletines, libros, recursos en línea, Las convenciones de NPM les proporciona un gran convenciones, institutos, seminarios, becas y eventos para apoyo a los músicos, al clero y a otros que sirven a las los diversos capítulos. comunidades de culto. Como muchas de las otras perso- En los próximos años estaremos trabajando para re- nas que participan en la convención, yo aprecio mucho sponder a las necesidades litúrgicas y musicales de los el apoyo que recibo al orar, cantar, escuchar, aprender, católicos hispanos; para asegurar un mayor acercamiento reflexionar, conversar, reír y al estar con otras personas hacia los jóvenes; y para desarrollar programas y recursos que comparten el amor a la liturgia y a la música junto que asistan en la implementación de la nueva edición en con su pasión por el ministerio de música pastoral. Retor- inglés del Misal Romano. namos a casa con ideas nuevas, música nueva, amistades Las cuotas de los miembros representan menos de nuevas y renovadas y un compromiso más sólido para un tercio de los ingresos necesarios para sostener la servir a la comunidad de fe en su culto cantado. labor de la Asociación. Por favor, haga hoy su donación Sin embargo, las convenciones solas no nos pueden deducible de impuestos a favor del 2009 NPM Annual sostener en el ministerio—también necesitamos que se Fund. Por pequeña que sea la cantidad, ésta nos servirá nos apoye continuamente. Todos los ministros, ya sean para proporcionar el apoyo necesario para servir a los laicos u ordenados, necesitan del apoyo personal que músicos, al clero y a otros quienes, a su vez, sirven a las surge con el establecimiento de unas relaciones tiernas parroquias y a las comunidades en su culto. y saludables con familiares, amistades y colegas. Un Ustedes pueden hacer una donación segura, en línea, liderazgo y servicio eficaz exigen también un apoyo entrando a www.npm.org o simplemente enviando un espiritual que surge de una profunda conexión con cheque a NPM, PO Box 4207, Silver Spring, MD 20914- Dios y la Iglesia junto con una vida sólida de oración. 4207. ¡Muchas gracias por su generoso apoyo! Los músicos pastorales, en especial, necesitan una vida espiritual arraigada profundamente en las Escrituras y en la liturgia. A la vez, necesitamos un apoyo profesional que fomente nuestro crecimiento continuo en el ministerio—el tipo de apoyo que recibimos por medio de la lectura, el J. Michael McMahon, Presidente

Pastoral Music • October 2009 3 Mission Statement The National Association of Pastoral Musicians fosters the art of musical liturgy. The members of NPM serve the Catholic Church in the United States as musicians, clergy, liturgists, and other leaders of prayer.

NPM Board of Directors NPM National Office 962 Wayne Avenue, Suite 210 Dr. Michael Connolly (2009) Silver Spring, Maryland 20910-4461 Rev. Ricky Manalo, csp (2011) Phone: (240) 247-3000 • Fax: (240) 247-3001 Dr. Jennifer Pascual (2011) General e-mail: [email protected] Mr. Stephen Petrunak, Vice Chair (2009) Web: www.npm.org Ms. Joanne Werner, Chair (2011) Dr. J. Michael McMahon, NPM President Dr. J. Michael McMahon, President Ext. 12 E-mail: [email protected] NPM Council Rev. Virgil C. Funk, President Emeritus At-Large Representatives Membership Mr. Brian Bisig (2010) Ms. Kathleen Haley, Director of Membership Services Mr. Tim Dyksinski (2010) Ext. 19 E-mail: [email protected] Ms. Jacqueline Schnittgrund (2010) Ms. Janet Ferst, Membership Assistant Dr. Dolly Sokol (2010) Ext. 15 E-mail: [email protected] Ms. Mary Beaudoin (2012) Rev. Stephen Bird (2012) Education Ms. Anne Ketzer (2012) Rev. Dr. Paul H. Colloton, op, Director of Continuing Education Mr. Steven Warner (2012) Ext. 11 E-mail: [email protected] National Committees Mr. Peter Maher, Program Coordinator Rev. Michael Driscoll, Education (2010) Ext. 22 E-mail: [email protected] Sr. Claudette Schiratti, rsm, Certification (2010) Mr. Pedro Rubalcava, Music Industry (2010) Publications Rev. James Wm. Bessert, Publications (2012) Dr. Gordon E. Truitt, Senior Editor Mr. Tom Nichols, Finance (2012) Ext. 21 E-mail: [email protected]

Interest Sections Exhibits and Advertising Ms. Gael Berberick, Ensemble Musicians Ms. Karen Heinsch, Exhibits and Advertising Manager Mr. Meyer Chambers, African American Musicians Phone: (503) 289-3615 Mr. Bruce Croteau, Pastoral Liturgy E-mail: [email protected] Ms. Nancy Deacon, Pianists Dr. Richard P. Gibala, Diocesan Directors of Music Administration Ms. Rachelle Kramer, Youth Mr. Lowell Hickman, Office Manager and Executive Assistant Ms. Tracy Lake, Music Education Ext. 25 E-mail: [email protected] Col. Tom Luna, Musicians in the Military Mrs. Mary Rodriguez, Receptionist and Secretary Rev. Ricky Manalo, csp, Asian and Pacific Rim Musicians Ext. 10 E-mail: [email protected] Dr. Dolores Martinez, Hispanic Musicians Mr. Paul Lagoy, Secretary and Mail Clerk Sr. Nylas Moser, asc, Musicians Serving Religious Communities Ext. 26 E-mail: [email protected] Mr. Nicholas Palmer, Composers Mr. Anthony Worch, Finances Ms. Mary Lynn Pleczkowski, Cantors Ext. 15 Rev. Anthony Ruff, osb, Chant Mr. Stephen Steinbeiser, Campus Ministers Dr. Lynn Trapp, Organists Rev. Robert Webster, Clergy Mr. Michael Wustrow, Choir Directors

Ex-Officio Representatives His Eminence Cardinal Daniel N. DiNardo, Episcopal Moderator Ms. Joanne Werner, Board of Directors Chair Ms. Hollie Uccelini, Council of Chapters Chair Dr. Robert Wolf, DMMD Division President Mr. Peter Maher, NPM Staff Representative Additional Staff Mr. Joseph Lively, Comptroller Ms. Andrea Schellman, Assistant Editor The Association President and the NPM Board members also serve on Ms. Kathi Zysk, Website Manager the NPM Council without a vote. Ms. Lisette Christensen,Website Designer

4 October 2009 • Pastoral Music NATIONAL ASSOCIATION of PASTORAL PASTORAL MUSICIANS

October 2009 Volume 34:1 Music

Pastoral Music (ISSN 0363- 6569) is published bimonthly Contents by the National Association of Pastoral Musicians (NPM), Readers’ Response 6 Annual Fund 8 962 Wayne Avenue, Suite 210, NPM Honors 11 Association News 12 Silver Spring, MD 20910. NPM is an organization of musicians and clergy dedicated to fostering the art of musical liturgy. Member services include the bimonthly newsletter Pastoral Music Sing to the Lord: Notebook, discounts on NPM conventions and institutes, and other benefits. Editorial, Executive, and Advertising Offices: 2009 National Convention 962 Wayne Avenue, Suite 210, Silver Spring, MD 20910-4461. Phone: (240) 247-3000. Fax: The Roman Missal: Preparation and Reception 23 (240) 247-3001. E-mail: [email protected]. By Paul Turner

Statement of Ownership, Management, A View from the Cathedra: 32 and Circulation (Required by 39 U.S.C. 3685) Ubi Caritas Est Vera, Deus Ibi Est By Cardinal Daniel N. DiNardo Pastoral Music is a bimonthly magazine total- ing six issues annually at an annual subscrip- tion price of $44.00. Pastoral Music offices “Blest” Are They . . . but “Where” Are They? 36 are located at 962 Wayne Avenue, Suite 210, Insights on Ministering to Teens and Young Adults Silver Spring, Maryland 20910-4461. By Kate Cuddy and Katherine DeVries Pastoral Music is a membership magazine of the National Association of Pastoral Musi- Homily cians. Dr. J. Michael McMahon, Publisher. Dr. Gordon E. Truitt, Editor. There are no Jealousy and Rivalry, Providence and Mercy 43 known bondholders, mortgagees, or other By Cardinal Daniel N. DiNardo security holders. The purpose, function, and nonprofit status of this organization Hovda Lecture have not changed during the preceding Liturgical Music Ministry as 46 twelve months. Communion for Mission The average number of copies per issue By Kathleen Harmon, snd de n over the last twelve-month period, 8,567; actual number, August 2009 issue, 8,300; total paid distribtuion last twelve months, The Art and Challenge of Collaborative Liturgy 53 average, 8,347, August issue, 8,188; aver- By Paul J. Schutz and Stephen P. Lintzenich age free or nominal rate distribution last twelve months, 80; August issue, 60; total Commentary distribution last twelve months, average, 8,427; August issue, 8,248. Percent paid Sing to the Lord: The 2009 National Convention 75 circulation, average, 97.4%; August issue, By the Participants 99.2%. The issue date for this circulation information is August 2009. Chapter News 56 Hotline 59 Professional Concerns 61 Calendar 62 Copyright © 2009 by the National Associa- Reviews 65 tion of Pastoral Musicians. Periodicals postage paid at Silver Spring, Cover: Participants at the 2009 National Convention during the preparation of the gifts at Maryland, and additional mailing offices. the main Convention Eucharist; photo by Rev. Stephen Bird, Archdiocese of Oklahoma City, Postmaster: Send address change to Pastoral Oklahoma. Additional photos in this issue courtesy of Mr. Peter Maher and Dr. Gordon Truitt, Music, 962 Wayne Avenue, Suite 210, Silver NPM National Staff; and Mr. David Gonzalez, Chicago, Illinois. Spring, MD 20910-4461. 5 Readers’ Response

Deep Thanks about music already here and more than sufficient for our needs. Ed Bolduc said I wish deeply and sincerely to thank all that one musical genre we already have who provided past photos of their Peter’s doesn’t really fit. Though John Foley listed Way group choir pilgrimage tours. The possible needs, he advised checking out presentation during the Convention [see what churches already have available to page seventy-five in this issue] was very them. So is there or is there not a place moving and quite a pleasant surprise. It for an “ever richer song” of which our was more meaningful to our staff and bishops spoke? myself than you could ever know. And what does the marketing of con- The fire that occurred just before temporary liturgical music, so highly vis- Christmas in our headquarters office was ible and audible at our local and national initially devastating and quite difficult. conventions, have to do with composing However, no one was hurt. and insurance for the needs of a local church? That has took care of replacing office equipment always been a central concern of mine. and getting us functioning rather quickly. Shall we put in the quality time to serve Of course, as you can imagine, not every- our own assembly first, or shall we give thing could be replaced. our attention to flawless recordings for a Luckily, we have great friends and mass market? A cover story in the National colleagues at NPM who found the most Catholic Reporter last August 22 featured thoughtful way to assist our ministry. contemporary bands for whom traveling We have enjoyed reviewing the pictures and recording are the primary ministry. and seeing so many members of NPM Some charge even to hear a snippet of in formal and candid shots during their their output at one publisher’s website. Participants in a dance workshop at the 2009 Exactly what is it that makes a pub- journeys over the past twenty-five years. Annual Convention. These photos will greatly assist us in fu- lished song or psalm arrangement pref- ture campaigns promoting pilgrimage. erable by the very fact of publication? Is We are honored to be part of the NPM there a doctrinal and cultural screening “So You Think You family, and we appreciate the many con- superior to what the locals are equipped to Can’t Dance?” cerns, thoughts, and prayers we received provide? Is it a question of guaranteeing earlier in the year. Thank you again for esthetic excellence or perhaps least-com- This past summer I was invited to all that you do. mon-denominator singability? A friend give two dance workshops at the NPM Peter Bahou had her metric psalms recorded with a National Convention in Chicago, as I Jericho, New York national publisher. In the process, they have at most of the national conventions lost their rough edges and much of their since the 1980s. Although my hopes and Mr. Bahou is the president of Peter’s Way original intensity. The extant bilingual dreams for a more integrated use of the Tours, Inc. music from the national outlets fails to body in liturgy through ritual movement capture the language of so many worship- and dance has not become a reality in our Composing for the ers who are ourselves bilingual. The local Catholic worship in the United States, I Local Church composer with an ear for these usages is am grateful that the leadership of NPM better situated to serve her people. has not given up completely on a form The June 2009 issue of Pastoral Music There is a place for both local creativity of communal prayer and ritual that is had the stated theme “Composers.” and national standards in our churches. “ever ancient, ever new.” Although the The cover photo and the quote from the Anthony Ruff in his writing has much offerings are limited and tangential to U. S. bishops’ statement [“The Composer good advice about the genius of great the major presentations and workshops, and Music of Our Day,” from Sing to the composers and the importance of the as- there are still a good number of people Lord: Music in Divine Worship] promised sembly in inspiring liturgical music. And who believe that dance, ritual gesture, and further encouragement for liturgical I agree with him that our mass market movement can enliven the worship and compositions still beyond the horizon. All does not have the only answers to all our prayer experience of their communities, the articles that followed, though, down- needs. whether those are limited to children or played the need for such activity. The first Paul Schlachter become movement prayer for the whole three authors, for different reasons, wrote Miami, Florida assembly.

6 October 2009 • Pastoral Music One of the things I find most distressing gious expression. I know better than most of this form of worship. Anyone who is in my conversations with the faithful peo- the reasons that are given for not using interested can become a member of the ple who come to these workshops is their dance as a form of liturgical expression, group Boston Liturgical Dance Ensemble tales of an absolute prohibition against even though we may be singing: “Let on Facebook. If you have a problem or any dance used in any kind of liturgical our tears be turned into dancing.” In the want more information, you can contact service. I am assuming that those pastors, parish where I have been pastor for more me at [email protected]. bishops, and other church leaders [who is- than twenty-one years, we use dance as Robert VerEecke, sj sue these prohibitions] have never prayed a fuller expression of ritual movement, Chestnut Hill, Massachusetts Psalm 150, which enjoins us to “praise especially in processions, only for special God with timbrel and dance,” or Psalm occasions like Christmas, Passion Sunday, Father VerEecke is the pastor of St. Ignatius 149, which invites us to “praise God’s Easter Vigil, and Pentecost. But there is Church in Chestnut Hill. name in the festive dance.” I sometimes one evening prayer each Holy Week where imagine that if Jesus were responding to the whole service is music and dance. those who have closed themselves to any The most beautiful aspect of this service possibility of dance as an authentic form is that there are moments when parish- of religious expression, he might reiterate ioners who love to dance have a chance the Gospel verse: “I piped you a tune, but to dance the prayer they have learned, you did not dance.” I have often thought supported by trained dancers. There are Responses Welcome there might be an “entrance exam” for also times when the whole assembly of the prohibitionists before entering the two hundred faithful join in the dance. It We welcome your response, but all corre- kingdom of God, where Jesus would sing is a joy to behold. spondence is subject to editing for length. Ad- to them: “Dance, then, wherever you may One of the reasons that I am writing dress your correspondence to Editor, Pastoral be, for I am the Lord of the Dance,” and this is to share with you that we have Music, at one of the following addresses. By they would have to dance. begun to put up videos of these liturgical e-mail: [email protected]. By postal service: For more than thirty-five years I have services with dance so that people can see 962 Wayne Avenue, Suite 210, Silver Spring, worked in the vineyard of dance and reli- for themselves the beauty and the power MD 20910-4461. By fax: (240) 247-3001.

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Pastoral Music • October 2009 7 St. John the Evangelist Parish, Honesdale, Annual Fund 2008 Pennsylvania St. Malachy Parish, Celebration Choir, Atkin- son, Illinois St. Mary of the Pines Catholic Church, Again this year, I offer profound thanks to all the individuals, dioceses, Shreveport, Louisiana parishes, corporations, and others who so generously supported the St. Matthew Catholic Church, San Antonio, 2008 NPM Annual Fund. Your gifts help to make possible the programs Texas St. Michael Church, Schererville, Indiana and services that NPM provides for musicians, clergy, liturgists, and St. Teresa of Avila Catholic Community, other leaders of prayer. Please help us to continue this important work Carson City, Nevada through your gift to the 2009 NPM Annual Fund. If there are any er- St. Thomas Aquinas Catholic Church rors or omissions in the lists on these pages, please accept our apology Alpharetta, Georgia and send a correction by e-mail to [email protected] or by phone: (240) 247-3000. Individual Donors

Founders Circle ($1,000 or more)

Ms. Linda McDonald Budney Mr. Thomas G. Byrne, in memory of Helen T. Byrne NPM Chapters, Corporations, Owensboro, Kentucky Mrs. Ann S. Carney Holy Family, Stow, Ohio Dr. Gregg and Mrs. Natalie Codelli Parishes, and Religious Holy Infant, Durham, North Carolina Mr. Kevin G. Curtin Communities Hope Publishing Co., Carol Stream, Illinois Dr. Richard P. Gibala NPM Chapter, Rockville Centre, New York Dr. J. Michael McMahon Founders Circle NPM Chapter, Washington, DC Mr. Stephen M. Petrunak ($1,000 or more) Our Lady Queen of Poland, Silver Spring, Maryland Benefactors GIA Publications, Inc., Chicago, Illinois Precious Blood Catholic Church, Culpeper, ($500–999) Lively Ostrye & Worch PC, Kensington, Virginia Maryland Rodgers Instruments, LLC, Hillsboro, Dr. Michael Connolly Liturgical Press, Collegeville, Minnesota Oregon Rev. Robert Duggan Oregon Catholic Press, Portland, Oregon SS. Joachim and Anne Catholic Church, Mr. Robert Frenzel, in honor of Rev. Law- Peter’s Way Tours Inc., Jericho, New York Attica, New York rence Heiman, c.pp.s. St. James Catholic Church, Conway, South Mr. Charles and Mrs. Diane Gardner Benefactors Carolina Mr. David Haas St. Rose of Lima Church, Freehold, New ($500–999) Dr. Marie J. Kremer Jersey Dr. Dolly Sokol and Deacon Joe Herrera, Jr. Ms. Joanne Werner Diocese of Orlando, Office of Worship, Donors Orlando, Florida Mr. Michael Wustrow United Bank, Fairfax, Virginia (Up to $99) Patrons De La Salle Adult Choir, Granada Hills, ($250–499) Patrons California ($250–499) Diocese of Steubenville, Office of Worship, Mr. Robert Davis Steubenville, Ohio Dr. Paul F. Ford Alfred Publishing, Van Nuys, California Franciscan Sisters of Mary, St. Louis, Mr. Jeremy A. Helmes All Saints Catholic Parish, Manassas, Vir- Missouri Ms. Barbara L. Ilacqua, in honor of Richard ginia Holy Spirit Church, Music Ensemble, India- P. Gibala Allen Organ Company, Macungie, Pennsyl- napolis, Indiana Mrs. Anne Ketzer vania Immaculate Conception Church, Sulphur, Mr. Joseph F. Kouba St. Laurence Catholic Church, Sugar Land, Louisiana Mr. Peter and Mrs. Trudy Maher Texas NPM Chapter, Grand Rapids, Michigan Fr. Roc O’Connor, sj, in memory of Fr. Saint Mary Parish, Southbridge, Massachu- Order of Saint Benedict, Saint John’s Abbey, Joseph Gelineau, sj setts Collegeville, Minnesota Dr. Jennifer Pascual Our Mother of Good Counsel Church, Bryn Dr. Paul and Mrs. Kathleen Skevington Sponsors Mawr, Pennsylvania ($100–249) Seyfest Scholarship Fund, Fort Wayne, Indiana, in honor of the Seyfest Family Sponsors Archdiocese of Galveston-Houston, Texas St. Augustine Catholic Church, Oak Harbor, ($100–249) Chad Perry and Associates Church Organs, Washington East Rutherford, New Jersey St. Bartholomew Catholic Parish, Columbus, Mr. Antonio E. Alonso Dave Domingue Weddings, Lafayette, Loui- Indiana Mr. William S. Babash siana St. John the Apostle Catholic Church, Mr. William E. Barkyoumb Diocese of Owensboro, Office of Music, Virginia Beach, Virginia Mr. Michael Batcho

8 October 2009 • Pastoral Music Ms. Dodie Bauman Mrs. Jane Scharding-Smedley Mr. Paul Covino Rev. William A. Bauman Ms. Allene Sieling Mr. Gregory A. Czerkawski Ms. Mary J. Beaudoin Ms. Peggy Stevermer Ms. M. Kathhryn D’Agostino Mr. Paul E. Bosselait Rev. Msgr. Francis V. Strahan Ms. Kathleen DeJardin Dr. Robert F. Brady Mr. Paul A. Tate Miss Margaret R. Delucia Mr. Anthony Buccilli, Jr. Dr. Lynn Trapp Ms. Rosemary F. Desmond Rev. Victor Buebendorf Mr. Kent Tritle Mrs. Anna Louise Dianuzzo, in honor of Ms. Carolyn Cardinalli Dr. John C. Warman Maureen Piccoli Ms. Wendy Champion Fr. Christopher Dobson, tor Mrs. Jane E. Clifford Donors Dr. Carol Doran Mrs. Emma Jane Cochran (Up to $99) Ms. Charlene Dorrian Rev. Paul H. Colloton, op Mrs. Carol Lee Dorwart Ms. Patricia Anne D’Anniballe Ms. Leisa Anslinger Sr. Regina R. Dougherty, ssj Mrs. Nancy J. Deacon Mr. William Atwood Rev. Joseph W. Dragon Miss Anna Gina DeDominicis, in honor of Mr. Ken Barnes Rev. Arthur Dupont Mr. Henry Sgrecci Mr. Larry Barton and Mrs. Roberta Lewis- Ms. Kim Einspahr Mr. and Mrs. Michael and Marie Doyle, in Barton Mr. Tom A. Enneking honor of Rev. Larry Mayer, o.praem. Mr. Henry Bauer Ms. Paula Fangman Mrs. Sheila Ebbels Ms. Rosalie Beatty Mr. Don Fellows Dr. John A. Ferguson Ms. Claudette Belair Mr. Kurt and Mrs. Janet Ferst Mr. Christopher J. Ferraro Ms. Lanita L. Bennett Mr. Bobby Fisher Mr. Peter C. Finn Mrs. Gail F. Berberick Ms. Mary Frimml Rev. Virgil Funk Ms. Filomena Binanua Rev. Gasper Genuardi, in memory of Mr. Ms. Maria Gavilanes Mr. Steven Bisaillon Kenneth Westcott Mr. Paul Goldy Ms. Laetitia M. Blain Fr. Richard M. Ginther Mr. James and Mrs. Bonnie Griffin Ms. Jan Bloemer Mr. Daniel B. Girardot Mr. Richard R. Hardy Dr. Donna Bogard Ms. Elizabeth R. Goeke Mrs. Carol Heard Mr. Clark Boker Mr. Vince Gonzales Rev. Lawrence F. Heiman, c.pp.s. Ms. Mary Bolton Mrs. Rita Grabovich Msgr. W. Ronald Jameson Mr. John Q. Boraski Ms. Eileen M. Groody Rev. Jan Michael Joncas Ms. Nona Born Ms. Kathleen Haley Ms. Diane M. Kingsbury Ms. Cara L. Bradbury Ms. Phyllis B. Harris Mrs. Helen K. Kilty Mr. Terry Bradunas Ms. Karen A. Heinsch Ms. Jessica Leitner, in memory of Nancy Sr. Genevieve Brandstetter Ms. Jeanine Hetterscheidt Bannister Ms. Jean H. Brockley Mr. Don and Mrs. Joan Higby Rev. Thomas Lijewski Ms. Donna N. Brown, in honor of Richard Ms. Alice E. Hill Mr. Alan D. Lukas P. Gibala Mr. Bill Hill Mr. Bruce Marshall Mr. Michael J. Bruch Ms. Marlene Holland Ms. Deb Maskrey Rev. Joseph Brueisch Mr. Jeff and Mrs. Debra Honoré Mr. Robert McCaffery-Lent Mr. Louis A. Bufano Mr. Edward R. Horneman Ms. Janet Noveske Mr. Gerald F. Burke Ms. Liliana Hsueh-Gutierrez Mrs. Kathleen M. O’Brien Mr. Robert A. and Mrs. Marilyn W. Carney Mr. Joseph Ireland Rev. Charles A. Perricone Ms. Autumn Coe Rev. Fr. Walter M. Jagela Ms. Lucia C. Philiposian Ms. Carol Connolly Ms. Helen T. Jauregui Mr. Steven Pochini Ms. Violet E. Connors, in memory of Loretta Ms. Carolyn S. Jenkins Sr. Mary Jo Quinn, scl Staniskis Ms. Lynne C. Jones Rev. C. Paul Rouse Ms. Liz Coolahan Rev. Hubert J. Kealy Ms. Jo Ann C. Ruskamp Mr. Alan E. Cotnoir, in honor of Mr. Craig S. Deacon Joe C. Kennedy Dr. and Mrs. Paul Salamunovich, in memory Cotnoir, in memory of Mr. Robert Beaulieu, Ms. Janet Kermer of Nanette Salamunovich Goodman and for Mr. Ronald R. DiRobbio Ms. Dee Kittany, in memory of Jay Ricketts

Pastoral Music • October 2009 9 Mr. Gary Kneal Mr. John P. Meyers Ms. Debra A. Sims Mr. Stephen J. Knoblock Ms. Rebecca Micca Mrs. June V. Shuffett Sr. Gloria Korhonen, op Ms. Francine M. Micklus Ms. Carol Ann Skabo Ms. Rosemarie Kosik Mr. Paul Mohr Sr. Patricia A. Skowronek, rsm Ms. Joann M. Kovic Mrs. Anne G. Moore Ms. Judith M. Spanos Ms. Virginia B. Kramer Sr. Nylas Moser, asc Ms. Kate Sponholz Ms. Patricia L. Kunka Ms. Barbara M. Munz Mr. Stan Stepnowski Mr. Frederick J. Kurtz Mr. Jeffrey Alan Nowak Mr. Ronald Stolk Ms. Veronica E. Laite Br. Terrence A. Nufer, c.pp.s. Ms. Janice Strachan Mrs.Patricia M. Lamb, in memory of Pat Ms. Anna Belle O’Shea Ms. Donna I. Swanson Milollam Ms. Ramona T. Pavel Rev. Lawrence Symolon Rev. Alfred J. Lampron Ms. Betsie Pendarvis Mr. Charles Thatcher Ms. Mary Ellen Lanzillo Ms. Virginia Picken Dr. Christoph Tietze Ms. Cecilia C. Lawlor Ms. Mary Lynn Pleczkowski Mr. Ben Thomas Tomaszek Ms. Margaret Lawlor Mrs. Elizabeth Powell Dr. Gordon and Mrs. Carole Truitt Mrs. Linda S. Lebo Fr. Joseph Rafacz Ms. Shirley Turner Ms. Katherine LeDuc Mr. Andrew Rangitsch Ms. Mary Louise Uebelhor Mrs. Colleen Lenord Ms. Betty Reiber, in honor of Sr. Mary Elea- Mr. Scott D. Uhernik Mr. Brian T. Lepacek nor, Sr. Margaret Marie, and Sr. Miriam Mr. Eric J. Utsler Mr. Robert C. Levulis Elizabeth Mr. Thomas Uva Mrs. Patricia Lewis Ms. Helen Rocklein Mrs. Nancy Valtos Mr. Mark Q. Lizama Mr. Raymond Rouse Mr. Julius Walker Ms. Barbara A. Lolli Mr. Rex B. Rund Mr. Edward Walter, in memory of Louise Mrs. Anna Mae Lukancic Sr. Claudette Schiratti, rsm Stilger Walter Ms. Diane Mahoney Mr. Tony Scott Ms. Virginia Ward Ms. Maria Malone Ms. Joan Best Seamon, in honor of Eileen Mr. Russell J. Weismann Ms. Mary Ellen Matheson Casazza Mr. Timothy Westerhaus Ms. Gail Martin Mr. Scott J. Sellner Ms. Vickie Westrich Fr. George Matanic, op Sr. Cynthia Serjak Mr. Kelly J. Wheelbarger Ms. Margaret Matuska Ms. Lisa Roy Sheppert Mr. Carlton White Ms. Caroyln M. Melby Ms. Margie Shiel Fr. Thomas Willis Mr. Joe Messina Ms. Annette H. Zalanowski

“Ours is a singing faith All thanks to God be sung By people here both far and near In every land and tongue” Jane Parker Huber

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10 October 2009 • Pastoral Music NPM Honors 2009

Jubilate Deo Award Scholarships Ryan McMillin Rev. Msgr. Raymond G. East Georgetown University Washington, DC Verena Lucia Anders The Catholic University of America Paul C. Nguyen California State University, East Bay William H. Atwood The Catholic University of America Amanda Plazek Duquesne University Henry Bauer The Catholic University of America Bryan Schamus Pastoral Musician of the Year Santa Clara University Mr. Paul Inwood Patricia Campbell Portsmouth, Saint Joseph’s College Kyle W. Ubl United Kingdom University of Notre Dame Paul J. Carroll The Catholic University of America Timothy Westerhaus Boston University Elizabeth Christian DMMD Member of the Year Aquinas College James Wickman Mr. James Wickman The Catholic University of America Washington, DC Michael Galdo The Catholic University of America Nicholas J. Will Peabody Conservatory of the Daniel Girardot Johns Hopkins University The Catholic University of America Scott Ziegler Anita Louise Lowe, osb John J. Cali School of Music, University of Notre Dame Montclair State University Outstanding Pastor Rev. Stephen P. Lintzenich Evansville, Indiana

Outstanding Chapter San Antonio, Texas John Halloran, Chapter Director

Pastoral Music • October 2009 11 Association News

2009 Convention 2009 Institutes and Institutes More than 200 people participated in this summer’s institutes. The best- Gathered in Rosemont attended program was the Guitar and Ensemble Institute, followed by Cantor More than 3,000 pastoral musicians, Express in Lakewood, New Jersey. Lim- bishops, priests, deacons, pastoral litur- ited financial support was available to gists, music educators, dancers, diocesan participants from the Diocese of Dallas directors of music, and other participants for the Cantor Institute in Dallas (Plano), gathered in Rosemont, Illinois, for the Texas, and participation in the bilingual Thirty-Second NPM Annual Convention Pastoral Liturgy Express in Albuquerque, (July 6–10). Among the plenum sessions New Mexico, was subsidized by the were presentations by a cardinal of the Archdiocese of Santa Fe. Two partici- Roman Catholic Church, a priest-theo- pants in the Cantor Institute in Clarion, logian and spiritual director, and two Pennsylvania, received NPM program pastors trained in music. There was a joint scholarships (for information on this presentation by a pastoral musician who scholarship program, go to http://www. works with teens and a leader in young npm.org/EducationEvents/program_ adult ministry. The lessons of the plenum scholarship/scholarships.htm.) sessions were applied in more than 125 Here is what some of the participants practical workshop sessions. There was D. Todd Williamson, director of the Office found valuable about these institutes. daily Eucharist, a space for private prayer for Divine Worship, welcomes the 2009 Those who attended the Cantor Express and meditation, an opportunity for Taizé- NPM Annual Convention to the Archdiocese programs found help in three major ar- style prayer, evening prayer—led by a of Chicago. eas: improved vocal technique, a deeper bishop and participants in the Pueri Can- understanding of the psalms, and an tores-NPM National Catholic Children’s enriched understanding of the roles of Choir Festival, and morning prayer—led good rating: 4.3! the psalmist and cantor in the liturgy. on Thursday by youth participants. Respondents were asked why they They also noted the importance placed There was a wonderful performance come to NPM conventions, and they on developing a historical perspective on by participants in the National Catholic were asked to check all the answers that the liturgy as well as on practical voice Handbell Festival, and there were four- applied. They come to receive (top five exercises and technique. One participant teen other major performances, several this year): new music, new or renewed wrote: “It helped remind me why I do held in downtown Chicago on Thursday insights about liturgy, spiritual refresh- what I do.” afternoon and evening. There were show- ment, new ideas about music in the Comments about the best moment of cases, and there was ambient music, and liturgy, and a stronger sense of ministry. the week at the Guitar and Ensemble In- there were exhibits. They attend conventions for (top five stitute ranged from “figuring out scales” And how was all of this received? More this year): workshops, showcases, litur- and “learning to play the drum set” to than 600 participants filled out evalua- gies and prayer events, major addresses, “sharing with new friends,” “morning tions, and they gave this year’s convention and camaraderie. More than half of the prayer,” an experience of the week as “a a 4.2 rating out of a possible 5 (a rating of respondents affirmed that they definitely retreat and not merely a workshop,” and 4 is very good). Among the highest-rated or probably plan to attend next year’s “too many to list.” “Great people!” one events were the plenum speakers (the six convention in Detroit, but about a fifth participant concluded. presenters received a 4.4 rating overall, of the respondents weren’t sure about The people at the Pastoral Liturgy with two of them as high as 4.8). The their plans for next year. (Many of the Institute in Greensburg, Pennsylvania, handbell festival (4.7) and the children’s other participants were local Chicagoland found that the information offered met a choir festival (4.6) received high ratings volunteer musicians, who acknowledged range of needs—from a basic knowledge by the participants. The performance that they would not be able to travel to an of the documents and the Roman Missal events all received 4.2 or better, for a 4.5 NPM convention in another location.) (Sacramentary), to “new ideas to bring back average. “Sacred Sounds of Chicago” at For some additional comments by the to the parish,” a “combined knowledge Orchestra Hall received a 4.8. Even the participants, please see page seventy- of liturgy and music,” and “directions to buses to downtown Chicago got a very five. appropriate sources for further study.”

12 October 2009 • Pastoral Music National Association of Pastoral Musicians 2009 National Convention Recordings July 6–10 • Chicago, Illinois

Audio CDs: $12 each; $10 each for 2–5; $8 each for 6–10; $6 each for 11 or more Plenum Session Number of Copies

______P04 “Blest” Are They . . . but “Where” Are They? (Cuddy and DeVries)

Workshop Sessions Number of Copies Breakout A

______A03 Hovda Lecture: Contribu- ______A23 Being Happy, Holy, and ______B13 Managing a Music Pro- tions and Challenges Peaceful in Change gram: People Issues ______A04 Principles and Practical ______A25 Handbell Techniques ______B15 How to Prepare for NPM/ Tools: Parish Liturgies ______A27 How to Conduct Chant AGO Colleague Cert. ______A05 Music to Celebrate Lit- ______B16 Leading the Assembly urgy of the Hours Breakout B from the Piano ______A06 Living in Harmony: Hope ______B17 Sing to the Lord: An Over- and Healing! ______B01 Enter the Journey: Liturgi- view ______A07 Filipino Baptisms, Wed- cal Year ______B18 Answer the Call: Vocation dings, Funerals ______B02 DMMD Institute, Part 1 of Music Minister ______A10 Cantor as Animator of the ______B03 Hovda Lecture: Liturgical ______B19 The Roman Missal: A Pas- Assembly Ministry tor’s Concerns ______A14 NPM/AGO Basic Organ- ______B04 The Liturgical Library ______B21 Voice Care and Choral ist and Service Playing for ______B06 A Spirituality of Change Sound, Part 2 Mentors ______B07 Sacred Song and Chant of ______B23 Liturgy, Music, and Life ______A17 Ministering to the Assem- Southeast Asia ______B25 Keys for Success: Hand- bly as a Musician ______B09 Salmos para el año litúr- bell Score/Rehearsal Prep ______A18 From Cradle to Grave: gico Music Ministry ______B10 Cantor as Proclaimer of Breakout C ______A19 Collaboration! Evalua- the Word tion! Hiring! For Clergy ______B11 Vocal Techniques that Pro- ______C02 DMMD Institute, Part 2 ______A21 Voice Care and Choral claim the Psalm ______C03 Hovda Lecture: Treasury Sound, Part 1 ______B12 The Singing Guitarist of Sacred Music continued Pastoral Music • October 2009 13 ______C05 Song of Comfort: Music Breakout D Breakout E for Funerals ______C06 Bridge Builders and Bor- ______D02 DMMD Institute, Part 3 ______E01 Sing to the Lord and Music der Crossers: Multicultural ______D03 Hovda Lecture: A Cul- Directors Ministry tural Perspective ______E06 Composing for Changing ______C07 Vision of Liturgy from ______D05 Liturgical Documents: Texts Vatican II Catechetical, Formational ______E07 Facilitating Change: Op- ______C08 Rivers Lectures: Many ______D06 Update on the Roman portunity and Challenge Sounds, Part 1 Missal from BCDW ______E10 Preparing for Basic Can- ______C10 Cantor as Leader of ______D07 Rivers Lectures: Many tor Certificate Prayer Sounds, Part 2 ______E12 Contemporary Ensemble ______C11 Training Cantor Trainers ______D08 Expanding Bilingual Rep- ______E13 Contracts! Pay Scales! ______C12 Everything and the Kitch- ertoire: For Composers and Insurance! Oh, My! en Sink Translators ______E16 Adapting Hymnody to ______C13 Managing Conflict, Root- ______D10 Using Your Voice to Lead Piano ed in Prayer Prayer ______E17 Feet, Don’t Fail Me Now ______C14 NPM/AGO Basic Organ- ______D12 The Perfect Blend ______E18 Forming Young Pastoral ist and Service Playing for ______D13 Managing Conflict: Prac- Musicians for Ministry Organists tical Skills ______E19 Preaching the Liturgy: ______C17 Celebrations in Houses of ______D16 Service Playing for Pia- Contemporary Concerns Religious: Formation nists ______E20 Understanding the Voice ______C18 Calling Youth Leaders: ______D17 Sight Singing 101, Part 1 ______E22 Singing Green Leadership Skills ______D19 Sing to the Lord and ______E24 Sight Singing 101, Part 2 ______C19 Celebrating Triduum: Clergy ______E25 Many Gifts, One Worship. How to Prepare ______D20 Score Prep for Beginning How? ______C25 Roman Missal: Challenge? Choir Director Opportunity? Both? ______D25 Music That Invites Di- ______C26 Ignite Your Spirit! Dance, verse Communities to Pray Song, Gesture, Prayer ______D28 Beyond I-Pods, Cell ______C27 Chants of the Church in a Phones, Blogs: Young Parish Setting Adult Ministry

Audio CDs: $12 each; $10 each for 2–5; $8 each for 6–10; $6 each for 11 or more

______Total number of CDs at (circle appropriate amount) $12 $10 $8 $6 each = $______Shipping and handling: $2 for 1–5 copies; $3 for 6–9 copies; $4 for 10–20 copies; $6 for 21 or more = $______TOTAL $______q Check (No. ______) q Credit: q Visa q Mastercard Credit card number: ______Name on credit card: ______Expiration date: ______Security code: ______Signature: ______Send recordings to: Name ______Address ______City ______State ______Zip ______Phone (______) ______E-mail ______

Send this entire two-page order form to: NPM Convention Recordings • PO Box 4207 • Silver Spring, MD 20914-4207

14 October 2009 • Pastoral Music Participants in the bilingual Pastoral group of Our Lady of the Blessed Sacra- Virginia. Michael began his work in music Liturgy Express in Albuquerque found ment Parish, Roseland, from 1997 through ministry as the organist of Holy Comforter the presenters to be “excellent.” They 2008. He is currently the substitute or- Parish and then at St. Thomas Aquinas provided “tons of information,” “knowl- ganist at St. James Church in Springfield, Parish in Charlottesville, Virginia. For edge above and beyond,” in “excellent New Jersey. Scott received the 2008 AGO three years he directed the contempo- presentations.” One Spanish speaking New Jersey Chapter scholarship to attend rary choir at St. Luke Catholic Church in participant wrote that “la vinculación a Pipe Organ Encounter in Worcester, McLean, and he is currently the music haca mas oportunidades de crecimiento Massachusetts, and he performed at the director of Our Lady of Hope in Potomac espiritual” (“many chances for spiritual 2008 NPM Regional Convention in East Falls. He has also taught elementary and growth”), and another—from Tijuana, Brunswick as a member of the St. James middle school music. Mexico—called the weekend “una ex- Church Youth Choir. Scott is attending the Henry Bauer earned a bachelor’s de- periencia muy hermosa” (“a beautiful Cali School of Music at Montclair State gree in piano pedagogy at Butler Universi- experience”). University as a music education/organ ty in 1996 and a master’s in liturgical music performance major. at The Catholic Nicholas J. Will is a 2008 graduate University of Scholarships of the Mary Pappert School of Music of America in 1998. Duquesne University, where he earned the He is currently 2009 Awards bachelor of music working toward in sacred music. a doctorate in sa- The generosity of NPM’s members, At Duquesne, he cred music with friends, and corporate partners made it studied organ, a concentration possible for the association to distribute h a r p s i c h o r d , in choral music $28,750 in scholarship assistance this and piano. In at CUA. Since year—nearly $12,000 came from dona- May 2008, he 1996, Henry has tions by participants in last year’s regional was awarded been the director conventions. Other scholarship funds the prestigious of liturgy and music at St. Jane Frances come from endowments established by André Marchal de Chantal Church in Bethesda, Mary- friends, families, associates, and business Award for excel- land, where he directs two choirs, trains partners, and still other funds are donated lence in organ cantors, plays the organ, oversees all the by NPM’s education associates. performance. From 2005 to 2008, Nicho- liturgical ministries, provides formation This year’s scholarship recipients in- las served as organ scholar at Calvary for liturgical ministers, designs worship clude people who have received grants in Episcopal Church in Pittsburgh, and, in aids, directs the Concert and Arts Series, previous years and longtime NPM mem- January 2008, he was appointed director oversees the decoration of the church for bers and supporters. They also include of music and organist at the Cathedral holy days and major feasts, and assists recent high school graduates, published of the Blessed Sacrament in Altoona. with the parish school’s music program. composers, a child of a pastoral musi- An associate in the American Guild of In addition to his ministry at St. Jane, he cian, internationally acclaimed perform- Organists, he served for two years as dean has a private piano and organ studio. ers, and a wife and mother returning to of the Duquesne University Chapter of As an organist, he has given concerts at school. New to NPM or friends for many the Guild. He has performed as a soloist the Basilica of the National Shrine of the years, all have expressed their thanks to with the Duquesne University Symphony Immaculate Conception and at National our members and partners for continued Orchestra as well as in solo performances City Christian Church in Washington. support. throughout the eastern United States, and James Wickman holds a bachelor’s Nancy Bannister Scholarship. This in 2005 he was awarded first prize in the degree in music from St. Louis University $4,000 scholarship, offered in honor of Young Organists’ Competition sponsored in St. Louis, Missouri, and an master’s de- beloved NPM staff member Nancy Ban- by the Pittsburgh Concert Society. This gree in liturgy from the Aquinas Institute nister (1942–2006), was divided this year fall, Nicholas began working toward a of Theology at St. among four recipients, who are using their master of music degree in organ perfor- Louis University. awards to continue their studies at three mance at the Peabody Conservatory of the Jim worked for universities. Johns Hopkins University in Baltimore, many years in Scott Ziegler graduated in June from Maryland. various parishes James Caldwell High School in West Michael Gal- as director of Caldwell, New Jersey. He began study- do is pursuing a liturgy and mu- ing piano at age master’s degree sic in the Arch- six, and he has in sacred music dioceses of St. been studying the at The Catho- Louis, Chicago, organ since 2007 lic University and Milwaukee with Vincent Carr of America. In before taking up his current post as pas- of the Sacred Heart 2003, he earned a toral associate for liturgy at Holy Trinity Basilica, Newark. bachelor’s degree Church (Georgetown), Washington, DC. Scott was a mem- in music and re- Among his many contributions to NPM, ber of the children’s ligious studies at Jim has served as the president of the choir and the folk the University of Director of Music Ministries Division.

Pastoral Music • October 2009 15 He is using this year’s scholarship award of the Notre Dame Celebration Choir, a is a cantor, re- to complete his doctoral studies at The liturgical ensemble directed by Ms. Sch- cording artist, Catholic University of America. neider Kirner. Kyle also is a composer of ensemble direc- Timothy Westerhaus is the recipient of liturgical music and is published through tor, accompanist, this year’s $3,500 MuSonics Scholarship. World Library Publications. and speaker. He A native of Minnesota, he graduated Bryan Schamus is a 2008 graduate of served as the mu- with a degree in Virginia Tech, where he earned a bache- sic director for liturgical music lor’s degree in communication and music. the National Viet- in 2004 from the As a student, he led the music ministry for namese Youth University of St. Tech’s Catholic Conference in Thomas in St. Campus Min- 2006 and again Paul, Minnesota, istry for three in July 2009. Born and he is currently years. In April and raised in Viet- a doctoral student 2008, Schamus nam, Paul now in choral conduct- directed the re- lives in Orange County, California, where ing at Boston Uni- cording Voices of he ministers with English-speaking, Viet- versity, where he Hope, a ten-song namese, and Spanish communities. He received his mas- CD featuring will use his scholarship for studies at Cali- ter of music degree in 2008. This year more than thirty fornia State University, East Bay, where (2009–2010) will mark his fifth season student musi- his focus is developing worship that is conducting the Boston University Choral cians perform- intercultural and intergenerational. Society, and he serves as the assistant ing the music Ryan McMillin grew up in Oak Lawn, conductor to the University Chamber sung at Masses Illinois, where he attended St. Linus Chorus. At Boston University’s Marsh following the tragic murder spree on the School and Harold L. Richards High Chapel, he is the assistant conductor and a Tech campus on April 16, 2007. This fall, School; he served as an assistant organist choral scholar of the Chapel Choir, which using the $2,500 OCP Scholarship, Bryan at St. Linus while in high school. Ryan serves the University’s community and began coursework at Santa Clara Univer- has continued his also the larger Boston area via weekly sity to obtain a master’s degree in pastoral studies at George- broadcasts on National Public Radio. ministry. He is studying pastoral liturgy, town University Timothy teaches undergraduate courses liturgical music, and choral conducting. in Washington, in choral conducting, and he works with Amanda Plazek is using the University DC, where he choirs regularly as a guest clinician. He has of Notre Dame Folk Choir Scholarship is studying mu- served NPM in various ways, currently ($1,250) to help fund her studies in organ sic, economics, as a reviewer of choral music. Timothy performance and sacred music at the and mathemat- teaches on the faculty of Music Ministry Mary Pappert ics. As Chapel Alive!, and he has conducted at the Bard School of Mu- Organ Scholar, Conductors Institute in upstate New sic at Duquesne a member of the York. University. A Georgetown University Habitat for Kyle W. Ubl, a native of New Ulm, Min- native of Pitts- Humanity Chapter, the treasurer of the nesota, will use this year’s Paluch Family burgh, Pennsyl- school’s Irish-American Society, and a peer Foundation/WLP Scholarship ($2,500) to vania, Amanda adviser, he manages to incorporate many continue his stud- currently is the of his interests into his daily work. Ryan ies in English and organist and di- has volunteered since 2002 for an organi- music theory at rector of music at zation that serves the disabled of his local the University of Saint Mary of the community, and he has used his musical Notre Dame in In- Mount Parish in abilities to raise money for charity and diana. While liv- downtown Pittsburgh, where she sings, to organize trips to local nursing homes ing in New Ulm, plays, and directs an adult traditional for Christmas caroling. After college, he Kyle developed a choir and a handbell choir. She holds plans to continue his work as a pastoral heartfelt interest dual certification in service playing from musician either in Washington, DC, or for ministry in NPM and the American Guild of Organ- in Chicago. Ryan will use the Dosogne/ liturgical music, ists (AGO). She has been an active NPM Rendler-Georgetown Scholarship ($1,000) serving as a cantor and accompanist at two member since 2003 and an AGO member for his studies at Georgetown. This grant local parishes—the Cathedral of the Holy since 2007. Amanda is also a member is drawn from endowments established to Trinity and the Church of St. Mary. He was of and serves as secretary for the elite honor Rene Dosogne, a highly respected also an active liturgical musician at his twenty-seven-member “Voices of Spirit” church musician in the Chicago area in the high school, where he was instrumental choir at Duquesne University. Her mother, second half of the twentieth century and in founding and directing the Cathedral Cynthia, serves as the director of music a faculty member at DePaul University High School Liturgical Choir. Kyle is ac- ministries and liturgy at St. Ferdinand School of Music, and Dr. Elaine Rendler tive in the Notre Dame’s Office of Campus Parish in Cranberry Township. McQueeney, a pastoral musician and Ministry, and he sings in the Notre Dame Paul C. Nguyen, recipient of this music educator and the conductor of the Folk Choir and serves as the accompanist year’s Dan Schutte Scholarship ($1,000), Georgetown Chorale.

16 October 2009 • Pastoral Music Anita Louise Lowe, osb, has been chair of the Music Committee of the Baltimore. He will use this year’s $2,000 a member of the Sisters of St. Benedict Diocesan Liturgical Commission, and a NPM Koinonia Scholarship to continue of Ferdinand, Indiana, since 1987. Born faculty member of the Diocesan Institute his graduate studies at Peabody. in Louisville, Kentucky, she majored in for Spiritual Directors. Dan will use the Patricia Campbell, CDMM, is com- music during her high school years, and $2,000 GIA Pastoral Musicians Scholar- pleting her thirteenth year as director during her years ship to continue the doctor of ministry of music and worship at Blessed Sacra- in high school program at The Catholic University of ment Parish in Warren, Ohio, where and college, she America. she coordinates the music ministries for led the group of Elizabeth Christian received this the 1,400-family musicians for lit- year’s $1,000 Lucien Deiss Memorial parish, oversees urgies at school Scholarship, donated by Alan Hommerd- the formation of and played gui- ing. Elizabeth is in the final year of her liturgical minis- tar with a mu- bachelor’s program at Aquinas College ters, and coordi- sic group at her in Grand Rapids, Mchigan, studying nates the baptis- home parish. Af- liturgical music mal preparation ter graduating with an emphasis program and from college in piano and a parish Scripture with a bachelor’s degree in English, minor emphasis study. A pastoral musician since her early she entered the monastery, where she in voice. She is teens, Pat is very grateful to be a part continued to serve as a music minister also involved in of the National Association of Pastoral for liturgies. Sister Anita has served the Abacus, a praise Musicians, having benefited from many community in various positions, includ- and worship band programs offered through the association. ing five years as assistant director of in Grand Rapids, She has been married to Steve for twenty- communications and ten years as voca- and has grown to eight years and is mother to Thomas tion director. While serving as vocation love contempo- (Captain, U.S. Army) and Catherine (a director, she was a member of the board rary styles as well junior at Canisius College). The $1,000 of the National Religious Vocation Confer- the traditional Father Lawrence Heiman, cpps, Schol- ence (NRVC). A year ago she began her and classical styles that are the focus of arship will help Pat continue her work service to the community as monastery her academic studies. She directs a chil- toward a master’s degree in music and liturgist. She is working on a master’s in dren’s choir at St. Stephen Parish in Grand liturgy through the Rensselaer Program theology with a concentration in liturgical Rapids and is the president of the thriv- of Church Music and Liturgy at Saint studies at the University of Notre Dame, ing Aquinas College Catholic Life Club. Joseph’s College in Rensselaer, Indiana. and she will use this year’s Funk Family Paul J. Carroll is the director of music at A strong believer in NPM’s certification Memorial Scholarship ($1,000)—created St. Louis Church, Clarksville, Maryland. programs, Pat earned her NPM/AGO to honor Rev. Virgil C. Funk, NPM founder He holds master and bachelor of music Service Playing Certificate in September and president emeritus, and deceased degrees in organ from the Peabody Con- 2000 and became a Certified Director of members of his family—to support those servatory of Johns Hopkins University. Music Ministries (CDMM) in July 2007. studies. In addition to her studies and her Mr. Carroll has performed as an organist, This is her third year as a member of other work, Sister Anita is a member of pianist, and harp- the Youngstown Diocesan Liturgical Stillpoint, a group of Benedictine sisters sichordist—solo, Commission. In addition to directing who minister to others through music. as an accompa- the parish choir, Pat continues to study Daniel Girardot is in his twenty-sixth nist, and with or- organ privately; she sings and plays piano, year as director of liturgy and music at St. chestras—in the guitar, recorder, and small percussion. Theresa Catholic Church, Austin, Texas. United States, William H. Atwood, a recipient of He is a cantor, conductor, liturgist, spiri- Italy, Russia, Ger- previous NPM scholarships, has received tual director, husband, and father. Dan many, Austria, this year’s Steve C. Warner Scholarship has a bachelor’s Spain, and Israel. ($1,000). He is the director of music and degree in music While a student coordinator of liturgical ministries at education from at Peabody, Paul All Saints Roman The University made his Euro- Catholic Church of Texas at Austin pean solo debut in Italy at the 2001 Assisi in Manassas, and a master’s in Music Festival. Returning to Italy multiple Virginia. Prior liturgical studies times since, Mr. Carroll has performed in to his position from the Uni- various locations, and serves as an accom- at All Saints, Mr. versity of Notre panist for the Assisi Music Festival in nu- Atwood was the Dame, and he has merous concerts. Paul took his first church director of sa- undertaken post- position when he was fifteen. While cred music for graduate studies studying at Peabody Conservatory, he the Church of the in spiritual direction. He is an associate served as organist for Spanish-language Immaculate Con- member of the Southwest Liturgical Con- liturgy at the Cathedral of St. Matthew ception in Somer- ference Board of Directors, a member of the Apostle in Washington, DC, and as ville, New Jersey, and the organist and the DMMD Board of Directors for NPM, director of music at St. Clement Church, festival choir accompanist for the Roman

Pastoral Music • October 2009 17 Catholic Diocese of Metuchen. A native bers, friends, and education of Connecticut, Mr. Atwood received the partners will make it possible bachelor of music degree magna cum for NPM to offer academic laude in 2001 from the Hartt School of scholarships once more in Music at the University of Hartford, and 2010. Funding for many of he is a 2003 graduate of Westminster Choir these scholarships comes College in Princeton, New Jersey, where from money collected dur- he earned the master of music degree ing the convention Eucharist with distinction. Mr. Atwood is currently each year. Other funds come working on his doctorate in sacred music from endowments and from at The Catholic University of America. generous donations by our Recent organ recital engagements have partners who are dedicated to included performances at the Church of professional and ministerial Saint Mary the Virgin and the Cathedral formation of pastoral musi- of Saint Patrick in New York City, the cians. Their support offers Church of Saint Thomas Aquinas at The great hope for the future of University of Virginia and the 2008 East- pastoral music ministry. ern Regional Convention of the National Please see the December is- Association of Pastoral Musicians. sue of Pastoral Music or check Verena Lucia Anders will use this the NPM website (www.npm. year’s $2,000 NPM Board of Directors org) for detailed information Scholarship at The Catholic University about next year’s scholar- of America, where she is working on her ships. master’s degree in sacred music with a concentration in choral music. Program Scholarships Verena began her On Tuesday, at this year’s convention, Bishop Ronald arts training as a Thanks to the generos- Herzog of the Diocese of Alexandria, Louisiana, led dance major at the ity of NPM’s members and the Institute for Diocesan Directors of Music, which Baltimore School friends, we were able to award examined the implications of Sing to the Lord for diocesan for the Arts while twenty-three program schol- music ministry and looked at questions about a possible continuing her arships this year—sixteen directory of music for the United States. studies in music convention scholarships and theory and piano seven institute scholarships. at the Peabody These scholarships are provided to assist Business Partners Institute in Baltimore. She completed her pastoral musicians with limited financial bachelor of music in piano performance resources in taking advantage of oppor- NPM is fortunate to have business at the University of Maryland, College tunities for continuing formation at NPM partners that support our work in various Park. During her studies at UM, Verena conventions and institutes. For additional ways—by advertising, serving as spon- was a member of the choir of the Basilica information, go to http://www.npm.org/ sors of various convention performances of the National Shrine of the Immaculate EducationEvents/program_scholarship/ and other events, and by exhibiting their Conception, under the direction of Dr. scholarships.htm. products and services. We are grateful for Leo Nestor. She has studied at the Alvin their continuing support, especially for Ailey School for Dance in New York while those who have been with us since our maintaining an active life as a choral and early days. GIA and Rodgers Instruments, solo singer, singing with the choir of St. Members Update for example, advertised in the very first Patrick Cathedral, the New York Choral issue of Pastoral Music (GIA was promot- Artists, and the early-music ensemble Updated Missal Music ing a new hymnal: Worship II), and they Amor Artis. Verena is currently the di- both have advertisements in this issue. rector of music ministries at St. Francis Since NPM published ICEL’s “Music Others were soon on board, including of Assisi Catholic Church in Derwood, for the English Language Roman Mis- The Liturgical Press, J. S. Paluch/World Maryland. Verena recently completed a sal: An Introduction” in the June 2009 Library Publications, and Oxford Univer- trip to Haiti to support the twin-parish issue of Pastoral Music, the International sity Press in our second issue. Some early mission of St. Francis of Assisi with St. Commission on English in the Liturgy advertisers and business partners have Paul Parish in Leon, Haiti, and she holds has updated this introduction and closed (Helicon Press, FEL Publications), annual benefit concerts in support of made several revisions and additions been absorbed by other companies (Pas- ongoing mission trips to Haiti. to the corresponding musical settings, toral Arts Associates), or have changed e.g., revisions to the penitential rite, the their advertising program (Wm. Kratt addition of excerpts from two settings of Co., maker of pitch pipes, was a reliable 2010 Academic Scholarships the creed, and a revision of the Epistle supporter through our early years). Tone. The updated materials are available Links to our current business part- The continuing generosity of our mem- online at http://www.icelweb.org. ners are posted on the NPM website:

18 October 2009 • Pastoral Music Walk in the footsteps of Pope John Paul II in Krakow, Czestochowa and Wadowice, sing a Mass in St. Peter’s Basilica in the Vatican, perform for enthusiastic Parisians in Notre Dame Cathedral, or sing the Glory of God in the Basilica of St. Francis in Assisi.

All of this is possible and more! www.catholicchoirtours.com 3366TTHH IINNTTEERRNNAATTIIOONNAALL CCOONNGGRREESSSS OOFF PPUUEERRII CCAANNTTOORREESS Ro m e , I ta ly This gathering of young Catholic singers will take place from December 27th, 2010 - January 2nd, 2011.

The highlight of the Congress will be singing as part of the Papal Mass in St. Peter’s Basilica on Sunday, New Year’s Day, 2011!

American Federation Pueri Cantores www.puericantores.com www.musiccelebrations.com http://www.npm.org/Membership/bus- He held faculty positions and lectured according to the current liturgical books. partners.htm. We encourage you to visit on music at several other colleges, and There will be an opportunity for questions these websites and, if you use any of our he led workshops and master classes as part of the event, as time allows. partners’ services, to thank them for their throughout the United States. He wrote Registration is only $25 per person for continuing support of the association. extensively about the history of gospel NPM members and $40 for non-members. music and contributed arrangements to Reserve Thursday, November 12, 2009, at Keep in Mind the Episcopal Church’s Lift Every Voice 11:00 am Pacific, 12:00 noon Mountain, and Sing II (1982). He also contributed 1:00 pm Central, and 2:00 pm Eastern to NPM member Maryclaire Edgette arrangements to the African American participate in the first-ever NPM webi- died on March 5, at the age of eighty-one, Heritage Hymnal (GIA, 2001). Dr. Boyer’s nar. Register online at www.npm.org or in Cherry Hill, New Jersey. For more graveside service was private, though a use the form in the November issue of than thirty years, Maryclaire served as public memorial service at Grace Episco- Notebook. the director of music at Christ the King pal Church in Amherst took place after Church, Haddonfield. Her funeral Mass the burial. Meetings and Reports was celebrated on March 10 at Christ the We pray: Lord, for your faithful King. people life is changed, not ended. When Website on the the body of our earthly dwelling lies in NPM member Kevin Mohr died at Missal Translation the age of forty-six on March 14. Born in death, grant us an everlasting dwelling place in heaven, where we shall proclaim Red Bud, Illinois, on July 26, 1962, Kevin On August 21 the U.S. Conference of your glory with all the choirs of heaven served as organist at St. Agatha Catholic Catholic Bishops launched a website to in their unending hymn of praise. Church in New Athens, Illinois, where his educate Catholics about the forthcoming funeral liturgy was celebrated on March English translation of the new Roman 20. Competition for Missal. The site—www.usccb.org/roman Renowned gospel music scholar New Mass Settings missal—has background material on the Horace Clarence Boyer died in Amherst, process of development of liturgical texts, Massachusetts, at the age of seventy-three The National Association of Pastoral sample texts from the missal, a glossary on July 21. Born into a deeply religious Musicians is sponsoring a competition of terms, and answers to frequently asked family in Winter Park, Florida, on July for new Mass settings using the new questions. Content will be added regu- 28, 1935—both of translation of the Order of Mass that will larly over the next several months. The his parents were be implemented with the publication of Bishops’ Committee on Divine Worship ministers in the the American version of the third typical hopes the site will be a central resource Church of God in edition of the Roman Missal. Judges will for those preparing to implement the new Christ—Horace choose as finalists four settings from texts. began singing in among those submitted. Selected move- public in the third ments from the four finalists will be sung Music Ministry Alive! 2009 grade. He and and evaluated by participants during his brother James the 2010 NPM National Convention in The eleventh annual “Music Ministry learned “jubilant shout songs” (gospel Detroit, Michigan, to be held July 12–16. Alive!” institute, under the direction of music and ballads) from an aunt, and The winning entry will be chosen by a David Haas, was held July 28–August they began singing as the Boyer Broth- poll of those attending the convention. 2 at St. Catherine University (formerly ers in local churches, but as ayoung The composer of the winning entry will The College of St. Catherine) in St. Paul, man Horace was drawn to the Episcopal receive a cash prize of $1,500. Minnesota. This year’s program drew Church by its music. Using the money Additional details and guidelines may the biggest enrollment ever: 181 youth they earned from recordings of their be found at http://www.npm.org/Articles/ participants between the ages of fifteen performances, Horace and James put mass_setting.html. and nineteen, sixty-one adult participants, themselves through Bethune-Cookman and a faculty team of more than fifty. College in Daytona Beach, Florida. While Youth participants followed their continuing to sing with his brother, and Coming in November: chosen areas of focus: vocal/cantor, key- after serving in the U.S. Army (1958–1960), NPM Webinar board, guitar, percussion, woodwinds, Horace continued his education, earning brass, strings, composition, and liturgical master’s and doctorate degrees from the NPM is offering a one-hour webinar on leadership. In addition to these daily mu- Eastman School of Music in Rochester, the U.S. Conference of Catholic Bishops’ sical “master” classes, they participated New York. Dr. Boyer taught music theory document Sing to the Lord: Music in Divine in workshop sessions on conducting, and African American studies at Albany Worship with Dr. Steven Janco, pastoral liturgical planning, Scripture, improvisa- State College in Georgia, Brevard Com- musician, composer, and director of the tion, world music repertoire, vocational munity College in Cocoa, Florida, Florida Rensselaer Program of Church Music and discernment, cantoring, liturgical dance, Technical University, and the University Liturgy. From your office or home explore prayer and meditation, and ensemble of Massachusetts at Amherst (1973–1999). the direction this important document of- work. The entire group of young singers Particularly during his years at Amherst, fers musicians, liturgists, clergy, worship and instrumentalists presented a final Dr. Boyer toured the world as a vocal so- planners, and all involved in preparing concert, the annual MMA Festival “Sing” loist and a director of choral ensembles. for the celebration of the sacred liturgy at the conclusion of the week for parents

20 October 2009 • Pastoral Music and friends. the apostle Barnabas) and portions of The Adult participants who serve as music Shepherd of Hermas (written or compiled and liturgy directors, youth ministers, in Rome in the second century). pastors, and catechists were led in sessions After a four-year collaboration among addressing issues in liturgy, spirituality, the four institutions holding large por- ministry, and music. tions of the book, more than 800 original All participants took part in and ex- pages and fragments from Codex Sinaiti- perienced celebrations of morning and cus have been published online in digital evening prayer, table prayer, and Taizé form. The book and explanatory material Prayer leading to the final Sunday celebra- are available at http://www.codexsinaiti- tion of the Eucharist with Monsignor Ray cus.org. East as presider and homilist. Every year scholarships are awarded Lutheran Museum in Missouri to youth participants who are planning to pursue studies and work in liturgical Concordia Historical Institute Mu- music, liturgy, and youth ministry. This seum, a state-of-the-art learning facility year’s recipients of the William Phang Part of a page of the digitized Codex dedicated to preserving the history and Sinaiticus shows a letter that has been Memorial MMA Scholarship are Kayla celebrating the heritage of Lutheranism in “erased” (scratched out). Parker from Denver, Colorado; Jennifer America, opened to the public on July 27. Bevington from Plymouth, Minnesota; Located at the LCMS International Center Liana Bandziulis from Palmdale, Cali- The first Christian Bibles contained at 1333 S. Kirkwood Road in Kirkwood, fornia, Andrew Spiess from Rapid City, texts completely in Greek—the Septuagint Missouri, the museum is open weekdays, South Dakota; and Christopher Froleich version of the First (Old) Testament, and except holidays, from 8:15 am to 3:30 pm. from Cottage Grove, Minnesota. the Greek texts of the New Testament. Admission is free, and the museum is fully Plans are well underway for MMA The two oldest existing copies of the Bible accessible. For more information, call (314) 2010—“God Is Still Speaking”—to be held in Greek are Codex (the Latin word for 505-7900 or write chi@lutheranhistory. July 27–August 1 at St. Catherine Univer- “book”) Vaticanus, in the Vatican Library, org. sity. Applications and more information and Codex Sinaiticus, which was recog- will be available January 1, 2010, at the nized in the nineteenth century among the MMA website: www.musicministryalive. books at the Monastery of St. Catherine at Seeking high school com. Mount Sinai. Since its recovery, the largest portion of Codex Sinaiticus has been kept singers for the 2010 Georgetown Center at the British Library, and other parts have been held by Leipzig University Library in National Catholic on the Move Germany, the National Library of Russia in St. Petersburg, and the Monastery of Youth Choir The Georgetown Center for Liturgy, St. Catherine. founded in 1981 by Georgetown Univer- Each codex has been dated to the June 15-29, 2010 sity and Holy Trinity Catholic Church, is fourth century, and each was originally an education, research, and consultation a complete Bible. The more influential of Dr. Axel Theimer, conductor center dedicated the two has been Codex Vaticanus: Most to transforming contemporary translations of the New American Catholic • Meet new friends from Testament are based on a text that closely across the country! parishes through reflects this manuscript. For Christian the liturgical re- churches that still proclaim the Old Testa- • Go on a multi-state tour newal initiated by ment in Greek, such as the Greek Ortho- with a great choir! the Second Vatican dox Church, Vaticanus is one of the three • Learn about music and Council. Since its major witnesses to the Septuagint (the strengthen your faith! founding, the Center has been located oldest Greek translation of the Hebrew on the campus of Holy Trinity Church, Bible). A typographical reproduction of Applications due March 8, 2010 the historic Jesuit parish in Georgetown. Codex Vaticanus is available online at www.CatholicYouthChoir.org But this summer, the Center moved http://www.biblefacts.org/church/pdf/ Catholics entering grades 10, 11, and 12 may apply. to Georgetown Visitation Preparatory Codex%20Vaticanus.pdf School (founded in 1799 as Visitation Codex Sinaiticus, like Vaticanus, Academy). The new address is: George- Location: is nearly complete: Nearly the whole Saint John’s Abbey and University, town Center for Liturgy, 1524 Thirty-Fifth Septuagint Old Testament has survived Collegeville, MN Street, NW, Washington, DC 20007-2785. along with a complete New Testament. Cost: Phone: (202) 687-4420; fax: (202) 687-3728; The codex also contains two books that $900, scholarships available e-mail: [email protected]. were considered inspired by some early Questions? Church writers: the Epistle of Barnabas Dorothy Kantor, [email protected] Oldest Christian Bibles Online (probably written between the years 70 (320) 363-3154 and 131 but not, as was once thought, by

Pastoral Music • October 2009 21 National Convention 2009

22 October 2009 • Pastoral Music The Roman Missal: Preparation and Reception

By Paul Turner

e will soon receive a new envisioned it would be impossible to English translation for play. You can’t just reduce that complex the texts of the Mass, and orchestral score and expect it to work on a many people would have keyboard. (The same problem exists with Wyou think that bringing new life to the those piano accompaniments you find to liturgy through those new texts is mission Handel’s Messiah. Many of them just can’t impossible. It’s not. Lalo Schifrin wrote be played.) Well, I sat down to practice the the theme for Mission Impossible for small Klavier II part of the Brahms variations orchestra, and it was later transcribed and shut my mouth. It worked. I couldn’t for piano.1 That transcription works: A believe it. I called my friend to ask if she piano picks up the rhythms and drama knew who wrote the transcription because of that short piece very well. Now, the the score did not credit the arranger. Do published version of this particular you know the answer to this? Brahms. transcription has problems. Inexplicably In fact, it’s the orchestral version that is it omits the opening trill of the original his transcription; Brahms wrote the piece composition, which I add when I play it first for two pianos. It’s a great piece; you because it’s such an iconic feature to the must go home and practice it. piece. Then, near the end, an inner voice Some transcriptions work, some don’t. appears on the score in small notes—an If you have a faulty transcription, you Father Paul Turner’s image, like that of other indication that you can skip it if you want probably make some adjustments so plenum session presenters, was projected so that it will work. And maybe, later on, to . . . or if you have to. Well, you need the 3,000 participants could see him clearly. quite a wingspan to pull it off; you grab someone will figure out how to write a an eleventh with your right hand. At one better transcription so you can play it. point, you can only play the notes on the very effective. Even if you’ve never heard page if your right hand can stretch an this piece for orchestra, it sounds right Translating octave and a sixth, or if your left hand on the piano. can stretch two full octaves. Talk about Not every transcription works so well. Translating from one language to an- mission impossible! Fine print on the Familiarity with Pachelbel’s Canon in D other carries the same perils and promises bottom of the score reads: “Any arrange- Major has convinced the most musically as writing a transcription. Sometimes the ment or adaptation of this composition illiterate people that they know all about results are great; you can’t believe you’re without the consent of the publisher is classical music, and when one of them gets reading a translation. Other times they an infringement of copyright.” Well, ar- engaged, he or she will ask the organist to are not; the translator keeps getting in the rest me, but to play this piece I adjust the play their favorite piece of classical music way. In skillful hands, a translation can rhythm in that particular line and sound for the wedding. Have you ever played a be done, and it can be done very well. one inner note a half beat later. Otherwise, transcription of Pachelbel’s Canon in D for The English translation of the Mass that it is impossible for me to play. But on the organ? It doesn’t work. Pachelbel wrote we’ve been using for the past forty years whole, this transcription as published is quite a few pieces for organ; one of them is in the shop. The new model will soon is not the Canon in D. There’s a reason: be ready. The book we’ve known as the Rev. Paul Turner, a priest of the Diocese You need those independent string voices Sacramentary will have some new content, of Kansas City-St. Joseph, is the pastor of cascading against one another for the some new structure, and a new title: the St. Munchin Parish in Cameron, Mis- piece to have its effect. A transcription Roman Missal. You can hear a wide range souri, and its mission, St. Aloysius in for keyboard sounds rather boring, and of opinions about the new translation Maysville. He serves as a facilitator for the I’m sure that many organists will back from Latin to English. Some people can International Commission on English in me up on this. hardly wait. They think the results will the Liturgy. This is an edited version of the Do you know the orchestral piece by bring the Second Coming: It will lift minds plenum session that he presented on July 7 Brahms, Variations on a Theme by Haydn? beyond daily cares, bring strays back to in Rosemont, Illinois, during the Thirty- Last year a friend of mine found an ar- church, and heal the wounds inflicted by Second Annual Convention of the National rangement of all those variations scored rabid reformers. Others think the new Association of Pastoral Musicians. for two pianos. I was very skeptical; I translation is the beginning of the end: It

Pastoral Music • October 2009 23 will sound clunky, overturn history, and of holy Communion” (all 15 syllables), than football, partly because there is no plunge worshipers into the darkness of and we received restrictions on when off-season. But at heart we are all grateful impenetrable sentences. they approach the altar, who pours the for the good men who accept this ministry I want to explore the apprehensions to cups and when, the materials from which and serve the Church with love and skill the project because I believe they have to cups may be made, and who may clean in spite of the agony it brings them. Still, be faced before catechesis can be given. the cups. We’ve made the adjustments, criticism remains about the managerial Then we’ll look more positively at what but it still isn’t clear why these issues skills and judgment of some leaders. The the Mass offers the world and what the merited global attention or if the new sex abuse crisis brought these matters to translation offers us. After that I will laws have made things better. So one the fore. acknowledge a few lingering concerns. apprehension expressed by some people The media help us evangelize, but they Only then will I help you discover the is that nowadays changes to the liturgy sometimes make caricatures of the author- catechetical, musical, and liturgical tools do not necessarily mean enhancements ity of the Church. When Pope Benedict promised in the convention brochure’s of the liturgy. named a new head of the Congregation for description of this presentation. Just Suspicions. Second, some people are Divine Worship and the Discipline of the remember: What’s happening is a trans- suspicious about motives. If a new trans- Sacraments, the most frequently e-mailed lation. That’s all. It’s like a transcription lation is coming, that means something photo showed the cardinal decked out from one musical instrument to another. must be wrong with the one we’ve been in a cappa magna—little guy, big clothes. At least, that’s what it’s supposed to be, but using for the past forty years. But that Such actions feed the perception that new the project has been caught in a churning translation has served us well, helping leaders are trying to undo the Second landscape of pastoral, theological, and us pray the liturgy in our vernacular Vatican Council and put everything back historical issues. language for the first time. Is something the way it was. This is not the case, but really wrong with the translation, or is the perception lives. Apprehensions there some other motive instigating the Many women have suffered through- whole process? Namely, is it just about out this whole process. They do not oc- In the American Catholic Church—but who’s in charge? cupy positions of authority in our Church not exclusively here—there are apprehen- Suspicion about authorities comes the same way that men do, and they have sions about the translation of the missal. with the territory in the United States, heard language in the liturgy that sounds No one speaks for everyone, but I want where partisan politics makes it impos- as if they are excluded or, at least, don’t to name these issues because we cannot sible to find national heroes, and every count. Women do count, but many have catechize unless we understand the chal- celebrity faces the possibility that his or experienced treatment that makes them lenges the missal faces. I’ll group these her sins will be revealed to an unforgiving suspicious. under three headings: recent products populace. In a democracy, we treasure a and directives, suspicions about motives, wide range of opinions and the freedom Criticizing bishops is more and the setting of priorities. to express them, and even though we do popular than football, partly Products and Directives. First, then, not exercise very well our precious right because there is no off-season. some people in the field of liturgy have to vote, we still like the idea that we are been puzzled by recent products and in control of who holds the authority in directives. I will cite just two examples. our country. One recent “product” that has left people The Catholic Church doesn’t work There is also some suspicion over the puzzling is the 1998 translation of the that way. Never has. We have a hierar- translation process. Nobody claims that Lectionary for Mass, which has some im- chy. Because of our culture, we criticize the translation we now have is perfect; perfections. Some passages need better hierarchical decisions not just for their there is wide agreement that improve- incipits—the introductions that explain conclusions but for the process that ments can and should be made. However, who is speaking or what is going on; reaches those conclusions. The hierarchy in 1997, after many years of work, a some words are difficult; some sentences could make the greatest decision in the new translation of the Sacramentary was are complex; and some pronouns have world, but because it comes from the top completed and approved by the English- unclear antecedents. For example, when down, many Americans are prejudicially speaking conferences of bishops around Jesus cures a blind man on the Fourth suspicious about the results. One of the the world. Rome did not approve the Sunday of Lent, he rubs mud in his eyes, challenges facing the new translation is work; instead, in 2001 it issued new rules and it sounds for all the world like Jesus that it is not being requested from the for translation in the document Liturgiam is making his own face dirty. So the track bottom up. Nobody stops me after Mass authenticam, which placed that laborious record on translations is mixed. (Paren- on Sunday and says: “Father, I sure wish project of revision in private archives. thetically, some of this can be fixed, and a we had a new translation for Eucharistic ICEL—the International Commission on new translation of the lectionary is being Prayer III.” That’s just not happening in English in the Liturgy—went through a prepared under different auspices from Cameron, Missouri. change of command and constitution. the missal project; but some of it is difficult The suspicion that the new translation And now the new philosophy of transla- to fix because the Bible itself comes to us is just about authority is fed from several tion is raising fears that ICEL’s translation with some of these issues in place.) streams. There have been questions about work will put faithfulness to the Latin A recent set of directives that has the quality of Church leadership. Some ahead of the search for a text that will sup- people scratching their heads is the set people feel that what our leaders lack in port and enhance our ability to pray. concerning Communion ministers. They wisdom they make up for with decisive- The forthcoming changes to the words are to be called “extraordinary ministers ness. Criticizing bishops is more popular of consecration at the Mass feed this fear

24 October 2009 • Pastoral Music of authority gone wild. We currently hear that Jesus died “for all,” but the new translation will have him say that he died “for many.” Literally, historically, and biblically, that will be a sound translation, but it will hand evidence to people who feel that self-contented authorities want to push others aside. Most people would be happy if the Vatican just said something like this: “The Second Vatican Council strongly desired to preserve with care the authentic Lit- urgy, which flows forth from the Church’s living and most ancient spiritual tradition, and to adapt it with pastoral wisdom to the genius of the various peoples so that the faithful might find in their full, conscious, and active participation in the sacred actions—especially the celebration of the Sacraments—an abundant source of graces and a means for their own continual formation in the Christian mystery.” In fact, the Vatican has said this: That’s the first sentence ofLiturgiam authenticam, the document that contains the revised rules for translation. The Vatican has said this is its motive in revising those rules, but suspicion occupies a deeper place in the soul, and it is overcome only by the long process of building trust. Priorities. Third, briefly, there are questions of priorities. Some people ask: “Why are we doing this when there are so many other problems in the world?” Assistant Chairperson Alan Hommerding (left) and Convention Committee Chairperson We’ve all got issues we think demand Anna Belle O’Shea address the convention. attention: the economy, respect for life, at- tendance at Mass, the role of women—you “The Chicago team were outstanding! They gave 150 name it. We all have something. For you percent.” it might be congregations that sing or A Convention Participant jobs that pay. When it comes to a new translation, many people think that our efforts belong elsewhere and not with the liturgy. If your parish has been planning a capital campaign for two years, pray that pledge weekend is not the same weekend on which we start using the new transla- tion! These are some apprehensions that have created static on the reception of the new missal. Anyone can respond to these issues: Past changes were made by fallible but well-meaning administrations; we deal with suspicion all the time, but it doesn’t stop us from being Catholic and loving our Church; and the Mass should be our top priority—it is what Jesus told us to do. The missal is caught in this con- flicted and shadowy landscape, making it difficult for the work to be appreciated on its own merit. It stands at the conflu- ence of many issues we face as the Body of Christ—the Eucharist, how we pray Young dancers welcome NPM to Rosemont.

Pastoral Music • October 2009 25 it, the diversity of the Spirit’s gifts, and believe that Christ judges our behavior, the dismissal. The Novus Ordo, the new where we fit as one generation among the that the Spirit guides us to decide right Order of Mass, eliminated the prayers at many who have received and handed on and wrong, and that certain times and the foot of the altar and streamlined the our Catholic faith. spaces are sacred. introductory rites, introducing spoken Our Eucharist offers something to the parts for the people. It made room for a world. It offers meaning and patterns lectionary that multiplied the readings What the Mass Offers where there are chaos and misdirection; proclaimed on Sundays. It introduced a the World it offers hope and salvation where there responsorial psalm to replace the brief are self-centeredness and despair. We are gradual. It restored the prayer of the Perhaps it is the nature of the missal to not perfect. Go to any Sunday Mass at a faithful. It added a procession of the gifts attract these concerns because the liturgy typical parish on an arbitrary weekend, and gave the people parts to say and is the source and summit of our lives as and you’ll wonder why people do this. sing during the preparation of the gifts, a Church. If these concerns do not flow But go every week to that same parish, a part of the Mass formerly obscured by into the liturgy for healing, they cannot meet the people, put yourself at risk with its proleptic use of material that seemed flow out again for mission. them, shoulder the difficult task of intense to belong after the consecration. The new The new translation is throwing at- prayer, serve the needy there, and you will Order of Mass multiplied the number of tention on the Mass, as well it should. understand. The Eucharist is the center Eucharistic Prayers. It allowed the faithful Sunday Mass is the most important thing of our life; it is the most important face to receive Communion under both forms. we Catholics do. And I like to think it’s the we show—warts and all. It simplified the conclusion of the Mass most important thing for the whole world, and eliminated, among other things, the even if the world does not know it. Pope What the Translation Offers Us Last Gospel, the vestigial tail end of the John Paul II wrote: “The Eucharist is not preconciliar Mass. only a particularly intense expression of The new translation is raising much It is a fact that there were many the reality of the Church’s life, but also in concern. It should: It touches the Eucha- changes from one missal to the next, but a sense its ‘fountain-head.’ The Eucharist rist, the center of our lives. But it is not many people were unaware of these be- feeds and forms the Church” (Dies Domini, going to bring the paradise that some cause the texts had been in Latin and the 32). desire, nor will it undermine the Church’s priest did most of the movement, and the We celebrate the Eucharist in the midst growth, as others fear. people’s participation in those texts and of a society more charmed by stimulus Step aside from issues about the trans- gestures had been minimal. What made than by concentration, by impulse more lation for a moment and ask yourselves: the postconciliar Mass more intelligible than by reflection; where information is “What do Catholics want?” I think they to worshipers was not just the vernacular more available than it is reliable; where want to be part of a timeless, authentic but the restructuring of parts, lending silence is suspect; where science deter- liturgical tradition that links the past new coherence to the grammar of the mines morality based on the possible with the present. They want to share the Mass and strengthening the voice of the more than on the common good; where same faith with other Catholics around people. The primary evidence of the full, people who used to attend events now are the world. They want clarity about their conscious, and active participation of the virtually present to sports, concerts, and beliefs. They want excellence in words, people in today’s Mass is their voice. In relationships; where people judge what is songs, and preaching. And they want the Constitution on the Sacred Liturgy right and wrong based on what they can to pray; they dearly want to pray. They Sacrosanctum Concilium (SC), the Second afford and on what saves money. I can’t tell want a liturgy that expresses praise and Vatican Council said this: you how many engaged couples explain petition in their own voice. Catholics to me the reason for their cohabitation enter a sacred space at a sacred time, and The rite of the Mass is to be revised in in terms of finances. “It saves money,” they expect something holy to seize them such a way that the intrinsic nature and they say, as if being thrifty is the greatest while they are there. The Eucharist fills purpose of its several parts, as also the moral imperative human beings should these hungers, and the new translation connection between them, may be more clearly manifested, and that devout and ever follow. should address every one of them. active participation by the faithful may In this world we celebrate the Eucha- And please remember this: The transla- be more easily achieved. rist. We believe in our past, in the God tion is changing, but the Order of Mass is For this purpose the rites are to be who created us, sustains us according to not. This seems like a simple statement, simplified, due care being taken to pre- a plan, and whose footprints reach from but it is a critical point in danger of obliv- serve their substance; elements which, one generation to the next. We believe ion. Ask a Catholic who lived through with the passage of time, came to be in our future, that Christ has prepared a the Second Vatican Council to name the duplicated, or were added with but little home for us. And we believe in our pres- two biggest changes to the liturgy, and advantage, are now to be discarded; ent, that we possess apt gifts of the Holy this is probably what you’ll hear: “The other elements which have suffered Spirit to form a culture, be a people, and Mass is in English (or some other ver- injury through accidents of history are now to be restored to the vigor which discover the depths of the presence of nacular language), and the priest faces they had in the days of the holy Fathers, God. We believe in sacrifice for the sake of the people.” Both were significant; these as may seem useful or necessary (SC, others and in joyous communion with our were the changes that most affected the 50). brothers and sisters. We believe that the worshiper’s ear and eye. But something Word became flesh and that creation can even bigger had changed: the Order of Mother Church earnestly desires always lead us back to God through water, Mass, the words and actions we repeat that all the faithful should be led to oil, bread and wine, ash, and branch. We each day from the sign of the cross to that fully conscious and active partici-

26 October 2009 • Pastoral Music pation in liturgical celebrations which is demanded by the very nature of the liturgy. Such participation by the Chris- tian people as “a chosen race, a royal priesthood, a holy nation, a redeemed people” (1 Pet. 2:9; cf. 2:4-5) is their right and duty by reason of their baptism. In the restoration and promotion of the sacred liturgy, this full and active participation by all the people is the aim to be considered before all else; for it is the primary and indispensable source from which the faithful are to derive the true Christian spirit . . . (SC, 14).

These principles are still binding. The revised Order of Mass put flesh onto Left: Dr. J. Michael McMahon opens the 2009 these bones, and that flesh is still alive, Annual Convention. still breathing. The new translation does not change the Order of Mass. Participa- Right: Rev. Ronald Rolheiser, omi, presents the tion of people and clarity of purpose are keynote address: “Spirituality and Creativity: here to stay. The Struggles of the Artist.” The new translation is happening because, a generation or so after the first massive and brilliant work of translation was completed, translators have learned more about the origin and meaning of the texts we have. Many of the prayers you hear the priest proclaiming from the Sacramentary are more than 1,000 years old. Many of our responses date to the very first Christian centuries. “The Lord be with you” is found in the Bible and in liturgical texts by the fourth century. “Lift up your hearts” comes from Cyprian around the same time. When we make our responses and hear our prayers, we are standing on the shoulders of hundreds of generations of Christian worshipers. We owe it to them to echo their words as best we can. In addition, a new transla- Dan Schutte leads the pre-convention Music Ministry Leadership Retreat. tion will make the English translation closer to translations in other vernacular languages, allowing the many tongues of earth to unite in common praise of God.

Opportunities for Catechesis and Connection

The new translation will give us an opportunity for catechesis. It will recon- nect us with the centrality of our Sunday worship. It will help us identify with Catholics of other cultures and times. It will remind us that we are called to live in charity with one another. It will give us an opportunity to invite others to worship with us. Above: Dominic Trumfio leads the pre- Catechesis. The translation will raise convention flutists clinic. questions about why we say what we say. Right: Bobby Fisher (top) leads the pre- When people ask “Why did that word convention advanced guitar clinic.

Pastoral Music • October 2009 27 Music educators participate in the Monday Music Education Day with Christina Hornbach. change?” the simplest answer is almost prayers for the Mass are often in two or even more laborious the task that has always: “Well, it is now closer to what it three independent clauses; soon they will taken so long, but it might have improved says in Latin.” Then a lot of people will be in one with dangling subordinates. the translation even more, and it would follow up with another question: “Why But in Spanish, the prayers have been have affirmed the unity we share in bap- would that be important?” And here’s that way for forty years. Some English tism—a unity that the Second Vatican where many people need help. speakers take the new rules of translation Council hoped to strengthen. The best It’s important because Latin is the lan- as a personal affront, but the results will response I can make to this omission is guage in which our prayer grew up from unite us with patterns of prayer already the affirmation that Catholics also want its early Greek roots. It is the language in existence in many other countries. uniformity among our own multiple of people like Augustine and Aquinas, I don’t want to sugarcoat this. There are language groups; it seems at this time who forged so much of what we believe going to be problems when the translation that for the Vatican that goal outweighed and how we act. The revised translation appears. We will struggle with it. But the unifying the various Christian voices of will get more nuance out of the original work has been careful, and consultation one language group. This will not remove texts, helping the texts we use in our own has been broad. Every text has been the offense that others have felt, but it language hold up under repetition, study, prayed aloud, criticized, analyzed, and explains a different value that Rome ap- and prayer. fixed; checked for rhythms, for orality, parently felt was timely. Connection. In some smaller language and for accuracy of vocabulary. Some Another concern is that the new rules groups around the world, translators translated prayers are not as successful as for translation exclude the composition of don’t know Latin, so they translate from others—like musical transcriptions—but new liturgical texts. The Vatican wants another translation, usually English. By on the whole the work represents the the English missal simply to translate the time that the prayer has gone from dedication of international teams striving the Latin missal. But this implies that our Latin through English to the final receiver to let the prayer of the Church be heard generation and tongue are incapable of language, it doesn’t always look—or in a voice that will enhance our worship forming our own voice for public prayer, sound—like the same prayer. You see, and please God. that we need to rely solely on previous the translators for the English texts we’ve generations. Then I recall that some of the been using for the past forty years took Some Lingering Concerns prayer texts in the missal were composed a few more liberties with the Latin than right after the Council. Perhaps the best translators for other vernacular languages In my opinion, some of the concerns examples are the Eucharistic Prayers. So did. It was all in keeping with the rules of about the new translation are misin- the charge that our generation cannot translation at the time, all fully approved formed, tainted by tangential issues, or compose its own prayers is not completely by the Vatican; that first generation of just plain wrong. But, again in my opinion, true. We can, and some of the best work translators deserves our thanks. But be- some of the concerns are justified. For is in there. cause the Vatican has changed the rules for example, forty years ago, the process for But there won’t be prayers in the mis- translation, the journey from the previous the first round of translations for parts sal that started out in English. Examples to the new translation is longer in English of the Order of Mass included consul- of such prayers will still be available in than it will be, for example, in Spanish. In tation with other Christian believers. the Order of Christian Funerals, to cite English, instead of “And also with you,” Today many English-speaking Christian one place. Again this is my opinion, but we will soon be saying “And with your churches hold common texts for some of I think ICEL was just hitting its stride spirit,” but that is already the response the people’s parts of Sunday worship. That in composing new texts when the new in Spanish: “Y con tu espíritu.” For the same courtesy to other English-speaking rules for translation took such ideas off Confiteor, the new English will make it Christians was not extended in this new the table. Listen to this example from the sound like we are a whole lot more sin- translation process, and many Christian English-language Order of Christian Funer- ful than we’ve been recently; we’re not, liturgical scholars feel offended. We Ro- als (OCF): “Lord God, source and destiny we’ll just be using a translation closer to man Catholics are not the only keepers of of our lives, in your loving providence the original, which the Spanish has had the vast store of liturgical texts. Working you gave us [Brittany] to grow in wisdom, in place all along. In English the opening with other Christians would have made age, and grace. Now you have called

28 October 2009 • Pastoral Music [her] to yourself. As we grieve the loss this instance, if you just translate what is of one so young, we seek to understand there, the offensive word disappears. your purpose. Draw [her] to yourself and The bishops on the ICEL commission give [her] full stature in Christ. May [she] have handled every such occurrence stand with all the angels and saints, who with great attention. Not everyone will know your love and praise your saving agree with every choice they’ve made. will” (OCF, 398/28). We can still use that And, of course, the final decision is not prayer. I think it’s a lovely text, showing theirs anyway. According to the new great pastoral care for the mourners of a rules, once ICEL has finished its work, child. which it has, the conferences of bishops We have the ability to compose good are to finish their comments, which they prayers, idiomatic to our own age and are doing, and the Congregation for Di- tongue, and the skill to write such prayers vine Worship and the Discipline of the deserves to be honored. But they won’t be Sacraments in Rome will determine the in the missal. Now, perhaps we need to do final text, which it will. So anything can this first: Perhaps we have to go back into happen, but if you are sensitive to issues the prayers we do have, try them one more about inclusive language, there should be time, let them speak to us, and give them countless improvements to the text. You another chance to form us. Perhaps after won’t even notice most of them, which is that we will have a clearer idea of what a sign of their success. prayers we lack, what voice is silent, and However, that being said, there are how we might please God, who placed a still some places where the text did not creative spirit within the hearts of all. change. For example, the new translation Another concern is inclusive lan- of Eucharistic Prayer IV, following the guage. The new rules for translation Sanctus, says: “You formed man in your give no ground on ideology. Everyone own image and entrusted the whole world knows people who repeatedly doctor to his care.” And the new translation of the the current translation to make it more Nicene Creed still says of Jesus: “For us gender-friendly, changing a response in men and for our salvation he came down the preface dialogue to “It is right to give from heaven.” People will ask, why can’t it our thanks and praise” or dropping a just say, “For us and for our salvation”? It word from the Creed: “for us . . . and for means the same thing. In fact, this is what our salvation.” And so forth. Language ICEL’s bishops recommended, but the can shape gender roles for good or for Congregation in Rome did not approve it ill. But Liturgiam authenticam (LA) says: that way, and they would probably argue “To be avoided is the systematic resort to they could not because their own rules imprudent solutions such as a mechanical require that every Latin word be repre- substitution of words, the transition from sented in some way in English, and the the singular to the plural, the splitting of Latin in this case is three words, “propter a unitary collective term into masculine nos homines,” which requires three English and feminine parts, or the introduction words, “for us men.” I think loyalty to the of impersonal or abstract words, all of rule of law is admirable, but in this case which may impede the communication a simple change that would have offered In front of and behind the registration desk of the true and integral sense of a word no misunderstanding to the meaning of or an expression in the original text. the Creed could have observed the law Such measures introduce theological and hundreds—perhaps thousands—of times of charity. anthropological problems into the transla- as the English translation of “Deus.” The Besides, you can find other places tion” (LA, 31). You can hear something new translation proposes the more liter- where the English does not exactly rep- awry in the tone of that paragraph. ally accurate word “God.” It’s not meant to resent the Latin. For example, all four of Nonetheless, a quick look at the new be a manifesto promoting inclusivity, but the main Eucharistic Prayers use a word translation shows that the introduction it is helping matters in spite of itself. in Latin that refers to the assembly as to the Penitential Act, the Confiteor, and Other examples abound. In the Sac- “the people standing here,” but the refer- the invitation to prayer that follows the ramentary, the opening prayer for the ences were changed in all four instances washing of the hands all address the as- Third Sunday in Ordinary Time asks God from “standing” to “being present,” sembly as “brothers and sisters.” Eucha- “that our efforts in the name of your Son even though in most countries outside ristic Prayers II and III pray for “brothers may bring mankind to unity and peace.” the United States people stand up after and sisters” who have died. Although the Now, many people would suggest you the memorial acclamation. There is also a texts for the presidential prayers have not just change it to something like “may troublesome phrase in Eucharistic Prayer yet reached their final form, it does ap- bring the world to unity and peace.” But III, for which we now say the “the Victim pear that the word used in direct address if you go back to the Latin you find that whose death has reconciled us to your- will be “God” rather than “Father.” In the prayer says something else. It asks self,” and for which the new translation the current translation, “Father” is used that “we may be rich in good works.” In will say “the Victim by whose death you

Pastoral Music • October 2009 29 willed to reconcile us to yourself.” Not so as to bring new life to the celebration us implement the new translation. But we a big change, but the Latin actually says of the liturgy and help us all ‘Sing to the need a second generation of catechetical something other than either of these Lord!’” tools as well, those that will help us get translations. It says something like: the First, the catechetical tools. We are the most out of the missal once it has been “sacrificial Victim by whose death you going to need two different categories of with us for a year or two. Once we’ve willed to be pleased.” A literal transla- catechetical tools. We’re going to need lived with the book for a while, we are tion would make the Father sound a little some immediately to get us through the going to have different questions—we’ll bloodthirsty about the Son. So the current transition. We’re going to need explana- want to know, for instance, more about English translation actually influenced tions for everything from “and with your the meaning of some of the prayers. We’ll the revised translation, even though it is spirit” to “consubstantial” and “incar- need tips for when to use which parts of a bit of an interpretation of what the Latin nate.” What do these words mean? Why the book. And questions we cannot even actually says. are we using them? Why are we changing foresee right now will come up. We need With examples like these, it seems all these words? Those questions need to start planning for that catechesis as well. that a similar judgment could have been good answers. And if you don’t know Whatever we write and buy focused on the made regarding “propter nos homines” good answers, now is the time to get them. changes in store will eventually become in the Creed. But that did not happen, The United States Conference of Catholic dated. and it makes catechesis difficult. On the Bishops has a section on the website for other hand, in some parts of the English- formation on the new missal: http://www. In fact, music will help us learn speaking world, the words “for us men” usccb.org/liturgy/missalformation/index. these texts and make them will be clearly understood as inclusive. shtml. There are good materials there, easier to speak when they are In my own parish, I expect the opinions and there will be more. Our Conference is would be divided; half the women would not the only one offering such resources. not sung. Our best composers be troubled by it and half would not. Every English-speaking conference of are already at work . . . . Popular magazines in the United States bishops is working on its own materials. still use expressions such as “God and Ireland, Australia, New Zealand, England man” or “man against nature.” So there and Wales will all have materials spon- are instances in contemporary American sored at the national level. Second, the musical tools. Many usage where the word “man” conveys an ICEL has added to its website. The people are asking if there will be a inclusive sense. But I suspect if I go on article about music recently published period when we can grandfather (or trying to defend that translation, you will in Pastoral Music (June 2009), is avail- grandmother) in the new texts, so that recognize in me the “sacrificial victim by able there in a revised form: http://www. we can continue singing the parts of the whose death you willed to be pleased.” icelweb.org/news.htm. An international Mass we already know. No one knows All told, I think there are some beautiful effort is also underway to provide some the answer to this. At least, I haven’t improvements in the missal, and overall common catechesis for all English-speak- heard an answer. And I think that’s all we will be getting a better book than the ing countries. ICEL has been involved right for now. But once the new texts are one we have. I really believe that. There in a peripheral way. The creators met in approved for use, we’ll be anxious to get are some problems with it. Everyone will Leeds, England, and became known as the new music for them. In fact, music will find something to love and something “Leeds Group,” but representatives come help us learn these texts and make them to loathe. But listen to these lines from from several different countries, including easier to speak when they are not sung. Eucharistic Prayer IV: “And that we our own. The product will come out on Our best composers are already at work, might live no longer for ourselves / but five DVDs with these topics: theology, and we can anticipate an explosion of fine for him who died and rose again for us, / spirituality, ars celebrandi, a walk through music to accompany our worship. he sent the Holy Spirit from you, Father, the Mass, and roles and ministries. It will The missal itself is coming with many / as the first fruits for those who believe, include video footage, written essays, and parts of the Mass set to a simple chant. / so that, bringing to perfection his work links to other catechetical work on the ICEL is publishing this work on its website in the world, / he might sanctify creation missal. The project is being produced by for the benefit of diocesan liturgy offices. to the full.” And a few lines later: “For Frayneworks, a ministry of the Sisters of The first English translation did not result when the hour had come / for him to Mercy in Australia. in a common sung repertoire for some- be glorified by you, Father most holy, / You will also find materials from thing as basic as the preface dialogue. having loved his own who were in the familiar Catholic publishers. They will I think one reason so few priests sing world, / he loved them to the end.” You produce commentaries and guides to the preface is that so few congregations hear the direct allusion to John’s Gospel, help you out. Many fine writers and can sing the responses to the dialogue. chapter thirteen, at the Last Supper. Just speakers are at work. Other organizations We have a chance to fix that by getting a few verses later in that Gospel, Jesus is have started projects: The Federation of everybody on board with one common washing feet. It’s a rich translation. Diocesan Liturgical Commissions, the setting of basic English chants. There can National Organization for the Continuing be others. Any parish could learn two or Tools Education of Roman Catholic Clergy, the three versions of a preface dialogue, but Notre Dame Center for Liturgy, the Na- it would help our sense of unity in the So, back to the point of this talk: to tional Association of Pastoral Musicians, Church if we could all learn one set in “discover the catechetical, musical, and and many others. common. liturgical tools that can prepare us and our I’ve been describing one set of cat- I suspect there will be more interest communities to receive these new texts echetical tools that we need: those to help in setting the entrance and Communion

30 October 2009 • Pastoral Music chants to music once the new transla- tions for these are available. You know what I’m referring to here? We call them antiphons now, and they get used most commonly at those daily Masses that have no singing. People may recite an antiphon together. All those texts are be- ing revised. That may spark an interest in new compositions based on those chants. But the number of them is so vast that it will take a generation for this to settle. It’s still too early to tell about future musical settings of these texts, but it’s something to keep an eye on. Third, the liturgical tools. Well, I think the best liturgical tool is just doing the liturgy well—doing it prayerfully, inten- tionally, doing it with meaning. It’s hard, but we can do it. So much depends on the spirit we bring to the liturgy. Sometimes we’re not really present to the prayer; and that’s all right on occasion. That’s Rev. Peter Funk, osb, leads the Chant Intensive one reason we pray in common anyway, so the prayers of others can help us out when we don’t quite feel up to it. At other he washes his hands, when he prepares of the people. Hear the Scriptures with times we have the right spirit, but we face for Communion, and when he’s cleaning us. Sing the songs with us, and struggle distractions in church—a restless child, a the vessels—all of a sudden, even well- with us as we try out our new prayers. coughing pew mate, a ringing cell phone. prepared priests will be flipping through You’ll meet people just like you—people All these can make the best efforts at pages to find out where they are and what who hope for a better day for themselves, praying the new translation even more prayer to say. The Eucharistic Prayers their families and their country; people difficult. If we approach the revised mis- are already tedious for many churchgo- who struggle to find words to say when sal with personal apprehension, we will ers, but in the new translation, when the we pray; people who want to be of service dread going to Mass, and we will have priest has not yet got the grease of them, to others; people looking for answers to problems. they’re going to sound stilted. After all, the questions of life. We’re just like you. We can use our time right now for just change the name of the pope or the But what you might find with us that you soul-searching. What apprehensions do local bishop in the Eucharistic Prayer, don’t find at home is this: people who you have? How are they affecting your and it completely throws us off balance. believe, people who have hope, people preparation for the missal? The work All these are practical matters we can who put their priorities in line with the will be underappreciated if we are angry fully anticipate. And people should not Gospel of Jesus Christ.” My brothers and about something else—authority, style, or judge the whole translation based on how sisters, that is our mission. It is a mission whatever. If we can confront those misgiv- awkwardly we execute it at the start. that is possible, a mission that is necessary ings head-on, we can engage the revised But they will. In fact, I’m apprehensive for us to integrate the Eucharist into our missal in a more fair-minded way. about this issue as well: the media. The lives. So our liturgy is our best tool, but there media will be all over this story. These are will be challenges. Even if you give the the biggest changes to the Catholic Mass The Greatest Tool missal a fair chance, you are going to have in a generation. It should be a big story. some problems starting up. The people Journalists will be asking Catholics right There are many tools we can use as will muff their lines, and the priests and after Mass on the first weekend: “Well, the new translation comes near, but our deacons will be lost looking for the texts what did you think?” And they’re going greatest tool is our faith in God, and our we’re supposed to proclaim. We have a to get the knee-jerk reaction of worship- passionate love for the Eucharist. If we lot of the Mass memorized, you know. ers, which will be mixed and emotional. can let that run free, the Spirit will use our When the deacon first comes up to the What the media won’t do is come back many voices to make this one translation priest for the blessing before the Gospel, a year later and ask: “Now, how’s it go- a gift of tongues, a new Pentecost for the a server may have to hold the missal so ing?” because it won’t be news then. We Church. the priest can find out what on earth need to be ready for this. We should not he’s supposed to say to bless the deacon. lie or put on a false front, but we should When the deacon kisses the Gospel Book have some answers prepared. Instead Note at the ambo, he’s going to need the new of having the media use us, I hope we text from the missal for the quiet prayer will use them. The message I hope we 1. Lalo Schifrin, “Mission Impossible that accompanies that gesture. When the could send to the world is this: “Look, Theme,” copyright © 1966 and 1967 by Bruin deacon adds water to the wine, when come and see for yourselves. Come to a Music Company, 1619 Broadway, New York, the priest bows after receiving it, when Catholic church next Sunday. Meet some NY 10019.

Pastoral Music • October 2009 31 A View from the Cathedra: Ubi Caritas Est Vera, Deus Ibi Est

By Cardinal Daniel N. DiNardo

want to thank NPM for inviting me Whose Image? twentieth century giant of a composer, to speak today and to give observa- Whose Inscription? Béla Bartók. He is not known for any tions on “musical” liturgy from the sacred music, yet his Fifth String Quartet point of view of one who sits in the In the 1980s, late in his life, the extraor- is a genuine masterpiece of form in an bishop’sI chair. I hope the observations arch construction of five movements, a dinary French composer Olivier Messiaen will be useful for our liturgical life and produced his one and only opera, Saint kind of musical sandwich where the first our life together in the Church. François d’Assise. This monumental piece and the fifth movements and the second Since I am also the episcopal liaison employs all the techniques associated and the fourth movements mirror one with NPM, may I begin by first thanking with Messiaen, from bird songs, to Indian another while the molten core of musi- all of you for your dedication to the pas- rhythms, to plainsong and a most intricate cal material is the third movement and toral music of the liturgy. Your consistent modal music enriched by his study of center of the arch. The whole work has a and perseverant work allows the Church Gregorian chant and other chant tradi- sacred “resonance.” Though the complex- community, the parish, and many groups tions. ity is amazing, the basic motif is a large to be gathered together in the Lord more The opera is unusual in that it seems “psalmode” (psalm tone), proclaimed at intensely and well! The beauty of sung to be a staged oratorio, but the work the beginning of the first movement and liturgy is irreplaceable in building us up demands such a presentation. There are then changed and transformed through- in communion with Christ. You certainly a number of very moving scenes, and out. It is the “sung wordless speech” have my gratitude and that of many other the treatment of Francis with the leper of the violin that produces remarkable bishops, priests, and other members of the is truly beautiful. But I want to highlight variations and transpositions. The key is clergy as surely as you have the gratitude Act Two, Scene Four, where a journey- sung speech, even if the speech is that of of God’s faithful people. (You receive their ing angel comes to the Franciscan house an instrument. thanks and, to be honest, their whining as to question the brothers about the most well. This is part of the liturgical “work” important thing: “Have you put off the Liturgy: that occupies you.) old man, to put on the new and find your The Home for Sung Speech I also want to acknowledge the priests true face, as foreseen by God in his justice present at the convention and thank and holiness?” The brothers scramble: My point in describing both examples them for their dedication to the liturgical One runs away from the question, and is the reality of sung speech. The human ministry—especially music—as a coher- another is annoyed. The angel persists, voice in sung speech is a ground, a basis ent dimension of their priestly life. In however, and this is no ordinary angel for music making along with the sounds of this Year for Priests, perhaps your point but one voiced by Dawn Upshaw. The nature. My contention is that the liturgy is for meditation can be that great Quaker community finally finds the simplest the home for sung speech and particularly Hymn “How Can I Keep from Singing?” old brother, Brother Bernard, who does loves sung speech as a sensible embodi- “Since Love is Lord of heaven and earth,” respond to the question. He sings: “I ment of our “spiritual worship,” as St. the love we echo back is also that of joyful have often thought that after my death, Paul writes in Romans 13. praise and song for the gift and task of our Lord Jesus Christ will look at me as I want to elaborate on this theologically priesthood that has been given. he looked at the tribute-money, saying: first before I venture a few suggestions ‘Whose is this image and this inscrip- practically. Theologically, I would like us tion?’ And please God and his grace, to go to one of the high points of the public I would like to be able to answer him: life of Jesus in the Synoptic Gospels, the ‘Thine, Thine!’” “De Vous, De Vous!” It recounting of the scene of the transfigu- Cardinal Daniel N. DiNardo, the ordi- is an incandescent moment, and though ration. That scene is deeply cherished by nary of the Archdiocese of Galveston-Hous- the music of the angel is quite complex, the Christian Churches of the East as the ton, Texas, is NPM’s episcopal liaison. This and the musical accompaniment of the origin of what became sacramental liturgy is an edited version of the plenum session whole scene is filled with Messiaen bird (and the Church does need to breathe from that he presented on July 8 in Rosemont, songs, the language of Brother Bernard both lungs—East and West—as the late Illinois, during the Thirty-Second Annual is all sung speech, simple—at one point John Paul II has written). Convention of the National Association of a recto tono. As the public life of Jesus unfolds in Pastoral Musicians. I make just a brief mention of another the Synoptics, the question of the King-

32 October 2009 • Pastoral Music dom of God or the Kingdom of Heaven, proclaimed and announced from the start by Jesus (and earlier by John the Baptist), becomes more radically the question of the identity of the bearer of the Kingdom. The question posed as Jesus teaches and heals is: “Who is this?” In St. Mark’s Gospel, the tempo intensifies as we reach chapter eight and specifically verse twenty-nine. To the point-blank question that Jesus poses about his identity, Peter cries out: “You are the Christ.” The response posed to Jesus’ original question—“Who do people say that I am?”—is a delaying tactic that cannot be sustained when the question becomes: “Who do you say that Auxiliary Bishop George J. Rassas of Chicago (left) led Monday Evening Prayer with I am?” participants in the American Federation Pueri Cantores–NPM Children’s Choir Festival. St. Peter’s positive response is sud- denly undermined in its logic of glory by Jesus’ prediction of his passion and “I have paid my own way to NPM conventions for the death and resurrection—in a word, by his past twenty-four years because I love to sing, and singing proclamation of a suffering Christ. This has and will always have a disorienting in four-part harmony with 3,000 musicians is ‘heavenly.’ effect on Peter and the Twelve and on all Thank you.” future disciples. All who hear it want to A Convention Participant cry out: “Jesus, this can never happen to you!” But Jesus’ strong correction of Peter then leads to further understandings and misunderstandings and a second predic- tion of the Passion. The Synoptics follow this scene with another that takes place “six days later”—a time reference that must be kept in mind to get a proper orientation to the scene of the transfiguration (Mark 9:2; see Matt. 17:1; Luke 9:28). Jesus has been teaching about the passion, his impatient patience to fulfill his Father’s will, his complete availability to the Father’s plan of compassion. From the days of Moses and Elijah, the Father has had compassion on sinful human beings who hide from the divine gaze, on alienated human beings, on suffering human beings. His compas- sion now comes as light in the body of his beloved Son. The transfiguration is frequently un- Choir members celebrate “The Gifts of the Asian and Pacific Rim Communities.” derstood as the way that Jesus prepares the apostles for his suffering and death and as preparation for risen glory. It is his pedagogy for three of the chief apostles. This interpretation is not to be denied; at the same time, the transfiguration says something of the relationship of Christ to the Father. Is there also something hap- pening in Jesus in this scene? Certainly, when he takes the three chosen apostles up the mountain, there is an initial “meta- morphosis” in Jesus. The apocalyptic white clothing and dazzling face indicate a shining out. What is shining out? The Donna Kinsey (left) directs the Monday evening performance by Father’s joy! Jesus, as St. Luke adds, is participants in the NPM Handbell Festival.

Pastoral Music • October 2009 33 liturgy is evocative sung speech. The as- sembly of God’s holy People, the “totus Christus” as St. Augustine calls us all, responds in a diction, despite its some- times prose character, that is to me all “poetry” because it is concentrated speech. That means song! Something happened to western liturgy when liturgical diction began to migrate to spoken prose instead of sung “poetic” speech. But the liturgical books still maintain the earlier memory of a living diction: sung speech.

Getting Practical

Youth Gathering I, led by David Haas and Lori True, prepared young participants to get the I would like to offer ten practical most out of the convention. observations about musical liturgy that arise from years of experience as a local absorbed in prayer with his Father when in an economy that is at once divine and shepherd. the event of transforming change takes adapted to us. The sacraments are these 1. Sung dialogues are basic and neces- place (Luke 9:29). Jesus Christ really only divinizing actions of the Body of Christ sary. This is the bedrock of sung worship shows his “true colors” as the Father’s that operate truly in our very humanity. in all languages. Consider a liturgy that delight embraces him. We can receive the “Spirit” of Jesus—the begins with a grand entrance hymn, ac- But the real change takes place in the underlying principle with Christ in sacra- companied by organ and brass that is apostles as they behold the deepest truth ment—because Christ has become one of followed by an anemic spoken opening in the Lord Jesus. They are the ones who us through and through. You must have dialogue. The priority is wrong here: It must, in trickling increments, come to heard the great line of St. Leo the Great’s is the dialogue that is far more important grips with the reality of who he is and homilies on the ascension: Whatever our than the hymn as the ritual act that gathers the meaning of his suffering body. Lord and Savior Jesus Christ did during God’s people together. Moses and Elijah appear as witnesses his earthly life has passed over into his Related to this point is the need for to the fullness of revelation of light that “sacramenta”—a most suggestive word in pastoral musicians to assist priests to begins in salvation history with the Lord’s St. Leo. The transfiguration is a privileged sing their parts. Many priests are afraid burning bush appearance to Moses and anticipatory movement in this “Passover,” of musicians and their talents. Musicians continues with the small voice amidst the this “Exodus” (as Luke calls it) of Jesus to need to approach priests with helpful earthquake, wind, and fire in the prophecy the Father and then, through the Spirit, persuasion and encouragement. The same and life of Elijah. Law and prophets find back to us. The transfiguration is going on goes for seminarians, who need prepara- fulfillment and thus “speak” to Jesus. The now in the “whole Body” of the Church, tion and training to engage in singing the Father’s voice and the cloud address and head and members. The Father’s joy takes parts that belong to ordained celebrants. envelop the apostles who have a glimpse the form of an acclamation. Is it prose or All should sing the parts that are meant of the change they must undergo and “sung speech?” to be sung. the change that will happen to them as The beauty of the transfiguration, And a second sub-point: Sometimes a illuminated by the cross. All are to “listen even in its shadows as well as its light, cappella singing is magnificent, even for to the well-beloved Son” (Mark 9:7). is a beauty of the Lord Jesus: “O nata lux hymnody. When the apostles and we look up in de lumine” (“O light born from light”) 2. In the widest sense, “chanting” and an instant, all that is to be seen is Jesus that shines through the human face of chant-like music are the bases for song in alone. Eastern Christian writers refer to God—the God of compassion—on us, in a the liturgy, though song takes many other this scene as the beginning of sacramental melody of embrace by which we become forms and styles. liturgy. The scene gives us a glimpse that, members of His Body. 3. The liturgy is not a series of unrelated from this time forward, nothing goes from It is worthwhile to note that the post- episodes. Music can help or hinder the human beings to the Father or from the resurrection Church proclaims and wit- interlocking of the scenes and structure Father to human beings except through nesses, and it does so in songs, hymns, and of the liturgy. Music in the liturgy is not the adorable body of Jesus Christ, a body, spiritual songs. The Book of Revelation a case of one “number” after another as once crucified and risen, that is the source must contain the “top ten liturgical hits” though in a performance. for sacraments and is identified with the of the New Testament Church in Asia 4. Special liturgies, like confirmation Church. The Body—the human nature of Minor! on Sundays or Masses for a specific occa- Jesus Christ—is not inert, but “anointed” If the transfiguration is occurring in sion, still must respect the liturgical day (christic) in the unity of the person of the us, happening in little trickles, in trickling and readings. (And here’s a pastoral plea Son. All wounds and joys of the human increments from the Source, the River of from a bishop who does many confirma- condition are taken up and truly divin- Life, then our response must be a reflection tions: There is a choral desire among some ized: That is why the elements of earth and of our elevation. Grace heals and elevates; groups and choirs, when the bishop is human making can be taken up and used the response is praise. No wonder early present, to sing a long extended Commu-

34 October 2009 • Pastoral Music nion “meditation.” That is fine, except at Dr. Richard P. Gibala (center) leads the section meeting for diocesan directors of music. a liturgy when there have been 185 young people confirmed. Then it is merciful not to do such a choral anthem!) 5. There is a need for a respectful mentoring by good and experienced directors, cantors, instrumentalists, and other pastoral musicians for our Hispanic choirs, groups, and musicians, who are generous in volunteer time but are in need of more seasoning. 6. God’s people love the Mother of God. We have need, as in the Churches of the East, for hymns and chants that are theologically and liturgically well at- tuned to the moments of the liturgy that honor and venerate her. She is, after the Holy Spirit, the chief mystagogue of the liturgy. 7. For the hearing-impaired like me, beyond the introduction of improved technical apparatus to assist us, never cease to work on diction and pronuncia- tion with choirs and cantors. I make a special plea in this regard for proclaiming the responsorial psalm, the Word of God sung during the liturgy of the Word. It is Sacred Scripture sung: It deserves to be pronounced well. 8. Hospitality for others at great events at diocesan and parish levels really begs for some of the music that is sung to be more universally known. Congregational music that works is usually somewhat “flat-footed” as far as musicians are concerned, but that is a good quality for congregational song. 9. Assemblies are musical, but they are not “musicians” as you are, and they approach musical matters differently than you do. We must appreciate this. Musical assemblies are at times much more prone to liturgical anarchy than to liturgical order. You are a mystagogue of musical liturgical order. 10. And, finally, a codicil to all this: Love those who defy you to get them to sing. Pray for purity of heart and a generous soul. Keep singing. A parish youth choir provides music for the participants as they move between events.

Pastoral Music • October 2009 35 “Blest” Are They . . . but “Where” Are They? Insights on Ministering to Teens and Young Adults

By Kate Cuddy and Katherine DeVries

oday’s teens and young adults debt. the backbone of parish organizations. (that is, people in their twen- More things of significance are hap- Where are they now? We’ve not done ties and thirties) express a deep pening to them for the very first time than a very good job passing on the torch of spiritual hunger that the Catholic have ever happened before or will ever leadership, and with every successive TChurch is well equipped to feed. Meeting happen again. And they’re transient: They generation, it’s getting worse. that hunger requires an understanding of are the most mobile part of the American It seems as if we’re doing things who they are and what they seek: an invita- population. backwards. We teach our small children tion, dialogue, and mentoring. In this pre- religion, when they don’t have much sentation, we offer practical suggestions A DeVries Story: An intern in the life experience. Then, when adult life is for keeping these young and young adult Young Adult Ministry Office has pounding on them, we don’t spend a lot Catholics actively involved in the Catholic moved eight times in the past five of time helping people make connections Church, growing deeper in faith, sharing years, and that’s not uncommonly between life and faith. Where are their their gifts, and “singing to the Lord”! frequent. They move physically— Catholic teachers, mentors, and guides for school, for their jobs, to be with when they need them most? Even when Who Are These Young Adults? loved ones. They move relationally: leaders try to be present to these young When you find the love of your life adults, finding ways to stay in touch Theology-on-Tap time in the Arch- or have a baby, everything changes. with them is another issue. Don’t send a diocese of Chicago offers 200 nights Plus, they move psychically; their newsletter; they don’t want paper: “Save of speakers and topics, and it involves needs change. Pick a major; get that the trees!” The best ways to communicate: working with fifty different committees degree; find a job; pay off that loan; e-mail; text message, Facebook, Twitter, of young adults—people in their twen- find a home (do you rent or buy?). and blog! (And today’s teens communi- ties and thirties, married and single. Find your significant other: No cate the same way.) While it’s a joy to work with them, young one wants to be alone. And figure Picture this: This guy’s at Mass. He’s adults are incredibly busy—balancing out how to relate to family as an looking around during the homily, and school, work, relationships, volunteer- adult. he sees a woman a few pews in front of ism, personal interests or hobbies, and They ask questions: What’s him who bends over, picks up her purse, other commitments. Many are carrying going to feed my soul? Would I and puts it down. Again, a few minutes huge debts—school loans and credit card get further ahead if I went back to later, she bends over, picks up her purse school, and how do I pay for that? and puts it down. Again she bends over, Ms. Kate Cuddy, a distinguished musi- How much time can I volunteer? Is picks up her purse and puts it down. cian, director, and composer, is the director this worth it? And where does God He wonders what’s going on, so when of music and liturgy at St. Thomas the fit in all this? everyone stands for the creed, he looks Apostle Church in Naperville, Illinois; over the pew and sees that she’s been Dr. Katherine F. DeVries is the co-direc- With all this movement, they’re just text messaging! Why would anyone be tor of the Young Adult Ministry Office for not as involved in or active in Church texting during the homily? the Archdiocese of Chicago and co-author as previous generations were. (How old of The Basic Guide to Young Adult were you when you first began working Spiritual but not Religious Ministry. This is an edited version of the for the Church?) The leaders of the great plenum session that they presented on July Catholic movements of the 1950s and ’60s Young adults tell us that they are 9 in Rosemont, Illinois, during the Thirty- (Catholic Worker Movement, Charismatic “spiritual but not religious.” They can Second Annual Convention of the National Renewal, the Cana movement, and others) usually tell you what the Catholic Church Association of Pastoral Musicians. The were all young adults. Those same people teaches—especially on matters of sexual- original session was offered as a dialogue are still in key leadership positions, but ity—but they don’t always know why the between the two presenters; their shared they’re fifty years older now. Not that Church teaches it. They are spiritually thoughts have been combined in this article. many generations ago, young adults were hungry: They long to grow deeper; they

36 October 2009 • Pastoral Music hunger for meaning in relationships, work, life. They thirst for community, yet many have found it more life-giving to be text messaging and on blogs than at Mass on Sunday. They are also incredibly generous. They’ll help when invited to do so. They want to build a better world. They want to make a difference. They want to share their gifts but don’t always know how. They also want to be taken seriously. So why is it that the majority of Catho- lics at any college or university don’t participate in Catholic campus ministry? Kate Cuddy and Katherine DeVries And why is it that roughly only a third of all Catholics make it to Church on any given Sunday? A third . . . and that’s being generous! Sociologists tell us that “regular Church attendance” is now defined as once or twice a month! Do you know what the biggest problem with Sunday morning is? It always follows Saturday night. Stacey, a twenty-some- thing, said: “My Catholic friends don’t go to Mass in the morning because it’s too hard to wake up, look presentable, and stay awake after a Saturday night out.” Young adults have been called “the future of the Church.” They are not the future of the Church; they are the pres- ent Church missing in action. Some are with us; far too many are not. Mary Prete, Vice President for Parish Services at J. S. Paluch, recently named the problem. She said: “We’re responsible for ministering “I received a terrific education.” to everyone in the community. But how A Convention Participant do you minister to the invisible? How do you reach those who aren’t there?” One approach is to create a compre- hensive marketing plan that young adults will see, hear, or read—one that invites them into greater participation. Then offer spiritual, service, and social opportunities they will find life-giving along with strong faith formation. Another approach is simply learning to welcome the stranger. Much of what we all do is in the presence of the stranger, and many of those strangers are young adults. Consider weddings, funerals, and baptisms. Every Sunday, people worship with us who weren’t with us the previous week. Can we create an atmosphere where even the stranger feels welcome? When young adults approach us for sacraments, can we see moments of evangelization and explain why we do what we do rather than laying down the law? One couple, who had been turned down three times when they asked to be married, said: “People keep asking if we’re registered. The National Catholic Youth Choir, directed by Dr. Axel Theimer, sang at Immaculate No one has ever asked if we’re in love.” Conception Church on Tuesday evening.

Pastoral Music • October 2009 37 On the other hand, the father of a young National Honor Society, to take advanced moment, they have so much intelligence woman who was married six months ago placement and honors courses, to be part and caring, such enthusiasm and spirit. told us one of her friends was so moved of sports teams and choir and drama and Just ask them to look at the faces of their by the wedding that she’s come back to other leadership groups. They want to parish family: “Man, have you ever seen Church! create their own solutions to problems so many crabby people in your life?” Then Here’s a rule we try to live by: Never but will listen hungrily to our stories that invite them: You people help transform do anything that takes away from the parallel their situation . . . as long as we and nourish them, you help tear down joy of a wedding or adds to the pain of a don’t try to tell them what to do. It has walls, you share your energy, you melt funeral. What do we need to do so that to be their idea. someone’s pain with your smile. all feel welcome? Marty Haugen tells us Teens involved in Church programs Often we hear about teens not being to and ministries frequently fall into one ready for leadership because they have of two categories: The “National Honor not lived enough or had life experiences . . . build a house where love can Society of Humanity” and what could that enriched their faith. What about the dwell laughingly be described as the “James teen bouncing between two divorced And all can safely live, Dean Set”: rebels without a cause. We have parents, who needs faith to be patient, A place where saints and children tell to love them all truly, but it’s not unusual loving, non-judgmental, and more grown- How hearts learn to forgive. for youth ministers to have a particularly up than most of his or her peers? What Built of hopes and dreams and visions, soft heart for the ones who need us the about the girl whose mother died when Rock of faith and vault of grace; most—no matter which category they’re she was six, whose dad remarried but lost Here the love of Christ shall end in. his way with the Church, and this beauti- divisions: So make your program a cool place to ful young girl comes to church, joins the All are welcome, all are welcome, all be, and fill it with good humor as well as youth ministry programs, sings with the are welcome in this place.1 the passion you have for your ministry. teen group, volunteers with vacation Bible camp, and so on? She chose to participate Who Are These Teens? A Cuddy Story: In the school fully in her faith journey because of—or setting, this short, chubby woman in spite of—her life experiences. Teens are enthusiastic, willing to try, surprised everyone in the build- supportive of one another, innocent and ing by being in great relationships Three Cuddy Stories: What about worldly in a way that makes for great com- with the coaches—hockey, football, the boy who had surgery after munication, full of rhythm, faith-filled in baseball, and wrestling. I made sure surgery from the time he was five ways that provide surprising moments of they knew that we were all sharing and who loves to sing? Surgery, and grace. They are open to humor and to the our passion with kids, and the kids twelve-hour chemo sessions, and idea that we are there to hold them up. In needed everything we had to offer school, and song, and God. This other words, kids have a great sense of them on their journey. boy teaches more about grace at the humor and can see where fun and faith It’s amazing how many more age of fifteen than few adults could. intersect with their culture. How could boys will think it is cool to sing when This young man came back into my anyone forget an eighteen-year-old boy the captain of the football team is life two years ago, after a five-organ grinning at the assembly and saying: “It leading the baritone section. Alex transplant, to continue his work at really is okay to syncopate”? Or a ten- was the “stud” of the alto section singing. I remember looking at him, year-old teaching the assembly this: “We and talked too much. I pondered asking questions about the organs, will walk with God, my brothers, we will what to do about this, so I went the anti-rejection drugs, and his walk with God./We will walk with God, to visit the football coach and told trials. Mostly we sang—songs from my sisters, we will walk with God. We will him I wanted to borrow a helmet. Catholic composers and songs from go rejoicing, till the kingdom has come Next day, there’s Alex, holding contemporary radio. He brought . . . . Si so hamba ny yay wo wo wo, Si so court with his women and talking me a CD of his experience made for hamba ny yay. Si so hamba ny yay wo wo too much. I ran into the hall, put TV. I couldn’t stop thinking about wo. Si so hamba ny yay. Goom Schla when on the helmet, and ran back into its title: Resurrection Day: Notes from ja boola, See so hamba Ny yay . . . .”2 the room, straight into him (which the Edge of Life. Teens are seeking relationship, and of course didn’t faze him). I told What about the boy who has beat teens want us to share wisdom. They him: “More singing, less talking.” his brain cancer with the help of his want us to listen . . . with our hearts. At Christmas that year, I received archangels and God, who just let They desire a shared experience. They one of my favorite tree ornaments: him know that everything was go- want us to share any wisdom we have a little football player with a helmet ing to be all right? Philip and his fa- about improving their competency and on. ther wrote a song that was reshaped their understanding. They want us to with the help of his mentor, Tony play with them in the right moments, and When we extend the invitation, they Alonso, in the composers’ track at “get lost” at the right moment, too. They will respond because they like to be af- Music Ministry Alive! It addresses want us to understand when we ask for firmed, even if they don’t know they have the Holy Spirit: “Hands of healing, yet more commitment from them that, the gifts. They will ask: “Who, Me?” And I ask of thee,/Holy Spirit, come unto as parents of this generation, we taught we respond: “Yes, you!” me./Working wonders,/Work them them at a ridiculously early age to build Working with teens can be truly won- through me.” their résumé for success—to be in the derful for many reasons: They live in the

38 October 2009 • Pastoral Music And I watched my sweet Katie sing for two years, humbly and beautifully proclaiming the psalm. Then, one day, the magic happened. She walked to the ambo with grace and poise and proclaimed the psalm with purity and all things humble. The transfer of energy and Spirit in the room was visceral and palpable. She said after Mass: “Cuddy, I was fine when I walked to the ambo. When I came back, I was trembling all over.” I smiled and said: “Congratulations: You gave and received, and isn’t it incredible when that happens?”

By the grace of God, teens grow up to be young adults. And what a gift it is when our music programs provide a bridge from childhood through adolescence and into adulthood. Young adults are indeed adults. They make their own decisions; they are where they are because they choose to be. They are painfully honest about what they like and don’t like. The best way to find out what the young adults at your parish want and The convention’s youngest drummer performs during “Ethnic Chicago: A Feast for the Senses” on Monday evening. need is to bring them together and ask them. Whenever the subject of Mass comes up, you often hear: “I don’t go as often as I should.” (Catholic guilt is still in place!) And, as an excuse, you might hear: “I’m too busy” and “I’m too lazy.” You can translate both answers to mean: “It’s not relevant or helpful or feeding my spiritual hunger.” Teens readily admit: “I don’t get anything out of it.” Their parents and grandparents would never even have considered saying that (or, at least, admitting it) because “you’re not supposed to get something out of it, you’re supposed to put something into it.” Yes, but . . . . The document Sing to the Lord (hereafter STL) says, “Charity, justice, and evangelization are . . . the normal consequences of liturgical celebration.”3 “Consequences”—something that you get out of Mass. Wow! Why do you go to Mass? What keeps you coming back? Still, teens do need to learn that you get more “out of it” when you put more into it!

A Cuddy Story: I remember rehearsing my students for an arch- diocesan stewardship conference. It was a typical experience: There was one Mass at the cathedral, one at the basilica, and one at the

Pastoral Music • October 2009 39 Participants in the pre-convention Youth Intensive lead Thursday Morning Prayer.

of preaching is a critical aspect of worship. and at the theology behind the words. We hotel. We, of course, got assigned Great hospitality. One young adult are told to mistrust music with rhythmic the Mass at the hotel. Still, we got told Father John Cusick (co-director of vitality and warned that clapping isn’t ap- busy rehearsing everything—from the Young Adult Ministry Office for the propriate in church. But wiser minds than prelude music to the recessional Archdiocese of Chicago): “Father, I come ours have suggested that we respect such song. During these rehearsals, I in knowing no one, and I leave knowing music as part of our developing musical had an opportunity to share with no one.” That’s not good Church. heritage because, when these composi- my students an experience I had tions are sound artistic compositions in liturgy. How humbling it was to A DeVries Story: I gathered a that meet liturgy’s structural and textual share with them my own discovery group of young adults who ex- requirements and are appropriate for that my staying focused during the pressed interest in a Lenten small this community (see STL, 126–136), they Eucharistic Prayer helped others in faith group. During the introduc- support our ritual, give us a chance to the assembly (my prayer family), tions, Karen, a person in her early participate fully and actively, and reflect enabling and empowering their twenties, said she came because our culture. And clapping is one of our focus. Visitors at the Mass were so she’s new in town. She left her body’s natural responses to joy! grateful for the students’ energy, family and friends behind, the job The liturgist Anscar Chupungco de- spirit, enthusiasm, and prayerful wasn’t what she hoped it would scribes two groups of people. “For some,’ attitude. And this event proved to be, and she was looking for more. he writes, “the liturgy must maintain its me that a story shared can be better Her comments ended with this: “I aura of timelessness in a world helplessly than preaching, scolding, frown- haven’t been hugged in six months, swept away by chance. They regard any ing, and acting like the “liturgy and I’ve never been so lonely in my departure from the familiar way of doing police.” life.” things as a breach in the Church’s fidel- ity to its traditions.” But, says the same As Sing to the Lord says, “Faith grows In a world where both teens and young author, “while there are people who when it is expressed in celebration. Good adults are desperately seeking to meet want the liturgy to be sealed off from celebrations can foster and nourish faith. others and find their place, can we make the contemporary world, there are others Poor celebrations may weaken it. Good people feel like their presence matters? who hold that the liturgy needs to be in music ‘make[s] the liturgical prayers of Can we all be “on” to make the stranger constant dialogue with what goes on in the Christian community more alive and feel welcome? Also, can we invite our the world and the Church.”5 fervent so that everyone can praise and young adult and teen leaders into leader- Every time this issue comes up, people beseech the Triune God more powerfully, ship positions? Here’s a challenge: What like us get that familiar knot in our stom- more intently, and more effectively’” would happen if every liturgical minister achs, for most of us have always been (STL, 5).4 If your community can only in the parish were asked to find his or her proud when a young one gets a handle on do one thing for young adults, improve replacement . . . and that person would a psalm tone chant or a daunting Gospel the quality of liturgy. Then, personally have to be under the age of thirty? Can piece. On the other hand, many of us invite young adults to help in ministerial we all begin to groom younger people to also believe that drums, bass, or guitar positions. take our place? don’t diminish ability to be appropriate Great music. “Cantare amantis est,” says (by anyone’s standards) in liturgy. This Three Things St. Augustine: “Singing is a lover’s thing.” doesn’t mean that they should be used So let’s “make love” to one another! in every piece of music throughout the When we ask young adults what makes We do a disservice to musical values liturgy. Much like success in our relation- for a good Mass, they tell us three things: when we confuse the judgment of music ships, in liturgical music we can success- great preaching, great hospitality, and with the judgment of musical style (STL, fully use both the vibrancy of rhythm and great music. 132, 134–136). Many magazine articles re- the peace and introspection that silence Great preaching: Talk to me! Tell me fer to all contemporary Catholic/Christian can bring. It is all good. Who said that the what that 2,000-year-old Gospel has to say music as the music that is “hot today and pipe organ was God’s favorite instrument? to my life today. Make it relevant; make it replaced next week.” Such music is often Try and tell that to the early Church! meaningful. “Enlighten me!” The quality banished from use with shots at its text Young people can love singing a

40 October 2009 • Pastoral Music choral Ave Verum, or a Fauré or Rutter “I sing because I’m happy, I sing because that it was a privilege earned through church Requiem. They can sing psalms based on I’m free;/For His eye is on the sparrow, participation.” Colleen shared: “I jump chant tones; they can sing a praise and and I know He watches me.”6 That gift around from parish to parish because of worship song. They can sing hymns and has the power to challenge, as when we location or Mass times. I’m not registered contemporary songs. Our teens also need sing Marty Haugen’s text: “Let justice anywhere. Does that matter?” Molly said: to be exposed to the many ways to pray roll like a river, and wash all oppression “I am uncertain about how long I will be with music beyond those derived from away. . . .”7 It has the power to prod us at this parish, and I’m reluctant to get a Eurocentric culture. Denying the very onward to “sing! Sing a new song! Sing involved if I will be moving soon.” existence of a wide range of music fit for of that great day when all will be one!”8 When we asked what might encourage worship drawn from our various cultures God’s gift of song has the power to someone to get involved now, Jeremy said: denies and limits our capacity to worship transform hearts: “Your word says it can “I would be more eager to sign up if the God. be. . . ./Your life could make us free./We process was easier. I have signed up many There are other issues that must be are the people/Your call set apart. Lord, times at my church to volunteer, but no addressed if we are to help our teens feel this time, change our hearts.”9 God’s one ever contacts me. I don’t think they welcome and needed. Do we teach them presence through music has the power to really want my help.” that by their baptism they are worthy heal us: “Take my pain and brokenness; The remaining questions were for of the call to mission, ministry, and ser- shape my life for you. Come and turn my those who are active. When asked why vice? Or do we constantly confuse and heart, O God.”10 God’s presence through a person started sharing his or her gifts, turn them off with the confusion among music has the power to unify, calling us Caroline said: “Mrs. Barry sent me a ourselves between what is sacrament, to “one Lord, one faith, one call to serve personal e-mail.” Jana added: “My par- sacramental, and rubrics? each other.”11 ents suggested that I start doing music Young people know that their place And God’s presence through music is ministry.” (Our informal survey affirmed of worship calls for a reverent attitude, powerfully poetic: what the research has been saying for the but their culture has relaxed their dress past several years now: Teens tend to do code and the code of behavior for what I am the beginning in the end. what their parents do in terms of church reverence entails. If we truly want teens I am the faith in your believing. participation . . . at least so long as that to come and offer their gifts, then (our I am the color of truth. feeds them.) I am the dreamer of your dreams. personal opinion) being blind to what We also asked the young adults who I am the falling in your love. they wear is important (within reason, I am the words of a prayer. are involved why they stay involved. Jane of course). Modesty and respect and I am the silence in the music. said: “Singing is my outlet from working Sunday best can be named, but if teens I am the music in the silence.12 in science/academia five days a week. I are coming directly from a job or a sports also like to be able to help the congregation event, we need to greet them with a smile, As Pope John Paul II said in his Letter to worship.” Bernie wrote: “I draw a lot of a welcome, and an “I’m so glad you are Artists, there is “a close alliance . . . between strength and energy from the liturgy, and here” or “Score one for the tenors!” the Gospel and [your] art.”13 Thank you music ministry adds to my prayer life.” for all of your work in developing your Other reasons that young adults gave The Gift of Song gifts and sharing them. Thank you for include friendships and camaraderie in helping us enter more fully into “the heart music ensembles. So much of this involve- Sing to the Lord makes some bold state- of the mystery” of divine Love. Indeed, ment is clearly about relationships. ments, but do we believe and act on them? song has an individual and a communal We asked what parish leaders could Do you believe, for example, that “God dimension. It is no wonder that singing do to attract more young adults to help. has bestowed on [us] the gift of song” together in sacred space expresses God Joe said: “Invite, invite, invite, and never (STL, 1)? Do you believe that “music is in our midst so well. assume that it is a waste of time to invite a way for God to lead us to the realm of again.” Linda added: “Just do an excellent higher things” (STL, 2)? Do you believe Ask Them job.” Debbie’s response: “Explain more the that indeed “God, the giver of song, is eternal rewards that come from serving.” present” whenever God’s people sing We said earlier that if you want to Anne suggested: “Ask ten active people praises to the Holy One (STL, 1)? Do you know what young adults are thinking, each to list ten names of young adults they believe that “Christ always invites us . . . ask them. In preparation for this talk, we think would be good. Then send a per- to enter into song” (STL, 14)? And do you did ask them, and here’s what they had sonal invitation for the position you want believe these creedal statements apply to to say. them to fill. Also, make sure you don’t ask all God’s beloved daughters and sons of When we asked those not currently too extensive a commitment.” Cathy said: all ages, races, cultures, and creeds (see helping at Mass as a liturgical minister “Choose contemporary music—even one STL, 1)? if they have ever considered helping at song a Mass would help.” We certainly do! Music is a sacred, Mass, the overwhelming response was And we asked those currently involved powerful expression of God in our midst yes. But some said no. Stacey explained in music ministry what they appreciate and a strong force in worship. We know it; that she only goes to the 7:00 pm Mass, most in a music director. Erin said: “One we feel it. We sing it! And we work hard and they don’t seem to need any help. that is welcoming to all parishioners and to draw others—including young adults Andrea said: “I’m not too sure if I can chooses music that all parishioners can and teens—into it. commit, since I have a child.” Kathy sing.” Eddie added: “Their willingness to God’s gift of song has the power to in- expressed surprise: “I didn’t know that be open to new music, and when they ask spire, as in Civilla Martin’s famous refrain: you could help at Mass. I always assumed the opinion of the choir on music.” Nathan

Pastoral Music • October 2009 41 The Newman Singers, directed by Joe Mattingly, ...... and part of their attentive audience

said: “I like when the director builds in does not come from one single action or ten three centuries after Christ by Saint time for musicians and singers to pray even a number of actions over a period Augustine.15 during rehearsal and the liturgy.” Renae of time. It is the attitude with which you said: “I appreciate a balance between and I approach the world every day. It Notes maintaining a level of difficulty, introduc- is asking God to continue to bless us, ing challenging works and expecting a lot to know what we possess, and to have 1. Marty Haugen, “All Are Welcome,” © 1994, GIA Publications, Inc. Used with permis- from our choir, and being welcoming to the courage to share it each day of our sion. lives. What makes a person holy is the new members, remembering we’re here 2. “We Will Walk with God,” traditional to minister and worship, and allowing a knowledge and deep understanding of Swaziland, trans. John L. Bell, © 2002, The sense of community to flourish among how God works through him or her in Iona Community, GIA Publications, Inc., agent. the group.” every moment of life. Used with permission. We then asked: What do you love most The Church and young adults should 3. United States Conference of Catholic about being part of music ministry? Fran- be an easy fit. They express their spiritual Bishops, Sing to the Lord: Music in Divine Worship ces said: “It’s a true faith experience, lov- hunger; we have the Bread of Life. They (Washington, DC: USCCB, November, 2007), ing Christians celebrating God together.” are altruistic—wanting to use their gifts 9. Other responses included these: “The to build a better world; we have countless 4. The internal quotation is from Pope Pius friendships that I’ve made.” “The lyrical opportunities for them to serve in Jesus’ XII, Musicae Sacrae Disciplina (On Sacred Music), 1955, 31. content brings an added dimension to my name. They are searching for meaningful 5. Anscar J. Chupungco, osb, in Eleanor prayer life—kind of like musical lectio.” relationships; our parishes and music pro- Bernstein and Martin F. Connell, eds, The Re- “Leading the congregation, and helping to grams are filled with wonderful, faithful newal That Awaits Us (Chicago, Illinois: Liturgy create an atmosphere centered around the people—the Body of Christ.14 We have Training Publications, 1997). Eucharist.” (Now, that’s good Church!) much to offer; they have much to learn. 6. Civilla D. Martin, “His Eye Is on the They have much to give; we have much Sparrow,” 1905. The Bottom Line to receive. 7. Marty Haugen, “Let Justice Roll Like a All of this holds true, of course, for River,” © 1991, GIA Publications, Inc. In working with teens, the bottom line more people than our teens and young 8. David Haas, “We Are Called,” © 1988, GIA Publications, Inc. is all about building relationships. That adults. Can we, God’s people, openly 9. Rory Cooney, “Change Our Hearts,” © happens when we spend time together, embrace all of God’s beloved daughters 1984, North American Liturgy Resources. enter into dialogue, and respect one an- and sons—especially those whose voices 10. Marty Haugen, “Turn My Heart, O other. The same is true for working with are not heard? Brother Roger of Taizé God,” © 2002, GIA Publications, Inc. young adults. It’s also about building wrote: 11. Lori True, “One Lord,” © 2003, GIA relationships and making the stranger Publications, Inc. feel welcome. Dialogue is key, but in true When we realize that God loves even 12. Danielle Rose, “God Is,” © 2001, Dani- dialogue the potential exists for both par- the most forsaken human being, then elle Rose Skorich, published by World Library ties to change. You’ve got to be honest, our hearts open to others. We are made Publications. All rights reserved. open, and respectful both to the other more aware of the dignity of each per- 13. John Paul II, Letter to Artists (April 4, 1999), 14. person and to the presence of God in the son, and we ask ourselves: How can we help prepare a different future? Others 14. This part of the paragraph is adapted midst of it all. can recognize our trust in God when from John Cusick and Katherine DeVries, The Holiness is grounded in gratitude. It we express it by the simple giving of Basic Guide to Young Adult Ministry (Maryknoll, deepens when we have the courage as ourselves for others. Faith become New York: Orbis Books, 2001), 8. individuals to take on Jesus Christ and credible and it is passed on above all 15. Brother Roger of Taizé, Choose to Love his ability to give himself freely to others, when it is lived out. “Love and say it (Taizé-Communauté, France: Les Presses de especially to those most in need. Holiness with your life”: these words were writ- Taizé, 2006).

42 October 2009 • Pastoral Music Homily Jealousy and Rivalry, Providence and Mercy

By Cardinal Daniel N. DiNardo

wo groups, two ordered pairs— Joseph and his brothers and Je- sus and the Twelve. Two sets of eyes shedding light on our situa- Ttion and our faith. The first text proclaimed to us tonight, from the Book of Genesis, is drawn from the block of material dedicated to the story of Joseph—perhaps the most superlative and beautiful of the texts of Genesis in terms of unity of direction, sheer suspense, and excellent division into well-ordered scenes. It also offers perhaps one of the most beautifully developed and subtle senses of divine Providence in all the Scriptures. Sisters and brothers, whatever the background and sources of the Book of Genesis, here we see inspired writing that is also terrifically brilliant. (Now, that is not to say that even terrifically unbrilliant writing in the Scriptures is unimportant. It is important, but it is nice when the text is brilliant too!) The sacred author in this section is a master of immense power of expression in little space—like a Josquin des Prez Mass: Much power in little space. We have arrived at the point, in the story of Joseph, of his ascent following his descent. The dreamer now is useful, and his looking, gazing, and dreaming into the future is now proved to be prophetic. He’s the grand vizier of Egypt: What an accomplishment! is now married and blessed with children, Despite the pain of personal loss, Before tonight’s passage, however, the Hebrew text says, he names his first Joseph’s foresight brings the whole there is a note of sadness. Though Joseph child Manasseh—“forget.” God, with the world in famine to well-stocked Egypt. gift of wife and his children, has helped The multi-colored-cloak dreamer has This text is an edited version of the hom- Joseph “forget . . . my father’s house” imagined a truly realistic assessment of ily preached by Cardinal DiNardo at the (Genesis 41:51, NRSV translation). There the situation and has done something 2009 Convention Eucharist. The Lectionary are several ways to translate the Hebrew about it. The famine finally brings—and texts were for Wednesday of the Fourteenth word—to “forget” or to “be distant” from we know it’s going to happen—his Week in Ordinary Time, Year I—Genesis his father’s house. I’d like to think that the brothers. The dreamer of dreams knows 41:55–57, 42:5–7a, 17–24a; Psalm 33; and word “Manasseh” should be rendered them, but they do not recognize him. The Matthew 10:1–7. “one who has become distant.” dark shadow of the lost but unforgotten

Pastoral Music • October 2009 43 Watch the New Testament, friends: Anyone called who meets Jesus—most especially the risen Jesus—always gets a who is always full of surprises. Amid esus and the Twelve: the second or- job. human choices, accidents, serendipity, dered pair. This is the beginning of a the divine compassion and providence J great sermon on mission that is pre- are constantly wrought before us and for ceded by the action of calling the us. No, Joseph cannot forget his father’s Twelve Apostles. Imagine the list, friends. Joseph dominates this whole section of house or his brothers. They also cannot You know it; we’ve heard it many times: the beautiful, sacred, inspired writing of forget him, though there is a kind of ma- Matthew, the former lackey of the Ro- Genesis chapter forty-two. licious amnesia that threatens to do just mans, is joining the fanatical zealot, Even in this section, we hear the that. The providence of God is subtle, Simon. My God! Jesus had no personnel brothers beginning to understand and to simultaneous, exact. board when he did this! react to an intense moral evil of their own Sisters and brothers, we too can grow They are called, they are sent. Each one making. They don’t react only because far from the house and the loving plan of of us called and sent—sent as stewards of they fear an avenging God. For the first a God who does not inhibit human free- the mystery, unlike Jesus, who was only time in the narrative, the plaintive cries of dom even while drawing us with subtle sent. He never had to be called, even in his their brother are suddenly brought again bands of divine embrace: That’s what human nature, from the first moment he to their memory. What could be more we mean by providence. God’s creation was aware of himself at all, as indicated poignant at the end of this story: Joseph and God’s providence in the narrative of in an odd way by St. Luke in the story of weeps. There is a singular beauty to the Joseph shape one magnificent polytonal the loss and finding in the Temple (Luke human condition and the way the human chord that works together. 2:41–53). Jesus is not being a nasty teen- condition is caught up by the sacred au- ager; he’s being Christological when he thor in a way that does not sacrifice real- o we need to apply the lessons asks his wondering parents: “Well, why ism—caught up in an act of watching the of this text to ourselves? Please, did you look? Didn’t you know?” Jesus most subtle, beautiful, divine providence Dfriends, let’s not lose the poetry was never called, but he was always and divine mercy working together. of this reading; instead, let its rich poetry sent. In the narrative of Joseph, divine embrace us. So the Lectionary provides, for In the mystery of our being chosen, providence is not oppressive, and di- the response is not a psalm of instruction Jesus sends us. Watch the New Testa- vine mercy does not necessarily spare but Psalm 33—one of the most beauti- ment, friends: Anyone called who anyone—neither Joseph nor his broth- ful, creative psalms about the word and meets Jesus—most especially the risen ers—from testing. Oh, how we wait for action of God. It sings of God’s mercy Jesus—always gets a job. Always. There the moment when, in a chapter and a half, always upon us, God’s divine hesed and is no unemployment for witnesses in the Joseph will look and say: “I am Joseph, faithfulness, hallmarks of the God of New Testament. your brother.” Israel, never suspended. For the early What superb ministries you have been This family, therefore, by subtle, di- Church, the psalm’s lines “by your words sent to do. Called at baptism—as we are vine providence, will wend its way to the heavens were made, by the breath of all called—you are sent to a particular Egypt—even with Jacob the father and your mouth all the stars” were used to ministry, a superb one in the Church. Benjamin the youngest son. And that prove the Trinity. Today, we would say Even though there may be some Mat- will be the background for another act that this is a terrible sin of allegory, but thews, some Simon the Zealots, Peters, of mercy and divine providence on the I wish we had equally imaginative ways or Andrews in our midst, depending on part of the God of the Book of Genesis, of looking at this psalm! personality and outlook, the only obstacle

44 October 2009 • Pastoral Music to the ministry—the only thing that can get in the way—is what happened in the story of Joseph: jealousy and rivalry. It’s a killer in pastoral music. Friends, in the brilliant openness of Joseph, weeping for his brothers, and in the extraordinary generosity of Jesus, who gives the Twelve a sermon and sends them off with far more trust in them than we would ever offer someone else, we get the sense of how generously the power of the risen Jesus, now translated into his Church, gives to those whom he sends on a particular mission. Friends, if you don’t believe that you have been sent on a mission of pastoral music, then celebrate this liturgy, have fun, go home, and resign. But if you know that

If you don’t believe that you have been sent on a mission of pastoral music, then celebrate this liturgy, have fun, go home, and resign.

Above: Hollie Uccelini proclaims the first reading, and the psalmists lead the responsorial in some mysterious divine providence psalm. Left: Deacon Manuel Dorantes proclaims the Gospel. Below: Jennifer Kerr Breedlove and stewardship that Jesus has called directs the choir and instrumentalists for Mass. you and you have said “yes,” then go be mystagogical. Find people in a modest but irreplaceable role. Teach them what it means to sing God’s praises. Last May, Pope Benedict XVI, whose comments are marvels of mystagogy, preached a sermon on Ascension. He said we get it wrong when we think the Lord Jesus went away. He’s not an absent Lord; he’s present, but he’s present in a new and different way. Pope Benedict prayed for the whole Church that what we would learn from the ascension of Jesus and being sent by him would be serenity and enthusiasm: Those are the very opposites of jealousy and rivalry. Brothers and sisters, what a mag- nificent group you are! (But don’t get big heads about it.) We are serene and enthusiastic in this liturgy, and that is important. It is equally important in our parishes, for what happens in our liturgy is far more important than people would ever imagine, at least in Jesus’ eyes. To- night, just like the apostles, we are called and sent. May the Lord profoundly bless your work and ministry, guide you into the serenity and purity of heart that only he can give, give all of us the enthusiasm about the work of music and liturgy, and may no jealousy or rivalry touch you.

Pastoral Music • October 2009 45 Hovda Lecture Liturgical Music Ministry as Communion for Mission

By Kathleen Harmon, snd de n

ur assigned task is to take a the Trinity to transform the Church into nor empower itself, nor determine for critical look at what Sing to the deeper communion for mission. itself its mission. Rather, the life, power, Lord: Music in Divine Worship and activity of the Church are gifts of the (hereafter STL)1 has to say Trinity given for the purpose of leading Oabout ministry in general and liturgical Theological Foundations all of humanity into the very life of God, ministry in particular. We are faced at the in Co-Workers that is, into that communion of self-giving outset, however, with a problem, for STL love in which all have fullness of life. says nothing about ministry in general The bishops’ statement Co-workers in Defining God as “communion revealed and nothing about liturgical ministries the Vineyard is remarkable both for its in mission” and Church as participation in other than that of liturgical music. What endorsement of lay ecclesial ministry3 this divine communion for mission opens I offer here, then, is not a commentary on within the Church and for the theological up a new dimension in understanding the the notion of ministry in STL. Instead, I foundations on which it bases this en- Church and its ministry. Church is com- take the image of communion for mis- dorsement. We can summarize these munion in service of mission. Moreover, sion used in Co-workers in the Vineyard of foundations under three headings. the mission is communion, our commu- the Lord (hereafter CVL),2 the document Communion for mission. Theological- nion with God, our communion with one on lay ecclesial ministry promulgated by ly, CVL builds on developments in eccle- another in the Church as Body of Christ, the United States Conference of Catholic siology and lay ministry which marked and our communion with all humanity as Bishops in 2005, to see how that image the latter half of the twentieth century, brothers and sisters called to live divine forms and fleshes out the notion of min- influenced the documents of Vatican II, life in the reign of God.7 istry in STL. and catalyzed an exponential growth in All are called to communion for mis- Our procedure is simple and unfolds lay ecclesial ministry in the United States.4 sion. Because of baptism, all members in three related steps. First, we consider The core of CVL’s approach to Church of the Church are gifted to live out in ecclesial ministry in relation to the Trinity, and ministry is found in its integration of some specific way this communion for Christ’s mission, and ordained ministry. communion and mission: “Communion mission which begins in the Trinity and Second, we consider how STL views li- and mission are profoundly connected is the source of the life and activity of the turgical singing. Finally, we pull the two with each other, they interpenetrate and Church: “Baptism initiates all into the one together using communion for mission mutually imply each other to the point priesthood of Christ, giving each of the as our lens. In the end we will find that that communion represents both the source baptized, in different ways, a share in his much of what STL asserts about music and the fruit of mission: communion gives priestly, prophetic, and kingly work. And ministry can, in fact, be said about all rise to mission and mission is accomplished so every one of the baptized, confirmed liturgical ministries because all these in communion.”5 in faith through the gifts of God’s Spirit ministries serve the same purpose: to Both communion and mission begin in according to his or her calling, is incorpo- enable the liturgical action initiated by the Trinity: “The mystery of God is one of rated into the fullness of Christ’s mission love, the love of Trinitarian communion to celebrate, proclaim, and serve the reign Sister Kathleen Harmon, snd de n, a revealed in mission” (CVL, 19). CVL of God” (CVL, 18). While re-affirming the pastoral musician, author, and clinician, defines the Church in the same terms. distinctive nature and role of ordained is the director of music at the Institute for The Church, “a communion in which ministry, CVL clearly moves away from Liturgical Ministry, Dayton, Ohio. This members are given a share in the union a dualistic ecclesiology which holds that article is an edited version of one of five with God brought about by Jesus Christ in only some are called and gifted by the Hovda Lectures presented during the NPM the Holy Spirit” (CVL, 19), is “a mystery Spirit to continue the mission of Christ. National Convention in Rosemont and of Trinitarian communion in missionary Within a hierarchical structure the Church Chicago, Illinois. Early in 2010, all five lec- tension.”6 The Church, founded by Christ, is called to a relational, complementary, tures will be available online at www.npm. “finds its source and purpose in the life and collaborative model of ministry which org, and printed copies may be purchased and activity of the Triune God” (CVL, identifies, validates, and uses the charisms from NPM Publications. 19). The Church does not make itself, given to all members of the Church. Such

46 October 2009 • Pastoral Music collaboration marks the communion which is the Church and reveals the relational life of the Trinity as the source of the Church’s life and ministry. Ordered communion for mission. The Church, the Body of Christ, has many parts, many gifts, all oriented toward fulfillment of the Church’s mission. Nonetheless, by virtue of the sacrament of orders, the ordained participate in the priesthood of Christ in a manner that is different both in degree and essence from the participation of the lay faithful. Ordained ministry holds a unique place “This convention was a spiritually in the Church and carries a unique em- uplifting experience which I can powerment. All other ministries function in relation to it (CVL, 21). take back to my parish to enhance Here CVL reveals the ongoing ten- my growing music program.” sion in the Church between the rise of A Convention Participant lay ecclesial ministry and the role of the ordained, between the hierarchical priest- hood and the common priesthood of all the baptized. By grounding all ministry in the communion of the Trinity, however, CVL clearly follows a shift initiated at Vatican II from “viewing the common priesthood in terms of the hierarchical priesthood to viewing the common priest- hood in terms of the community, the whole church in its relationship to Christ.”8 In this light, ordained ministry, while unique in essence and distinct in forms of service, is fundamentally an ordering for the sake of communion for mission. Thus the diocesan bishop is the locus, guide, and protector of communion for mission in the local church: “The ontological and functional differentiation that sets the Bishop before the other faithful, based on his reception of the fullness of the Sacra- ments of Orders, is a manner of being for the other members of the faithful which in no way removes him from being with them.”9 The pastor is locus, guide, and protector of communion for mission in the parish: “The ministry of the priest is entirely on behalf of the Church; it aims at promoting the exercise of the com- mon priesthood of the entire People of God.”10 CVL makes clear, then, that its endorse- ment of lay ecclesial ministry does not un- dermine ordained ministry as an essential and constitutive element of the Church. Both forms of ministry are needed, each serving different aspects of Church life; both arise from the same baptismal com- munion; both serve the same mission of Christ. The ordained priesthood and the Top: Thursday afternoon lunch on the bus (left) before we arrived in Chicago (right). common priesthood of all the baptized are Center: “The Fire in the Lamp” at Saint James Episcopal Cathedral. ordered to one another so that all mem- Bottom: David Benjamin Sañez and David C. Jonies (shown) played in the “Young Organists bers of the Church may grow in holiness Recital” at St. Chrysostom’s Episcopal Church.

Pastoral Music • October 2009 47 and service (CVL, 21). Hence the model holds nothing in reserve. Such gifting within us. Our body-song vibrations for interaction between ordained and defines the very nature of the Trinity: reveal the interiority of both the deep lay is to be one of collaboration, one that three Persons who exist in a communion presence of God within us and our choice honors varying gifts and authorities and of self-giving love and whose self-giving to make that Presence known to others. uses all in faithful service to the Church’s flows into the divine work of creation, Liturgical song binds together the communion and the Church’s mission. incarnation, redemption, and, ultimately, Body of Christ. “By its very nature song The appropriate model of the Church is the divinization of humankind. has both an individual and a communal not a vertical structure which divides la- A second implication is that liturgi- dimension” (STL, 2). The shared resonance ity from ordained but concentric circles, cal singing is not our self-expression but generated by our liturgical singing binds each of which delineates appropriate lines God’s self-expression in and through us. us together as the community of Christ’s of authority and responsibility and all of What God expresses in our song is the presence in the world. The vibrations which interact to further the mission of mystery of Trinitarian life given for the our song sends out into physical space Christ, both within the Church and in sake of the other. This mystery is most enter the bodies of all the other persons the world.11 Within these circles some are fully revealed in the “song” of Jesus in the space, causing them to vibrate in called by the Spirit to ordained ministry, on the cross: “Into your hands, Lord, I synchronization with us. Song binds per- others are called to lay ministry, but all give up my spirit” (Luke 23:46). In an sons together in a reciprocity of physical are called to live in communion and serve act of ultimate self-offering, Jesus gives vibrations generated by unseen will and the same mission: that of the coming of the Father back the breath given him at intention. The vibrations are tangible; the reign of God. his human birth. In Trinitarian terms he the interior dispositions which gener- Summary. CVL defines the Church as returns the Spirit continually given him ate them are not. The shared resonance communion called into being by the Trin- by the Father. Every time we celebrate the which marks communal liturgical sing- ity and missioned in communion to draw liturgy we enter ritually into this mystery ing is more than a symbiosis of physical all humankind into the relational life of the of the cross: We join our self-offering to vibrations in ear, bone, and brain. What is Trinity. Because of baptism, all members the self-offering of Jesus. We express this shared when we join together in liturgical of the Church are gifted for and called to self-offering through our singing because singing is the resonance of our common ministry in furtherance of this mission. this is the way we give our spirit back to will and intention to be one Body of Christ All ecclesial ministry—that is, ministry the God who first gave it to us. This self- given over to the worship of God and to within the Church on behalf of its life and gift is not generated by us, however, but the mission of the Church.13 activity—is directed toward enabling the is instigated by God, who gives us the One of the outcomes of this shared Church to deepen its self-identity as com- Spirit and a body-soul created to sing. resonance is that those strong in faith sup- munion for mission. Ecclesial ministry Even our self-giving is not self-expression, port those who are weak (STL, 5). Those in serves to build up the communion of the then, but is God’s self-revelation in and the assembly who feel doubt or diffidence Church so that it may serve the mission through us. are embraced by the shared resonance of of the Church more effectively. Because A third implication is that since singing the rest of the community singing its faith the source of the Church’s communion for is not human self-revelation but the self- and commitment. On days when our faith mission is the relational life of the Trin- revelation of God, our liturgical singing is wavering or marginal, those whose will ity, all such ministry must be marked by needs to be an act of self-emptying so that and intention are sure and strong carry collaboration, respect for differentiation, God can give the divine self to us and us, and vice-versa. The compassion and and unity in diversity. reshape us according to the divine life care the liturgy calls each of us to show poured into us. What a paradox: Singing, the world begin already during the liturgy Theological Foundations in which is by nature an activity of self- itself and are made sacramentally present Sing to the Lord12 awareness and self-expression, becomes, through our singing. in the context of liturgical celebration, an Liturgical song celebrates the paschal Liturgical song comes from God. “God activity of self-emptying. mystery. “The primordial song of the Lit- has bestowed upon his people the gift Liturgical song is sacramental. Be- urgy is the canticle of victory over sin and of song. God dwells within each human cause song is God’s gift to us, liturgical death” (STL, 7), the canticle of the paschal person, in the place where music takes its singing is a sacramental revelation of mystery that death undertaken out of source” (STL, 1). God gives us song that divine presence (STL, 1). Moreover, this self-giving love yields new and greater it might lead us beyond our earthbound singing reveals our presence to one an- life. Every celebration of liturgy is a ritual selves to higher realms (STL, 2). Song other as Church (STL, 2). Liturgical sing- enactment of the paschal mystery in which begins, then, as the gift of a God who ing is a sacramental sign of God’s presence we unite ourselves with the self-offering loves us into greater being. within and among us and of our presence of Christ and are filled with the new life We generally think of music as a hu- to and union with one another as Body which communion with him and with one man creation, but STL suggests that we of Christ. Liturgical singing makes God’s another brings. In this ritual enactment we are the object for whom God creates song love for us and our interior response of confront head-on that we must die to self rather than its subject. We become its self-gift to God and to one another physi- in order to receive this new life. In order subject when we use song to sing back cally present and tangibly felt. to be filled by God with God’s own life our love to the God who first loves us When we sing liturgically, then, far we must empty ourselves. and sings within us. One implication of more goes on than the mere production So, like Christ, ours is a song of self- this theological insight is that we do not of musical sounds. The song generated by emptying. But our song of self-emptying generate who we are, what we have, or vibrations within our body is revelation is also one of unimaginable fulfillment. what we do; all is gift from the God who of the unseen vibration of God’s presence Our self-emptying makes room for the

48 October 2009 • Pastoral Music Paul French conducts the William Ferris Chorale in “Stained Glass and Sunlight” at Orchestra Hall.

God who, from the beginning of time, has with full force and compassion” (STL, 9). share in the mission of the Church and never ceased to make room for us. We are We do not sing to entertain ourselves, or in the ministry of liturgical music. To this taken up into the life of the Trinity (STL, to satisfy ourselves, or to bloat our sense end all musical choices for liturgy are to 10). The self-giving which our liturgical of self. Rather, we sing so that we might be directed toward full, active, conscious singing reveals and expresses is simply march together with greater courage and participation of the assembly in the response to the God who has first given conviction into the melee of the world liturgical action. By implication, STL is self to us. Where is the sting in a death where injustice, violence, poverty, oppres- indicating that liturgical music ministry such as this? sion, and division fracture the body of is an ecclesial ministry serving to build up Liturgical song propels us to mission. humankind. Emboldened by the paschal the Church as communion for mission. “The Paschal hymn, of course, does not mystery song of the Body of Christ, we The purpose of liturgy is communion cease when a liturgical celebration ends. gather these fragmented parts into the for mission. The purpose of the liturgy Christ whose praises we have sung, healing embrace of Christ. With Christ, is to draw the gathered assembly more remains with us and leads us through we sing over the world. With Christ, deeply into the life of the Trinity (STL, church doors to the whole world, with we become God’s song for the world, 10). Our liturgical singing is a sacramental its joys and hopes, griefs and anxieties. willingly emptying ourselves that God’s revelation of the presence of God (STL, The words Jesus chose from the book of melody may blow where it will, bringing 2, 6) and of our communion with one Isaiah at the beginning of his ministry life. another in Christ (STL, 10). In our liturgi- become the song of the Body of Christ” Authentic liturgical singing enables cal singing we both receive one another (STL, 8). us to participate fully, consciously, and as members of the Body of Christ and The gift of song which flows from God actively not only in the liturgy but also in strengthen one another in this union (STL, to each of us, and from each of us to one the life of the world as agents of salvation. 5). The deepest meaning of full, active, another as Body of Christ, now flows In both liturgy and living such participa- and conscious participation in the liturgy from the Body of Christ to the body of tion is challenging, “but Christ always is that we open ourselves to God’s offer the world. Song which is given that we invites us to enter into song, to rise above of divine life and surrender ourselves to might offer God praise is also given that our own preoccupations, and to give our the action of the liturgy as it transforms we might offer care and compassion to our entire selves to the hymn of his Paschal us into being more perfectly the Body of neighbor. The song which sacramentalizes Sacrifice for the honor and glory of the Christ sent on mission to the world. our love for God and our union with one Most Blessed Trinity”(STL, 14). All members of the assembly are called another also sacramentalizes our mission to communion for mission. Through to the world. baptism all members of the assembly—or- Just as our liturgical singing is not Liturgical Music Ministry and dained and lay—have been drawn into the self-generated, neither is it self-serving: Communion for Mission communion of the Church and are called “Charity, justice, and evangelization are to full, active, conscious participation in thus the normal consequences of liturgi- While STL does not explicitly define the liturgy (STL, 10–11). All are to join cal celebration. Particularly inspired by ministry, the document certainly follows themselves with Christ’s self-offering to sung participation, the body of the Word the lead of CVL. For example, STL indi- the Father in the Spirit. The participation Incarnate goes forth to spread the Gospel cates that all members of the assembly of all in the celebration of liturgy is an ac-

Pastoral Music • October 2009 49 tivity of collaboration, first with the Trinity about communion between priest and (STL, 31–32). What STL offers here is a who initiates the action, and secondly people.”14 The priest-presider’s chief min- concrete example of the self-emptying with one another as each member fulfills istry is to “convey to the faithful the living that is to mark all music ministry and his or her proper role in order to enable presence of Christ.”15 In other words, he is the collaboration that is to characterize the others to fulfill their proper roles. For to be the locus through whose leadership all ecclesial ministry. the sake of communion for mission, every the communion of the gathered assembly Indicating how much we have grown member of the assembly must let go of is deepened. in understanding the importance of the self-preoccupation and individualism. Third among the liturgical ministers is responsorial psalm in the Liturgy of the The role of liturgical music is to facilitate the deacon who, like the priest-presider, is Word, the section on the ministry of the this surrender so that all gathered for the to join in the singing of the assembly and, psalmist (STL, 34–36) offers new material. celebration may become the one body to the extent possible, to sing those parts This ministry requires not only musical offered with Christ for the sake of his of the liturgy assigned to him, such as, capability but also spiritual and pastoral mission in the world. for example, the dialogues at the Gospel skills. The psalmist must be able to express Furthermore, because the communion proclamation and at the dismissal (STL, the text of the psalm not only with clarity of the Church is universal, music chosen 22–23). In particular, his proclaiming but also with the conviction of personal for liturgy must reflect the diverse cul- the Gospel, announcing the intercessory faith; he or she must be able to sing with tures and languages of those gathered prayers, and dismissing the people from sensitivity not only to the text and its for celebration (STL, 57–60). Respond- the liturgy indicate that his chief ministry musical setting but also to the assembly ing to the multicultural diversity and is to send the Body of Christ on its mission members who are listening. Not said but intercultural relationships characterizing to the world. implied is the principle that the ministry many American parishes is one of the Listed fourth among music ministers of the psalmist is to build up faith within greatest challenges facing liturgical music is the gathered liturgical assembly, but the members of the assembly and to lead ministers today. Liturgical music must be STL’s presentation here is muddled. The them to deeper communion with the God chosen with regard for the cultural and relevant paragraphs (STL, 24–27) do not who speaks the Word of life and with one linguistic diversity of the people who do justice to the musical role of the as- another who have gathered to receive this have gathered for celebration, but it must sembly other than to state that “singing is Word. The psalmist’s ministry, then, is to also respect the demands of the rite. Two one of the primary ways that the assembly collaborate with the Trinity in building things are at stake here. The first is the of the faithful participates actively in the up communion for mission. unity in diversity of the communion of Liturgy” (STL, 26) and to imply that this The section on the cantor (STL, 37–40) the Church. The second is the power of singing is an avenue for the assembly to clearly offers a collaborative, other-serv- the liturgical rite to transform those who eschew “individualism and division” ing model of music ministry. As song have gathered into being this communion (STL, 25). The section then jumps to the leader, the cantor has two principal roles: more perfectly. These two values stand in need for continual musical formation of to sing in alternation or dialogue with the “missionary tension,” and dealing with the assembly (a ministerial role for pastor assembly for such musical elements as the this tension requires collaboration and and the music director) and to the neces- Gospel acclamation and to assist when self-emptying on the part of all members sity of choosing music within a given the assembly needs help to do its part. of the Church. assembly’s musical capability (another In the latter situation the cantor’s voice Liturgical music is ordered for com- role for the pastor and the music director). should never dominate the singing of the munion for mission. By beginning with Nothing is said to explicate the meaning assembly. Moreover, the cantor should the musical role of the bishop, chapter of full, conscious, active participation in only be seen by the assembly when needed two of STL indicates that the ministry the liturgy. Nothing is said about how the and never in such a way that he or she of liturgical music is ordered. Read assembly through their communal singing is draws attention away from the liturgical through the lens of CVL, this ordering is enabled to enter more fully into the liturgi- action. Clearly, the ministry of the cantor for the sake of communion for mission. cal dynamic of becoming communion for is one which minimizes self for the sake The primary person responsible for the mission. STL would be a stronger docu- of building up the assembly. use of music in the liturgy is the local ment if it addressed the music ministry The ministry of the organist and other bishop, who encourages sung liturgy by of the assembly more thoroughly. instrumentalists is also one of collabora- his own example; pays attention to the STL next describes the ministerial roles tion for the sake of supporting others in practice of liturgical music in his diocese; of the various specialized ministers of their ministry. Instrumentalists are to and promotes the musical education and music: the choir, the psalmist, the cantor, lead the singing without dominating or formation of clergy, seminarians, deacons, the organist and other instrumentalists, overpowering (STL, 41). STL indicates and musicians (STL, 16). and the director of music ministries. times when instruments may be played Second in importance is the priest- Concerning the role of the choir, STL af- alone as part of the liturgy (STL, 43–44) presider, who is the visible presence of firms its importance but adds the caution and, while not explicitly saying it, the Christ leading his Church in prayer. He that it must never “minimize the musical document implies that whatever is played is to join in the assembly’s singing of the participation of the faithful” (STL, 28). is appropriate to the liturgy, never a dis- acclamations, chants, hymns, and songs Even when singing alone, the choir’s role traction from the liturgical action, and is (STL, 21) and, to the extent possible, to sing is to serve the liturgical participation of directed toward leading the assembly to the presidential prayers and dialogues the assembly. Choir members are to see its full, conscious, and active participation (STL, 19). The dialogues are among the themselves as members of the assembly, in the celebration. most important elements in the liturgy to joining in the congregational singing and Finally, the director of music minis- be sung because they “foster and bring participating fully in the ritual action tries—parish or diocesan—collaborates

50 October 2009 • Pastoral Music with both ordained and lay people in overseeing, planning, and coordinating a program of liturgical music that ensures the active participation of the assembly and promotes the involvement of many individuals in the doing of music ministry (STL, 45–47). Here STL directly quotes CVL, defining the role of the director as one that “finds its place within the com- munion of the Church and serves the mission of Christ in the Spirit.”16 Analysis of STL’s hierarchical ordering of liturgical music ministries reveals an implicit understanding that these minis- tries are ordered to one another for the sake of communion for mission. They are also an ordering in collaboration. No liturgical music minister functions in isolation from the rest of the assembly; rather, all function for the upbuilding of the whole. This hierarchical ordering enables and assures the unity of the whole precisely because it functions in collab- orative differentiation. Such collaborative differentiation requires the discipline of self-emptying, for each minister must do his or her part with integrity, then step out of the way so that other ministers may do their part, thus enabling the unity of the whole to emerge. In the very celebration of liturgy, then, music ministers are to do what they are called to do in daily living: empty themselves so that God may bring all humankind into the fullness of divine life.

Liturgical Music Ministry as Communion for Mission

“All pastoral musicians—professional or volunteer, full-time or part-time, direc- tor or choir member, cantor or instru- mentalist—exercise a genuine liturgical ministry” (STL, 50). This ministry, as all ministry in the Church, finds its roots in baptism and rests on a personal experi- ence of the loving embrace of the Trinity (CVL, 38). Pastoral music ministry is primarily one of enabling the assembly members through music to surrender themselves to the action of the Trinity transforming them into being more fully the Body of Christ sent in mission to hasten the coming of the reign of God. To do this ministry, pastoral musicians must first surrender themselves to this action of God. The very doing of liturgi- cal music ministry in communion and collaboration with others will lead them The Holy Cross Marimba Ensemble (top) played at Chicago’s Orchestra Hall before the in this direction. Music ministry is itself performance (center) of John Moulder’s Trinity. Convention participants (bottom) joined the communion for mission. William Ferris Chorale in the Widor/Ferris Festival Alleluias.

Pastoral Music • October 2009 51 On June 28, to mark the closing of the Year of Saint Paul, my parish hosted an archdiocesan celebration of solemn ves- pers with coadjutor Archbishop Dennis Schnurr presiding. Since the parish has a very small choir, I knew I needed to swell the ranks for this auspicious event. So I called the music directors of two neighboring parishes and made my plea, anxious about bringing relative strangers together with minimal rehearsal for such a solemn liturgy. The result, however, was marvelous because my choir plus the sixteen additional singers who joined us gave themselves over to their ministry. They knew they were there to serve the liturgy and to enable the assembly to enter into full, conscious, active participation in the rite. Collaborating for this purpose, they became a communion for mission. And everyone gathered for this liturgy followed their lead: We became Church, the Body of Christ bonded in the com- munion of the Trinity and nourished for the work of drawing all of humankind into this communion.

Notes

1. Sing to the Lord: Music in Divine Worship (Washington, DC: USCCB, 2007). 2. Co-Workers in the Vineyard of the Lord: A Resource for Guiding the Development of Lay Ecclesial Ministry (Washington, DC, USCCB, 2005). 3. Agreement has not yet been reached on original), cited in CVL, 20. in CVL, 24. an official definition of lay ecclesial ministry. A 6. John Paul II, I Will Give You Shepherds: 11. Hahnenberg develops the argument of working definition in line with current thinking Pastores Dabo Vobis (Washington, DC: USCCB- Yves Congar that a shift in ecclesiology toward on the subject would be: ministry rendered by Libreria Editrice Vaticana, 1992), 12; cited in Church as communion necessitates a model of the non-ordained within the Church on behalf CVL, 19. interaction between ordained and lay “where of the Church’s life and activity. Ministries such 7. Note that the term used here is “com- the community appears as the enveloping as directors of religious education, directors munion” not “community.” “Communion” reality within which the ministries, even the of music ministries, directors of liturgy, and refers to our union with the Trinity because of instituted sacramental ministries, are placed as pastoral associates would fall within this the gift of divine life given us in baptism and to modes of service of what the community is called category. our union with one another in Christ through to be and do” (Congar, “My Path-Findings in 4. For developments in the Church’s under- baptism: We are daughters and sons of God; we the Theology of the Laity and Ministries,” The standing of and attitude toward lay ministry are Body of Christ. This union with God and Jurist 32 [1972], 178; italics in original); cited in in general and lay ecclesial ministry in par- one another through baptismal transformation Hahnenberg, Ministries, 9. ticular, see Edward P. Hahnenberg, Ministries: is far deeper than any sociological “commu- 12. The following section is a condensation A Relational Approach (New York, New York: nity” we may ever experience, deeper even of my Music Notes column, “Commentary on Crossroad Publishing Company, 2003); Susan than family blood. It is not achieved by any Sing to the Lord: Music in Divine Worship, Part 1: K. Wood, ed., Ordering the Baptismal Priest- activity on our part but is the free gift of God The Underlying Theology,” Liturgical Ministry hood: Theologies of Lay and Ordained Ministry and the source of all authentic “community” 17 (Spring 2008), 100–102. (Collegeville, Minnesota: The Liturgical Press, within the Church. 13. For an expanded discussion of song as 2003); USCCB, Called and Gifted: The American 8. Hahnenberg, Ministries, 173 (italics in shared resonance and as revelation of hidden Catholic Laity (Washington, DC: USCCB, 1980); original). will and intention, see chapter two of my book USCCB, Called and Gifted for the Third Millen- 9. John Paul II, On the Bishop, Servant of the The Mystery We Celebrate, The Song We Sing: A nium (Washington, DC: USCCB, 1995); USCCB Gospel of Jesus Christ for the Hope of the World: Theology of Liturgical Music (Collegeville, Min- Subcommittee on Lay Ministry, Lay Ecclesial Pastores Gregis (Vatican City, 2003), 44; cited nesota: The Liturgical Press, 2008). Ministry: the State of the Questions (Washington, in CVL, 23. Online: http://www.vatican.va/ 14. General Instruction of the Roman Missal, DC: USCCB, 1999); and CVL. holy_father/john_paul_ii/apost_exhortation/ 34; cited in STL, 115a. 5. John Paul II, The Vocation of the Lay Faithful documents/hf_jp_ii_exh_20031016_pasgtores- 15. General Instruction of the Roman Missal, in the Church and in the World: Christifideles Laici gregis_en.html. 93; cited in STL, 18. (Washington, DC: USCCB, 1998), 16 (italics in 10. John Paul II, Pastores Dabo Vobis, 16; cited 16. CVL, 17; cited in STL, 46.

52 October 2009 • Pastoral Music The Art and Challenge of Collaborative Liturgy

By Paul J. Schutz and Stephen P. Lintzenich

art of what makes an out- standing pastor is establishing a collaborative relationship with musicians, particularly withP a parish’s director of music minis- tries. We’re honored to share our ideas on collaboration with the readers of Pastoral Music, and we hope our words will inspire you. But before we get to any description of collaboration, we must lay a foundation in our shared understanding of liturgy.

“Before All Else”

The Church has called “full and active participation” the “aim to be considered before all else.”1 If that’s the case, assem- bly participation is the defining factor of “good liturgy.” Good music, for which we Father Stephen Lintzenich (left), recipient of the 2009 NPM Outstanding astorP of the Year all strive, does not define excellent liturgy, Award, with Dr. J. Michael McMahon and NPM Board President Joanne Werner. although it certainly contributes. But when an assembly does not participate in work of God’s people). Consequently, But poorly-celebrated liturgies obscure its own song, our churches become little the work of musicians and presiders is the Real Presence of Christ, hinder the more than concert halls. foremost to empower the assembly to assembly’s ability to attain the true Chris- Likewise, liturgy is more than words find its voice and proclaim its faith in tian spirit, and squelch the Eucharist’s and gestures. Excellent liturgy is about word and song. If we believe that God power to transform the assembly. Inspir- one body proclaiming one faith in praise works actively in our lives (lex credendi), ing full participation is a challenge, but of one God (that’s what liturgy means—the the way we worship must reflect that it must be our supreme priority if liturgy belief (lex orandi). Otherwise, our worship is the “source and summit”4 of Christian Mr. Paul J. Schutz is the director of is inauthentic. For, liturgy is organic; in it life. Collaboration is crucial to achieving worship at St. Mary Church, Evansville, the Holy Spirit moves. Likewise, we must this end. Indiana, and Rev. Stephen J. Lintzenich move our assemblies to participate fully is the pastor of St. Mary Church, sacra- in the “primary and indispensible source mental minister and moderator at St. John from which the faithful are to derive the Collaborating Well: Church, Evansville, moderator at Good true Christian spirit,”2 so that they may Three Relationships Shepherd Church and St. Joseph Church, worship in Spirit and truth. both in Evansville, moderator at St. John We learn from our experiences, good Successful collaboration is built on Chrysostom Church, New Boston, and and bad alike. Likewise, our liturgies— mutual respect. But respect doesn’t just part-time clergy personnel director. Father whether celebrated well or poorly—form “happen.” Respect takes work, and when Lintzenich, a priest of the Diocese of Evans- us. Just as the best catechesis on the it matures, a common vision for musical ville, is the recipient of the NPM 2009 Eucharist is a well-celebrated Eucharist,3 liturgy emerges. Over more than three Outstanding Pastor of the Year Award. The the worst catechesis on the Eucharist is a years, we’ve spent a lot of time walking, Outstanding Pastor Award recognizes one poorly-celebrated Eucharist. An empow- talking, eating, and learning together. We pastor from the United States who fosters ered assembly, celebrating well, invites the share personal struggles and issues related the art of musical liturgy through exem- Holy Spirit to work anew each Sunday. to our ministry. Liturgy is relational; no plary pastoral leadership, a collaborative Just as the bread and wine become the pastor-musician team can hope to con- relationship with musicians, and participa- Body and Blood of Christ, its members are nect intimately with an assembly if they tion in NPM. transformed and can transform the world! have not first connected with each other.

Pastoral Music • October 2009 53 So, spend time together. Get to know each other, and witness the impact that a positive personal relationship can have upon an assembly at prayer. Pastors and musicians share a common baptism, the priesthood of the faithful, and the call to discipleship. We act upon that call in ministry, but we must also celebrate it in prayer. Taking time to pray together regularly builds a spiritual relationship that feeds all others. It invigo- rates our ministry. Prayer is paramount to collaboration. When grounded on excellent personal and spiritual relationships, professional re- lationship is easy. We share an open-door policy. If one of us thinks something could improve, such as a homily or a hymn selec- tion, we share that idea. If there’s some- thing we downright dislike, we share it. Sometimes we get frustrated. Sometimes Above: Catherine Christmas with her husband, Paul Inwood (right), recipient of the 2009 we get exasperated! But knowing that the Pastoral Musician of the Year, and Monsignor Ray East (center), who received the 2009 person on the listening end is willing to Jubilate Deo Award. change for the good of the assembly is Below, left: Council of Chapters President Hollie Uccelini and Dr. McMahon with John invaluable. When we put egos aside and Halloran, director of the Outstanding Chapter, San Antonio, Texas. focus entirely on the prayer of the as- Below, right: NPM President Michael McMahon with DMMD Member of the Year James sembly, it doesn’t matter who’s “right”; Wickman. we collaborate for the greater glory of God. And we cannot forget the positive: Mutual gratitude and affirmation of jobs well done are also imperative.

Listening

If we seek to empower our assemblies, we must heed their feedback. Our parish is blessed with a liturgy committee that for twenty-five years has determined each other and visitors as they arrive. We Frequently, the pastor pops in at choir principles and best practices for liturgy. learn visitors’ names and find out what rehearsal to thank the choir for its ministry. Our committee is a microcosm of the brings them to our community. We reach Together, we strive constantly to thank all parish—people of all ages who are pas- out in hospitality to engage the assembly our ensembles—a choir, chamber octet, sionate about liturgy—not “yes people” even before Mass begins. Liturgy is about orchestra, contemporary ensemble, youth who rubber-stamp our ideas. With the relationship: with God, the Church, and choir, chimes ministry, and cantors and liturgy committee, no idea is sacrosanct; the assembly. psalmists—who serve our 460 families the committee discusses and approves We celebrate the rhythms of life and year-round. We are not a large community, every liturgical action and owns the the liturgical year. For Advent/Christmas, but we are a community that shares its outcome, even when the pastor or direc- Lent/Easter, and Pentecost, we use specific great gifts. This would be impossible with- tor of worship (or both!) disagrees. For a sung Eucharistic Prayers and introduc- out the spirit of collaboration that stands committee isn’t truly a committee until tory rites. These form the assembly in at the heart of our common ministry. it has decided something with which its the sanctity of time and the value of each In other words, we are co-workers in leaders disagree. The humility needed to season. We celebrate baptism within the the vineyard. “let go” is vital to collaboration. Sunday Eucharist, and we sing the rite. Together, we prepare each season’s mu- Doing Liturgy Collaboratively sic, so that the presider and musicians Notes can pray effortlessly and can enliven the 1. Second Vatican Council, Constitution on the Our mission has always centered on ex- words they proclaim—and our assembly Sacred Liturgy Sacrosanctum Concilium, 14. cellent liturgy, hospitality, and outreach. responds. At times, our assembly’s singing 2. Ibid. Yet, over time, the liturgy has emerged overwhelms even that of our highly-ac- 3. Eleventh General Assembly of the Synod of as the primary means to realize all these complished choir. These moments give Bishops: On the Eucharist (October 2–23, 2005), values. Every week, the parish—staff us great joy. For when assemblies “sing propositio 19. and parishioners alike—warmly greet to the Lord,” our Church thrives. 4. Sacrosanctum Concilium, 10.

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Pastoral Music • October 2009 55 INSTRUMENTAL I N MUSIC EDUCATION Chapter News

TON EC HIMES & C HIMETTES ers; and speak with musicians, deanery Outstanding representatives, and pastors about needs Chapters, Part 1 and issues. They re The Most! 2. How important is good organiza- ’ Every other year, in the odd years, NPM tion to a successful chapter? recognizes the work of an “Outstanding Most Innovative Chapter.” Formerly known as “Chapter of Mary: Very important. It affects com- Precision crafted from fine lightweight the Year,” these chapters exhibit character- munication and attitudes toward the istics that include: a full slate of officers, aluminum, Suzuki ToneChimes have chapter. It shows respect for people’s excellence in programming, a high ratio time and their efforts. If organization is adjustable clapper heads for variable Most of local to national members, and a good not your strength, find someone with that expression and overtone tuning for relationship with the diocesan office of gift to assist. Convenient worship. Nominations come from NPM perfect harmonics. Beautiful yet cost John: E-mail is definitely important. members; the final choice is made by the Rugged, heavy duty padded travel We are “meetinged out,” so much of effective ways to share the music. Council of Chapters. cases (models HB-25/12a/12b). our planning is done on-line. Use those In order to highlight the work of these already in the field—local Hispanic choir 25-note set has wheels and chapters and to assist in the growth of all directors, composers, and teachers from pull handle – another Suzuki our chapters, we invited Mary Beaudoin, the Mexican American Catholic College, Most chair of NPM’s 2005 Outstanding Chapter exclusive! ToneChime tables are for example, make up our Hispanic Music (Washington, DC) and John Halloran, Comfortable Committee. both beautiful and functional. chair of our 2009 Outstanding Chapter Only Suzuki ToneChimes (San Antonio, Texas), to share some reflec- 3. How important is excellence in pro- feature tubular bells with rounded tions. Most Educational gramming? tone chambers. They’re easy to hold and easy to Suzuki ToneChime Method Books 1. Being named NPM Outstanding Mary: Pastoral musicians have limited play for extended periods. show you a step by step approach Chapter is a great honor. What have time; they want and need great pro- you done in your chapter that has Jacqueline Schnittgrund, a member of on how it’s done, even if you’ve grams. brought you to that level of excel- the NPM Council of Chapters, explores Most Affordable John: If it is well-crafted, they will come. “Chapter Board Challenges” during the never played before. Scored for lence? Bring in a rabbi, bishop, or editor. Chapter Officers’ Institute at the Chicago Bring the beauty of handbell playing 25-notes. Convention. to your school, church or musical Mary: Our chapter board members 4. How about timely and informative work together and support each other; ensemble with the lowest cost Chimes communication? C himettes we also practice good communication, available today. Don’t pay more! Involve the whole class with positive attitude, stick-to-it-iveness, and sic minister as well as to those of the Mary: This is vital. It is how you find being consistent in an effort to provide volunteer? What are the challenges, Chimettes as a starter set or add and keep people in the chapter, on the quality programs. and how can they be overcome? Most Expandable board, and coming to programs. We use to ToneChimes you already John: We work with diocesan offices monthly board meetings, newsletters (ten Start with our affordable 2 octave, 25 note have. Pitched one full and schools; develop an e-mail list of Mary: Yes! Potential problems to times a year), our website, and e-mail set. Add sets as your experience level diocesan musicians; work with publish- address include: differences in music octave above or phone response to vocabulary/language; egos on both sides. increases. 3rd octave, 4th octave and ToneChimes. every inquiry. We have worked to bring professional and new 5th octave bass note add on sets John: E-mail is im- volunteer—all types of musicians—to- portant: We send two gether, and we have helped them connect put on a spectacular show! e-mails per week—the on a non-musical level first. Once people first is a reminder of are friends, the ego issue fades away. upcoming events, the John: Education is education, and we second is a series of all need to be informed on the various is- Order Online Anytime! articles. sues facing our Church. Everyone benefits from this, whether volunteer or salaried. Ne w 2010 www.suzukimusic.com 5. C a n a n N P M In our diocese we have begun discussions Internet Deals chapter speak to with the universities about certification Daily exercise: Walking around the Donald E. Stephens the needs of the processes for directors, cantors, and other C a ta lo g! & Discounts Convention Center in Rosemont. professional mu- ministers. SEE OUR WEBSITE FOR DETAILS

56 October 2009 • Pastoral Music The Name You Know

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Many Songs Many Publishers OneLicense.net log on and take the tour today! www.onelicense.net experienced candidate skilled in a variety Hotline of musical styles. Instrument: mechanical action organ with straight pedal board, in very good condition. Responsibilities include: two Sunday liturgies (9:00 and 11:00), all holy days, choral rehearsals (Thursday evening and Sunday morning), participation in three or four concerts annually (accompanist/soloist), and first Hotline is a service provided by the Avenue N., Naples, FL 34108. Phone: (239) right of refusal for all parish weddings Membership Department at the National 566-8740; e-mail: [email protected]; and funerals (additional compensation Office. Listings include members seeking website: www.saintjohntheevangelist. for both). Excellent interpersonal skills employment, churches seeking staff, and com. Seeking highly motivated musi- are essential—working with director, occasionally church music supplies or cian with strong organ and piano skills, pastor, and other members of the parish products for sale. We encourage institu- experience in variety of musical styles, and in a flexible, personable manner. Experi- tions offering salaried positions to include well-versed in Catholic liturgy. Excellent ence with Catholic liturgy not essential the salary range in the ad and to indicate interpersonal skills required: working but beneficial. Salary commensurate with whether that range accords with NPM with director, pastor, and other members experience. Contact Phil Adams, Director salary guidelines (http://www.npm.org/ of this dynamic parish. Responsibilities: of Music Ministry. HLP-7350. Sections/DMMD/salaryguidelines.htm). playing weekend, holy day, and special Other useful information: instruments liturgies; accompanying an adult choir in use (pipe or electronic organ, piano), of more than one hundred voices and a Musician Available size of choirs, and the names of music children’s choir; working with instrumen- resources/hymnals in use at the parish. talists; assisting director in planning; first Organist/choir director seeking full or A listing may be posted: right of refusal for parish weddings and part-time position in Boston, North Shore funerals (additional compensation for area. I have more than thirty years experi- ♦ on the web page—www.npm.org— both); and assist with annual concerts as ence directing choirs: children, youth, and for a period of two months ($50 for accompanist/soloist. Salary commensu- adult. Skilled in the musical history of the members/$75 for non-members); rate with experience (full benefits). Send, Catholic Church from Gregorian chant ♦ in print twice—once in each of the e-mail, or fax letter, CV, and any support- through contemporary ensembles. Write next available issues of Pastoral Music ing materials to Todd Peterson, Director and arrange for guitars, strings, brass, and Notebook ($50 for members/$75 for of Music Ministry. HLP-7355. woodwind, and percussion. Also certified non-members); to teach choir chimes and handbells. Vocal ♦ both on the web page and in print New Jersey coach for cantors. Soloist for weddings ($75 for members/$125 for non-mem- and funerals. Excellent references. Full bers). Director of Music and Organist. St. Ann résumé upon request. Contact Patwillbe Church, 45 Anderson Street, Raritan, NJ [email protected] Available September 1, Ads will be posted on the web page as soon 08869. Phone: (908) 725-1008. Full-time. 2009. HLP-7354. as possible; ads will appear in print in ac- Direct adult choir, children’s choir, hand- cord with our publication schedule. bell choir; and play for four weekend litur- Format: Following the header informa- gies, holy days, weddings, and funerals. tion (position title, church or organization Oversee professional cantors and choir Seeking to Purchase name, address, phone, fax, e-mail, and/or section leaders. Advanced organ/choral website addresses), ads are limited to a skills with comprehensive knowledge Hymnals. Are you looking for a home for maximum of 100 words. of Roman Catholic liturgy required. The your old hymnals? St. Joseph Parish in Ads may be submitted by e-mail successful candidate will have degrees Seattle is in need of 150 additional copies to [email protected], faxed to (240) in organ performance, church music, or of the Gather Comprehensive hymnal (green 247-3001, or mailed to: Hotline Ads, 962 choral conducting. Possible opportunity first edition). Please contact Robert Mc- Wayne Avenue, Suite 210, Silver Spring, for school music teaching. Salary com- Caffery-Lent, Director of Music, Pastoral MD 20910-4461. When submitting your ad, mensurate with education and experi- Assistant for Liturgy and Music, St. Joseph please include your membership number ence. Send letter, CV, and supporting Parish, 732 18th Avenue East, Seattle, and the name of the person to whom or materials, including three professional WA 98112. Phone: (206) 329-5981; e-mail: institution to which the invoice should be references, to Msgr. Michael J. Corona at [email protected]. HLP- mailed. the above address. HLP-7353. 7357.

Ohio Position Available More Hotline Parish Organist. St. Francis of Assisi Florida Catholic Church, 386 Buttles Avenue, Co- Check the NPM website for additional lumbus, OH 43215. Phone: (614) 299-5781; Hotline ads and for the latest openings Parish Organist/Keyboardist. St. John e-mail: [email protected]; and available resources: http://www.npm. the Evangelist Catholic Church, 625 111th website: www.sfacolumbus.org. Seeking org/Membership/hotline.html.

Pastoral Music • October 2009 59
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By Joanne Werner and Kathleen DeJardin

and Texas come together and have a Choir Tour: common singing experience? My answer was to invite Kathy, a seasoned and pro- Pilgrimage to Rome fessional conductor, to come to Texas and Like many directors of music minis- spend some days rehearsing and working tries, Joanne Werner and Kathleen DeJar- with my choir. The choir not only had an din listened with envy to colleagues relay experience of her as a director but heard their experiences of taking their choirs on from another voice some things I had tours to faraway places. In wandering the been trying to communicate for months. exhibit halls at a convention, they passed We had spent almost a year learning the the Peter’s Way exhibit. Even though they tour repertoire and were ready for the had both known Peter Bahou for years final touches, which Kathy provided with and were aware of the wonderful trips grace and eloquence. I watched my choir grow in so many he planned for choirs, both women—for Interior, Santa Maria dei Ricci, Florence different reasons—felt they did not have ways: musically, spiritually, and as a small the choir “material” to make such a trip. Christian community. They continued to Peter would always ask: “When are you improve both as musicians and as sing- going to make a pilgrimage with your ers, and the trip challenged them to “get place in Rome on the day we arrived. I choir to Rome?” Finally, the women to the next level.” For many of my choir was impressed by the dedication of the did—with their combined choirs—and members, this was their first time to visit singers—those in Joanne’s choir and my here are their pilgrimage experiences. Rome, and for others it was their first choir members—especially those who time out of the country. I suspected that had rehearsed only with CDs. The excite- they would be very moved by the expe- ment, anticipation, and sense that this was Joanne: rience of visiting the places that have so Growing in Many Ways going to be a very special time of prayer much meaning for us as Catholics. In our and song was clearly evident in the time mystagogical sharing after we returned, spent in musical preparation. In 2002 I arrived at a new parish whose many spoke of a spiritual conversion they music department was almost non-exis- The singers still speak movingly of experienced. their experiences—their growth chorally tent. With the Triduum around the corner One personal benefit of this tour was I decided to form a small choir. Twenty- and spiritually and the depth of their my growth and development as a conduc- shared experiences. It was the first choir five people responded to that invitation tor. I was challenged to be more intentional and formed our first SAB choir. The choir trip for most of them, and they continue in warm-ups, to use rehearsal time wisely, to speak with deep gratitude and wonder grew over the following years, and it was to choose good music we could return at this stage of the choir’s development at what they experienced. The powerful to over the years, and to get feedback music that became their own, offered at that Kathy and I decided to collaborate and instruction on my conducting skills. with our choirs and plan a joint trip to the seat of our Catholic traditions, is an Having served as a singer in many pro- experience they will never forget. Italy. Neither of us felt that our choirs were fessional choirs, I knew how I liked to be large enough to go alone. In combining I strove to build a tour program com- conducted, but conducting others was a bining styles from chant to twentieth our efforts, we faced challenges, but the challenging and growing experience. results left us with a positive experience century anthems and from anthems that were choral standards to a “stretch” an- that was treasured by so many—singers Kathy: and pilgrims alike. them—one that challenged the singers One obvious challenge was distance. Moving Experiences with the power of the text and the melody, How do people from California, Colo- rhythm, and harmony of the setting. I was rado, Maryland, New York, Oklahoma, Because we were gathering choral moved by the experience of conducting ministers from across the United States I this very special choir. A special memory Ms. Joanne Werner is the director of knew that some of the singers would not is sung afternoon prayer at Santa Maria liturgy and music at St. Michael the Arch- have a choir with which to rehearse, so I dei Ricci in Florence. It was transcendent angel Parish in Bedford, Texas, and Dr. recorded practice CDs for each voice part. for singers and conductor alike. I hope Kathleen DeJardin is the director of music It was an honor to spend a few days in that everyone reading this will believe ministries at Holy Trinity Catholic Church rehearsal and prayer with Joanne’s choir. that they, too, can have a choir tour to (Georgetown) in Washington, DC. The first rehearsal of all singers took remember.

Pastoral Music • October 2009 61 Calendar

Concerts and Festivals Eighteen” Leipzig Chorales by Johann Sebastian www.shadysidepres.org. Bach. Recitalist: Renée Anne Louprette. Place: St. NEW YORK Ignatius Loyola Church. Contact: Sacred Music in Pittsburgh a Sacred Space, Church of St. Ignatius Loyola, 980 November 14 New York Park Avenue, New York, NY 10028. Phone: (212) American Federation Pueri Cantores Regional October 25 288-2520; web: www.smssconcerts.org. Choir Festival and Mass. Conductor: Paul French. Mander Organ Recital Series. Works of Marchand, Place: St. Paul Cathedral. Contact: Pittsburgh Festi- Sweelinck, Buxtehude, Bach, Alain, Barié, and New York val link at www.pcchoirs.org. Tournemire. Celebrity Guest Recitalist: James December 12 and 20 David Christie. Place: St. Ignatius Loyola Church. Christmas Concerts: Gloria in Excelsis! Music by WEST VIRGINIA Contact: Sacred Music in a Sacred Space, Church Pinkham, Gabrieli, Biebl, Büsser, Rutter, and oth- of St. Ignatius Loyola, 980 Park Avenue, New York, ers. Orchestra and choirs of St. Ignatius Church. Wheeling NY 10028. Phone: (212) 288-2520; web: www.smss Directors: Kent Tritle, Nancianne Parrella, Renée October 16 concerts.org. Anne Louprette, Robert Reuter, and Mary Huff. An Evening of Marian Music. Original composi- Contact: Sacred Music in a Sacred Space, Church tions initiated and commissioned as a tribute to New York of St. Ignatius Loyola, 980 Park Avenue, New York, Bishop Michael J. Bransfeld’s dedication to the November 11 NY 10028. Phone: (212) 288-2520; web: www.smss Blessed Virgin Mary, Queen of the Apostles, per- Sacred Music in a Sacred Space. An evening of concerts.org. formed by the choir of the Basilica of the National English choral music: Handel, Howells, and Shrine of the Immaculate Conception. Choir director: Peter Latona; organist: Luke Mayernik. Purcell. Conductor: Kent Tritle. Place: St. Ignatius PENNSYLVANIA Loyola Church. Contact: Sacred Music in a Sacred Sponsored by the Diocese of Wheeling-Charleston. Place: Cathedral of St. Joseph, Wheeling. Contact Space, Church of St. Ignatius Loyola, 980 Park Av- Pittsburgh Tina High at [email protected]. enue, New York, NY 10028. Phone: (212) 288-2520; October 25 web: www.smssconcerts.org. Music in a Great Space: Ken Medema, pianist and signer, with the Shadyside Chancel Choir. Place: New York Shadyside Presbyterian Church. Contact: Shady- November 22 side Presbyterian Church, 5121 Westminster Place, Conferences and events Mander Organ Recital Series. The complete “Great Pittsburgh, PA 15232. Phone: (412) 682-4300; web: CALIFORNIA

San Mateo February 8–11, 2010 Thirty-Seventh Annual National Organization a Fresh Look for Continuing Education of Roman Catholic Clergy (NOCERCC) National Convention. Theme: at “Be Holy Because I Am Holy: The ministry of sanctification in the ongoing formation of priests. the PsaLms Speakers and session leaders include: Cardinal Daniel DiNardo, Diana Macalintal, Rev. Richard everyday PsaLms Gabuzda, Rev. Ken Schmidt, Rev. Richard Hauser, 150 Meditations for sj, Archbishop Basil Schott, ofm, Rev. Msgr. Kevin Living the Lord’s songs Irwin, Rev. Gladstone Stevens, ss, and others. Place: San Mateo Marriott San Francisco Airport. Alan J. Hommerding Contact: Andrea Stapleton. Phone: (312) 781-9450, Daily meditations with commentary on ext. 216; e-mail: [email protected]. the selected psalm verse together with MICHIGAN a prayer and a modest activity. Discover a wealth of new insights and links to Great Plymouth the New Testament via these rich, one- For FoLks October 6–9 minute daily meditations. on-the-Go! National Meeting of Diocesan Liturgical Commis- sions. Theme: “Liturgical Formation with Patience 001759 Paperback ...... $12.95 and Zeal.” Co-sponsored by the Federation of Diocesan Liturgical Commissions and the USCCB World Library Publications Committee for Divine Worship. Place: St. John’s 800-566-6150 Retreat Center, Plymouth. Contact: http://www. PM109QT www.wlpmusic.com fdlc.org/NationalMeetings/Plymouth/2009-Nation- alMeeting.htm.

62 October 2009 • Pastoral Music NEW YORK Forum on the Catechumenate, 125 Michigan Av- and the United States Conference of Catholic enue, NE, Washington, DC 20017-1102. Web: www. Bishops (USCCB). Contact: http://www.ncea. Syracuse naforum.org. org/news/CatholicSchoolsWeek.asp. January 28–31, 2010 Beginnings “Plus” Institute, with focus on adults UNITED STATES WISCONSIN and children. Co-sponsored by the North Ameri- can Forum on the Catechumenate and the Diocese Catholic Schools Milwaukee of Syracuse. Place: Christ the King Retreat and January 31–February 6, 2010 January 7–10, 2010 Conference Center, Syracuse. Institute team: Gael Catholic Schools Week. Theme: “Catholic Annual Meeting of the North American Academy Gensler, osf, Rory Cooney, Robert J. Kennedy, and Schools—Dividends for Life.” Sponsored by the of Liturgy. Place: Hyatt Regency Milwaukee. Con- Donna Mostiller. Contact: The North American National Catholic Educational Association (NCEA) tact: http://www.naal-liturgy.org/.

Membership and Gift Items

Membership Items Gift Items

NPM Baseball Cap NPM Cookbook: With Lyre, Harp, and Spatula Beige cotton, blue bill and trim, adjustable. “Pastoral musicians should make excellent cooks, for cooking Item #GIF-1...... $12.00 and music making have so much in common.” Richard Gibala Item #GIF-3...... Single copy...... $6.00 NPM Travel Mug Stainless steel exterior, anti-splash lid, non-skid A Pastoral Musician’s Book of Days base. Information, enjoyment, and a source of prayer for Item #GIF-2...... $10.00 all who recognize the central value of sung worship in the Christian life. Gordon E. Truitt NPM Swivel Clock Item #GIF-6...... Single copy...... $15.00 Adjustable head, quartz analog movement, solid base, silver color. St. Cecilia Item #GIF-4...... $10.00 The patron saint of musicians. Poster or Notecard (inside blank). World Library Publications. Michael NPM Lapel Pin O’Neill McGrath, osfs Item #GIF-5...... $4.00 Poster #GIF-7...... Single copy...... $15.00 Specify Member or DMMD Notecard.#GIF-8...Single copy...... $2.50

Past NPM Chapter Director Lapel Pin All God’s Critters Got a Place in the Choir Item #GIF-11...... $15.00 Based on the popular song. Poster or Notecard (inside blank). World Library Publications. Michael O’Neill McGrath, osfs Poster...... #GIF-9...... Single copy...... $20.00 Notecard.....#GIF-10...... Single copy...... $1.50

Choir Prayers Prayers to help choir members focus on the liturgical seasons during weekly rehearsals. Pastoral Press. Jeanne Hunt Item #PR-5...... Single copy...... $7.95

Order Today! By phone: (240) 247-3000, More Choir Prayers ext. 26. Online: www.npm.org. E-mail: More seasonal prayers to deepen a choir’s understanding of the liturgical seasons. Pastoral Press. Jeanne Hunt [email protected]. Item #PR-6...... Single copy...... $7.95

NPM Publications • 962 Wayne Avenue, Suite Prayers of Those Who Make Music 210 • Silver Spring, Maryland 20910-4461 For organists, choir members, cantors, and all who love music: psalms, poems, prayers. LTP. Compiled by David Philippart See our website—www.npm.org—for shipping Item #PR-7...... Single copy...... $5.00 charges and return policy ...... 5–24 copies...... $4.00 each ...... 25+ copies...... $3.50 each

Pastoral Music • October 2009 63 Overseas

ISRAEL Jerusalem and Other Sites February 4–13, 2010 Songs of the Scriptures continuing education pro- gram for music directions. Sing in the land where Jesus sang, walk in his footsteps. Visit Nazareth and then “go up” to Jerusalem. Participate in the Sunday liturgy as chanted in Arabic by the local community at the Church of the Annunciation. Contact: Peter’s Way Tours, Inc., 500 North Broad- way, Suite 221, Jericho, New York 11753. Phone: (800) 225-7662, (516) 605-1551, or (800) 443-6018; fax: (516) 605-1555 or (614) 717-0347; e-mail: peter@ petersway.com or [email protected].

ITALY

Rome, Assisi, Florence, and Vatican City January 4–11, 2010 Roman Polyphony continuing education program for music directors. Choral liturgies and concert performances throughout central Italy. Meet local musicians, including Vatican authorities, while en- joying sightseeing and fellowship with colleagues. Contact: Peter’s Way Tours, Inc., 500 North Broad- way, Suite 221, Jericho, New York 11753. Phone: (800) 225-7662, (516) 605-1551, or (800) 443-6018; fax: (516) 605-1555 or (614) 717-0347; e-mail: peter@ petersway.com or [email protected].

GERMANY AND AUSTRIA

Salzburg, Melk, Vienna November 6–12 European Masters continuing education program for music directors. Renew yourself and enjoy ✔ Cantor Express first-hand the rich musical and cultural traditions which continue to inspire our worship and faith ✔ Choir Directors Institute today. Learn from sessions by masters in liturgical music and research while inspecting venues in ✔ Pastoral Liturgy Institute the colorful cities of Salzburg, Melk, and Vienna. Contact: Peter’s Way Tours, Inc., 500 North Broad- ✔ Institute for Music with Children way, Suite 221, Jericho, New York 11753. Phone: (800) 225-7662, (516) 605-1551, or (800) 443-6018; ✔ Guitar and Ensemble Institute fax: (516) 605-1555 or (614) 717-0347; e-mail: peter@ petersway.com or [email protected]. Do These Titles UNITED KINGDOM London and Other Sites November 19–25 Wesley Heritage/English Cathedral continuing Sound Familiar? education program for music directors. Enjoy superb choral performances and visits. Evensong These are the summer institutes that NPM has offered in in London. Visits to Epworth and Bristol while you study the rich musical heritage of the region. recent years. We are currently planning the institutes for Contact: Peter’s Way Tours, Inc., 500 North Broad- summer 2010—our thirty-first year of offering such in- way, Suite 221, Jericho, New York 11753. Phone: (800) 225-7662, (516) 605-1551, or (800) 443-6018; depth and practical programs. fax: (516) 605-1555 or (614) 717-0347; e-mail: peter@ petersway.com or [email protected]. Watch for announcements in future issues of Pastoral Music Please send announcements for Calendar to: Dr. and online at http://www.npm.org/EducationEvents/insti- Gordon E. Truitt, NPM, 962 Wayne Avenue, Suite 210, tutes/index.html. Silver Spring, MD 20910-4461. E-mail: npmedit@npm. org.

64 October 2009 • Pastoral Music only three measures of four-part singing. Reviews The melodies are unencumbered. The rhythmic structure is elementary, with a recurring pattern throughout. All of these elements combine to provide directors with a very accessible anthem that will probably not take much time or effort to prepare. Also, given the theme of the text, choirs will be able to sing this numerous divided them creatively, and the result times throughout the year. Choral Recitative is not your average hymn anthem. Most of the choral writing is unison; there are Give Ear, O Shepherd of Israel. Robert Give Me Jesus. Spiritual, arr. William C. Witherup. SATB a cappella. Selah, 420-507, $1.25. This is a rather simple yet very ef- fective arrangement of the well-known spiritual. The choir sings “backup” for the soloists on verse one and almost all of verse two; the choir takes verse three. Sing- ers need learn only two verses, though, as their parts on verses one and three are virtually identical. The part writing is solid but not necessarily predictable. Aside from a couple of measures in the tenor line, the tessitura of each part is quite comfortable. There are long phrases, requiring singers to employ proper breath control. Good soloists, especially the so- prano, are a must. A worthy addition to your library and a definite winner with your parish!

Saved by a Touch. Text: Walter Bartling; music: Paul Bouman. SATB a cappella, opt. soprano and baritone solo. Selah, 410-561, $1.25. This is a hauntingly beautiful setting of the healing story found in the fifth chapter of Mark’s Gospel. Its struc- ture is quite simple. The text of each of the three verses begins with a series of questions—e.g. “Who was it, Lord, that touched you?”—sung by a soloist or small group, which are then answered by the entire choir in parts. There is no meter marking, rendering the flowing melodies free and chant-like. The tessitura of each part is comfortable. One strength is that the choir need learn only one verse, as they sing virtually the same part on each verse. Even though this story only appears once in the three-year Sunday Lectionary (Thirteenth Sunday in Ordinary Time, Year B), this piece would be appropriate for any liturgy of healing.

There’s a Wideness in God’s Mercy. David Ashley White. SATB and organ. Selah, 420-243, $1.40. David Ashley White has provided a refreshing setting of a familiar hymn text. Scored for SATB choir and organ, this piece is lovely and gracious. What is most striking is his division of text. White has set two verses but has

Pastoral Music • October 2009 65 Powell, SATB and organ. Paraclete Press, 405-260, $1.65. This is an arrangement of edition, G-6429, $39.95; singer’s edition, PPM09529, $1.60. This is an enchanting an eighteenth century Christmas text by G-6429A, $16.50). The layout of the score setting of the first seven verses of Psalm 80 Christopher Smart and White’s hymn is clean and clear, much easier to read than that contains many interesting elements. tune St. John’s, Kingston. The marriage some editions of the same work by other The harmony flows gently between D of the two is very successful. A choir that publishers. Highly recommended. major and its parallel minor. The accompa- is comfortable singing four-part hymns niment moves independently of the vocal will have no problem with this piece. Magdalena: Early on That Easter Morn. lines, creating a gratifying complement to Hallmarks include long, flowing melody Johannes Brahms, arr. Pearl Shangkuan; ed. them. Most of the choral writing is two- lines, four-bar phrases, an additional beat Robert Scholz. SATB. G-6666, $1.70. An- part. However, given their transparency, in the third measure of each phrase, and other standard in the Easter repertoire is it will take some work to put the parts solid voice-leading in the choral parts. this setting by Brahms. Full of the mystery together. The tessituras aren’t taxing. It is The organ accompaniment is firm yet of the first Easter morning, it proclaims suggested that this piece be sung in Lent sensitive. The result is pure elegance. the Gospel of the day with great elegance. but, given the theme of the text, it would This is worthy of consideration for your The original German is provided with an be suitable for Advent too. Christmas liturgies. English translation beneath. Michael Batcho Steal Away. Arr. Lloyd Larson. SATB and Crucifixus etiam pro nobis. J. S. Bach, ed. piano. Hope, C 5566, $1.95. Here is a bluesy The following selections are all from GIA Carlton Young. SATB. G-6917, $1.75. This arrangement of this African American Publications. is a classic from the Mass in B Minor. This spiritual that parish choirs would do well beautiful music will challenge a good to learn. The vocal parts aren’t difficult, but If Ye Love Me. Thomas Tallis, ed. M. Shenen- church choir. An English translation is they are on the lower end of the singers’ berger. SATB. G-6519, $1.70. Many choirs provided, as is a cello part. range. There is a fair amount of repetition already have this revered master work in for the singers, and the men are given the their repertoire. Worthwhile elements that Christ the Lord Is Risen Today. Arr. Lynn melody a couple of times: These factors commend this edition include the editor’s Trapp. SATB. G-6967, $1.40. This arrange- will certainly help in the learning process. notes and James Jordan’s comments about ment of the twelfth century hymn “Surgit For this piece to be most effective, the the work. This edition gives wonderful in haec dies” is set for unaccompanied accompanist will need to be very comfort- material for exploring solfege singing. voices. In verse one the choir lays out the able with this style. Also available from The solfege is written above the text of tune in unison; in verse two the men take the publisher are a rehearsal/performance the motet and an “aural anchor keyboard up the melody, while the women sing Al- CD (C 5566C, $24.95) and rhythm packet accompaniment” is given for rehearsal leluia in decoration. The melody returns to (C 5566R, $10.00), which includes parts for purposes. There is a short but informa- the women in the third verse, as the men acoustic guitar and electric bass. tive guide to the solfege analysis as well in unison sing a counter melody. Full SATB as references to another Jordan/Shenen- parts are heard with bold harmonies as Where Is This Stupendous Stranger. berger publication, Ear Training Immersion the last verse is sung. This is an easy and David Ashley White. SATB and organ. Selah, Exercises for Choirs (GIA, Conductor’s imaginative arrangement that is sure to please choirs of all sizes and abilities.

The Liturgy Team: Joyce Ann Zimmerman, CPPS; TM Nun bitten wir den Heiligen Geist. Text: Kathleen Harmon, SNDdeN; and Martin Luther; music: Johann Staden, ed. Living Liturgy Christopher W. Conlon, SM William Tortolano. Two- or three-part voices. G-6853, $1.40. This Pentecost hymn is Spirituality, Celebration, and Catechesis for perhaps better known by organists who Sundays and Solemnities: Year C (2010) have played chorale preludes based on 1 7 S978-0-8146-2747-1 Paper, 336 pp., 8 ⁄2 x 10 ⁄8, the tune. This brief twenty-six-measure 1-4 copies, $16.95; 5-19 copies, $13.95*; piece can be sung by SAB choir or by a 20 or more copies, $9.95* net two-part equal-voice choir with a cello playing the third part. The text is given TM Living Liturgy for Extraordinary Ministers in German and in an English translation. of Holy Communion: Year C (2010) Here is another excellent offering in the 1 1 S978-0-8146-3005-1 Paper, 136 pp., 5 ⁄4 x 8 ⁄2, GIA “Ars Antiqua Choralis” series. 1-5 copies, $6.95; 6 or more copies, $4.95* net Available September 2009 Concertato on Go Make of All Disciples.

TM Richard Proulx, SATB, congregation, organ, New! Living Liturgy for Cantors: brass, timpani. G-6208, $1.60. The well- Year C (2010) known and loved hymn tune Ellacombe 1 1 S978-0-8146-3281-9 Paper, 200 pp., 5 ⁄4 x 8 ⁄2, is set here with two hymn texts, “Go Make 1-5 copies, $9.95; 6 or more copies, $7.95* net New! of All Disciples” and “The Day of Resur- * Asterisk indicates discount price available only on “no-returns” basis. rection,” which allows the setting to have even greater usefulness. The instrumental LITURGICAL PRESS 1-800-858-5450 • www.litpress.org parts are bold and exciting, while the choral part is essentially right out of the

66 October 2009 • Pastoral Music

HYMNALS

RED has never looked so GREEN

continuing the tradition of beauty, permanence, & sustainability

www.giamusic.com/hymnals hymnal. The final verse is crowned with a or piano, G-6386, $1.60. Mr. Haan supplies crucifixion. The beautiful oboe part could fine descant that only goes up to f#. Don’t both text and music for this anthem which be performed on flute or violin, though miss this excellent festive music. draws its inspiration from Matthew 9 and articulation and dynamic nuances are 14. This is a lovely short piece that asks needed beyond the sparse markings. Sing to God a Joyful Song. Lynn Trapp. for healing of body, mind, and spirit. Each Congregation, cantor or SATB voices, or- verse ends with “Give wholeness, give Gifts of the Spirit. Christopher Willcock. gan, brass, percussion. G-6920, $1.75. This peace.” The creative pastoral musician Congregation, cantor, SAB choir, keyboard, “Introit Hymn for Easter,” based on the will find the right spot for this simple and guitar, opt. string, percussion, bass guitar familiar tune Llanfair, is the latest in well-crafted little gem. There is an option parts. 20643, $1.25. The piece’s 7/8 meter a series of settings by text writer Sister for the whole assembly to join in singing adds a driving rhythmic character to Delores Duffner, osb, and composer Lynn the last verse. this setting for Pentecost, confirmation, Trapp. There is something for everyone or other liturgical celebrations invoking here: From congregation to choir, this will Breath on Me, Breath of God. Sister Evelyn the Holy Spirit’s assistance. The optional be a joyous way to enter into the Easter Brokish, osf. Unison, two-part, or SATB, opt. parts add strong possibilities for terraced Sunday liturgy. The congregation sings keyboard and congregation. G-6854, $1.60. crescendos throughout the piece, which the Llanfair tune, while the verses are Sister Evelyn writes of this selection: “This features concise verses and refrain. The sung by the choir or cantor. It is wonderful piece is appropriate for many occasions, musical demands for singers are few, to get a brief glimpse of the Latin chant especially Pentecost or celebrations of and the secco articulations of the accom- introit some of us remember (and cherish) Christian initiation; consider using it for paniment add clarity. The marked tempo from Easters past! If you are looking for a prelude or during a ritual action. The may work for reverberant acoustics, but an exciting and worshipful gathering next possibilities for performance are limited eighth note = 220–236 better captures the Easter Sunday, look here first. only by your imagination.” She then lists impelling text. at least half a dozen variations for how If God Is for Us. James Chepponis. SATB, the piece may be sung. This is lovely Let Us Walk in Justice. Suzanne Toolan, congregation, guitar, C instrument, hand- music that will fit every choir. The setting rsm. Congregation, SATB choir, keyboard, bells, brass, timpani. G-5948, $1.60. All the is chant-like and flows beautifully. The guitar, and trumpet in Bb or C. 20765, $1.50. parish music forces unite in this festive refrain and four verses are very short, but With a text that poignantly unites the setting of a text from Romans and Psalm what is there is worth singing! upright Micah passage and a modern chal- 46. This is an easy selection that will not lenge to social justice, this setting offers a require a great deal of effort from any Deliver Us, O Lord. Randall Sensmeier. variety of possibilities for participation: one component, but the combined effect SATB, congregation, and keyboard. G-6600, Choirs may sing it as a simple anthem with will be very satisfying. This piece will $1.60. The five verses of this Herman a firm descant, or the rest of the assembly work with any combination of voices or Stuempfle text are set in a hymn-tune style may join in the refrain and even the verses, instruments. that Mr. Sensmeier names Deliverance. as they use easily remembered musical The tune is accessible and well suited to phrases. The musical character evokes Once We Sang and Danced with Glad- the text. One verse has the tune presented images of procession with its marziale ness. Arr. Marty Haugen. SATB. G-6305, in unison, three verses are set for two (march-like) character, and the included $1.60. If you are looking ahead to the next mixed voices, and one verse is SATB. trumpet part adds much. The broad text return of Year B of the Sunday Lectionary, This is a fine text and tune for penitential makes it suitable for ecumenical and even keep this in mind for Lent IV. The Latvian seasons and times that call us to reflect on interfaith services. folk song employed here has become the things in our lives for which we need wedded to this psalm text since it first God’s deliverance. God Is Love. Michael Joncas. Congregation, appeared in Worship. This is a pleasing Joe Pellegrino SATB choir, and organ or piano, opt. parts setting that could be sung with the choir for flute, oboe, clarinet, horn, string quintet, alone or with the whole assembly. The following selections are all from and harp. 20617, $1.90. This Communion OCP. processional offers a refrain using the text Earth, Earth, Awake! Bob Moore. SATB, from 1 John 4:16b that can be memorized organ, trumpet. G-6079, $1.75. The text of When Signs of This World’s Anguish. easily by congregations. The refrains be- this Easter anthem, from the pen of Her- Arr. Kevin Keil; text by Genevieve Glen, osb. come more complex with each repetition, man G. Stuempfle, Jr., is full of beautiful SAB choir, descant, piano, oboe, opt. timpani. adding contrapuntal voices, four-part images like this: “Life bursts like flame 20049, $1.70. The lyrical hymn tune Kings harmony, and finally a descant. The verses from death’s cold tomb!” The music is Lynn may be less well-known than other set the Ubi caritas text and are flexible in expressive and heightens the text very tunes, but its melodious setting here offers their execution, depending on the ability effectively. The choral part is easy and ample opportunity for healthy singing of choirs. The third verse is for four-part set mainly for unison and two-part mixed technique for a wide variety of singing unaccompanied voices, though it could voices. One of the four verses is set in full levels. Singers will find the combination of easily be adapted for solo cantor, for ex- SATB, as is the wonderful Alleluia ending. melody with a vivid text gratifying, if oc- ample. The composer’s comprehensive The organist will enjoy the colorful and casionally low for altos. The text engages notes include excellent musical, textual, diverse organ accompaniment. Jesus’ God-and-human existence as the liturgical, and theological insights. One who heals and crosses boundaries for Healer Divine. Raymond Haan. SATB, the outcast, and the final stanza starkly Come, Holy Spirit. Stephen Dean. Congre- organ, opt. congregation, viola or violin, harp calls to mind personal culpability for his gation, cantor, SATB choir, keyboard, guitar,

68 October 2009 • Pastoral Music solo instrument in C, clarinet. 20411, $1.50. contrasting the texts of each verse. Louis-Marie Chauvet. Philippe Bordeyne This setting of the Pentecost Sequence, and Bruce T. Morrill, editors. The Liturgi- Veni, Sancte Spiritus, uses a reflective, One Thing Have I Asked of the Lord cal Press, 2008. ISBN: 978-0814662182. meditative ostinato refrain in English (Psalm 27). Eric J. Milnes. SATB choir, organ. 266 pages, paperback. $29.95. with ATB choral parts accompanying 4612, $2.50. This festival choral anthem the ostinato harmonically with the Latin draws on the verse anthem genre and Sacraments remain mystery, but ever text. The strophes sung over the ostinato requires a skilled baritone soloist. Most since the two major works of Louis-Ma- are based on the sequence and can be of the choral writing is homophonic, and rie Chauvet have appeared in English, easily heard over the refrain due to the the simple counterpoint presents few his thinking has sparked startling new well-contrasted ranges. Because of the difficulties. While several keys are ex- directions for understanding sacraments. harmonic rhythm, this piece may flow plored, each is approached logically. The His theology is critically oriented to the better in a broad cut time, slightly faster brief divisi for soprano, alto, and tenor, bodily, material dimensions of sacra- than the offered marking. though not extensive, are crucial in the ments. Though hardly for the beginner, climax for the minor-second dissonances. his theology has a special appeal to anyone With the Lord There Is Mercy (Psalm130). The closing return of the opening text, responsible for sacramental celebrations Rick Modlin. Congregation, SATB choir, “One thing I ask of the Lord, that I may in parish life. Chauvet frequently uses piano, and guitar. 20768, $1.50. Psalm 130 dwell in the house of the Lord,” makes liturgical texts and actual celebrations as appears several times in the Lectionary, the anthem nicely rounded, contrasting beginning points in his thinking. for example for the Fifth Sunday of Lent the extroverted exultation with a final For those who have not been able to (Year A), and this contemporary setting reflective petition. devote good, scholarly time to understand presents the text hopefully with rising Timothy Westerhaus Chauvet but have had to grasp him in harmonic motion. The accompaniment bits and pieces, Sacraments: Revelation part, though indicated as keyboard, is Books of the Humanity of God, with its subtitle really for piano and is an exemplar of an “Engaging the Fundamental Theology of accompaniment in contemporary style Sacraments: Revelation of the Louis-Marie Chauvet,” is a very welcome that still supports the assembly’s singing. Humanity of God book. The verses use a variety of harmonies It approaches Chauvet on two levels. outside the tonic key, E major, skillfully Engaging the Fundamental Theology of There are ample chapters that give an Don’t miss the best music collections of the year! Light from the East Piano Meditations on Melodies from the Russian and Byzantine Orthodox Liturgy Marshall S. Barnhouse, III Unlike anything Concert pianist, teacher, and composer Marshall (Mike) Barnhouse has you’ve taken these beautiful, time-honored melodies (including the OBIKHOD, heard before! Tone I, famous from Tchaikovsky’s 1812 Overture) and crafted a variety of piano pieces that will enrich worship in many places. Suitable for any intermediate-level pianist, these alluring works will especially capture the imagination of younger pianists. 017334 Piano Book ...... $17.95

The Michael Joncas Psalter NEW! Volume 1, Common Psalms The first volume in a new series from WLP includes responsorial psalms from the Lectionary for performance by cantor, assembly, and choir a cappella from well-known composer and liturgical scholar Jan Michael Joncas. Each psalm includes an extended melodious refrain for the singing assembly with accompaniment vocalized by the choir. These choral renditions of the common psalms will create a unique and elevated experience for the parish community and the ambience for deep meditation and prayer. World Library Publications 001752 ...... $24.95 800-566-6150 PM109HF www.wlpmusic.com

Pastoral Music • October 2009 69 introduction and context to his thinking, people.” In other words it is a fundamental periences that can interpret the nature that make the book a useful “companion,” theology that is marked essentially by the of prayer: conversation, presence, and helping the reader to grasp Chauvet’s practice of sacraments. memory. He points to feeling, intellect, concepts that may appear difficult at Mitchell highlights one of Chauvet’s and will—the three faculties used in first. But other chapters—most of the disturbing ideas: the inadequacy of tra- praying—and describes prayer as the book—bring key insights of Chauvet to ditional metaphysical concepts of instru- sanctification of human initiative, con- current pastoral questions. These chapters mental causality. According to Chauvet, cluding the introduction with “one final, range in many directions and offer many they have caused theology to lose a sense essential idea”—the doctrine of grace. valuable insights. of the radical otherness of God and of the His short volume is divided into seven Bruce T. Morrill, one of the editors, utterly embodied way that God chooses sections: (1) Prayer and Faith, (2) Prayer begins the book with a helpful overview to communicate with humanity. and Religion, (3) Christian Prayer, (4) of Chauvet’s theology. The chapters that Among the chapters which take up pas- Meditation and Contemplation, (5) Prayer take up pastoral questions of worship toral questions, that by Gordon Lathrop in Other Traditions, (6) Struggling to Pray, using the insights of Chauvet also help to gives a hopeful direction to floundering and (7) Committing to Prayer. The book bring his thinking well within the grasp ecumenical efforts among churches. He also includes a glossary, a bibliography of the less philosophically inclined. reflects how the best of the liturgical of further resources, a Scriptural index, The chapter by Judith M. Kubicki, renewal has recovered the very things and a general index. cssf, is an especially good example. The Chauvet would call the marks of Christian Kelley writes as one who knows the intent of the chapter is to bring Chauvet’s identity: Scripture, sacrament, and ethical subject, is at ease talking and writing about thinking to today’s violent world and to responses of mutual sharing. prayer, and is eager to share insights with the proclamation of the Exsultet. The first While the book is quite complete as a diverse audience. He writes with a keen part of the chapter sketches several of it stands, a set of chapters by authors awareness of the current spiritual ferment Chauvet’s ideas. (While not as intricately who question some of Chauvet’s insights across the generations, across cultures philosophical as Morrill, Kubicki still con- would have opened additional avenues. and religions. He includes examples veys these ideas accurately. In effect, she Some of these authors are mentioned in and explanations not only from Roman provides an excellent primer to Chauvet’s the chapter by Jean-Louis Souletie, but Catholic and Christian sources but also theology.) only in passing. from Jewish and Islamic practices. For The main body of the book is made up James Challancin example, in part two, Kelley considers of six parts, each engaging a key dimen- the thorny subject of “official rituals and sion of Chauvet’s thinking: theology at ceremonies of religion” (what Catholics once both fundamental and sacramental, 101 Questions & Answers know as “liturgy”). With clarity and bal- Scripture and sacrament, pastoral and ec- on Prayer ance he points out the value of public umenical ecclesiology, liturgy and ethics, prayer while at the same time noting the theological anthropology of symbol and Joseph T. Kelley. Paulist Press, 2008. sometimes less-than-inspiring liturgical sacrament, and the interface of the human ISBN: 978-0809145614. 106 pages, paper- event that fails as a prayerful experi- sciences with sacramental-liturgical theol- back. $14.95. ence. ogy. Each part has a short introduction and In part three (Christian Prayer), fun- two chapters. The helpful introductions The proliferation of books on prayer— damental and recognizable questions focus the particular dimension to be de- how-to manuals, anthologies of prayer related to Mary, the saints, novenas, in- veloped with an extensive quote from one texts, prayer for groups or for private dulgences, devotions, use of the Bible in of Chauvet’s principal works translated use, prayer for special-interest groups, Catholic prayer, the liturgy of the hours, into English. Then they briefly highlight age-related texts, classic and historical and prayers in the New Testament get how the chapters develop that dimen- collections—tempts one to ask: “Is there a hearing. Here the theology professor sion of Chauvet’s theology. One chapter need for yet another book on prayer?” works to clear away the tangle of inherited is always by a theologian in the United This was my first thought when I was misconceptions. States, the other by a French theologian. asked to review this title. On reading the The questions on meditation and Readers get both a U.S. perspective and text, however, I began to appreciate the contemplation in part four can serve a perspective of Chauvet’s fellow French accessible information it contained. as excellent resource material for RCIA thinkers. Dr. Kelley is a professor of theology sessions, ministry formation programs, The first and last parts of the book at Merrimack College (North Andover, training workshops for catechists and par- engage Chauvet’s thinking most directly. Massachusetts), a clinical psychologist, ish ministers, retreat leaders, and others. The chapters by Lieven Boeve and Nathan musician, and author. One must add Spiritual directors or companions may D. Mitchell are especially helpful because that he obviously is also someone with well find this a useful text to recommend they evoke many recent developments in experience in the art of prayer. With a to those learning the ways of prayer. Even linguistic and symbolic studies, philoso- straightforward introduction that pres- persons in initial formation, inquirers, and phy, and anthropology to clarify and to ents a simple definition of prayer and novices can find simple answers that ad- show implications of Chauvet’s theol- the purpose of the book—“to invite the dress their questions and concerns about ogy. Boeve best names the magnitude reader, question by question, through prayer. of Chauvet’s endeavor: It is no less than the intricacies of praying toward deeper Topics like meditating on Scripture a reconsideration of “the way in which insight into the mysteries of prayer”—he as well as our life experiences, centering theology expresses and reflects on God’s assists the reader to enter the dialogue prayer, contemplation, and the place of communication in history with God’s of prayer by offering three familiar ex- the mystics in our tradition are presented

70 October 2009 • Pastoral Music simply. Clearly, the author is extending as it has evolved throughout the ages. first occur in the text. (It appears that this the invitation to pray—and to pray deeply Taking seriously the feedback on the arrangement incorporates the brief glos- and faithfully—to all Christians. “Prayer original edition from reviews as well as sary from the first edition into the text is part of every Christian’s journey of faith. input from students and teachers, laity, of the current volume.) This edition also Meditation and contemplation are ways and professional liturgists, Foley offers offers even more excellent illustrations, to enrich our experience of prayer . . . the an even fuller explanation of the various floor plans, maps, photos of buildings and breadth, length, height, and depth of our facets involved in understanding the objects, musical notations, and quotations praying.” liturgical tradition from the perspective in the wide margins than those found Struggles in prayer and the challenge of architecture, music, books, vessels, in the earlier edition, which provide a of committing to prayer (parts six and and Eucharistic theology during each broader perspective on Eucharistic history seven) address today’s real-life concerns of the seven major transitions offered in and practice. The author willingly admits like being angry with God, being too his outline: Emerging Christianity: The that this revised addition is focused on and ill to pray, “absence” from prayer for a First Century; The Domestic Church: bound by his own Western and Roman long time, and the need for guidance in 100–313; The Rise of the Roman Church: Catholic biases, though chapter six—on prayer. 313–750; The Germanization of the Lit- the Reform and Counter-Reform—is very Finally, to address our growing aware- urgy: 750–1073; Synthesis and Antithesis balanced in treating both the Catholic and ness of the larger, diverse world of many as Prelude to Reform: 1073–1517; Reform Protestant traditions. One would be hard faiths, the writer devotes fifteen questions and Counter-Reform: 1517–1903; and pressed to find a one-volume treatment in part five to “Prayer in Other Tradi- Renewal, Reaction, and an Unfolding on how Christians have celebrated the tions.” Such a basic introduction to the Vision: 1903 to Tomorrow. Eucharist which is as comprehensive as prayer-traditions of Hindus, Buddhists, There is something for everyone in this edition of From Age to Age. and Muslims can surely serve to open our From Age to Age. It is an excellent introduc- One helpful improvement to the minds and hearts to a deeper respect for tion for the interested layperson as well original format for each chapter is a the profound “God-search” that is the as a textbook, even at the graduate level. section which addresses the Eucharistic privilege of every woman, man, and child This revised edition offers more technical theology of that period. In Foley’s words, who has ever walked the face of Earth. terms and words from languages other this addition, “might give the beginning I believe that Joseph Kelley has accom- than English, which are translated and student or non-specialist a fuller vision of plished what he set out to do. Perhaps in explained for the reader whenever they this complex of praxis and theory we call a succeeding volume, the author may try his hand at culling from the tradition the rich contributions that women believers have made to our Christian inheritance. Eleanor Bernstein, csj

From Age to Age: How Christians Have Celebrated the Eucharist NEW ! Revised and Expanded Edition. Edward Foley, Capuchin. The Liturgical Press, 2008. ISBN: 978-0-8146-3078-5. 392 pages, paperback. $29.95. For informaton, Raise your or to apply, The Master contact: The first edition of this work was liturgical described by many as, “a rich feast of in- of Arts Aquinas Admissions sight, knowledge, and information about music 23 S. Spring Ave. Eucharistic history and practice through skills to a in St. Louis, MO 63108 the centuries.” Now Edward Foley’s re- vised and expanded edition of From Age new 800-977-3869 to Age is an even more valuable resource level. Sacred for anyone interested in understanding [email protected] and appreciating the Christian Eucharist Music ______than the original proved to be sixteen years www.ai.edu ago. This revision, at nearly twice the size of the original, is a welcome addition to any liturgical library. For all who have not Designed especially for: had the opportunity to discover the riches of the first edition, this book is a must for · Music Directors your reading list. You will be sure to walk · Instrumentalists away with a renewed love of, appreciation · Vocalists for, and understanding of the Eucharist

Pastoral Music • October 2009 71 Eucharist.” An expanded bibliography is “a large arc, pulsing with life, [that] spans also offered. Works which appear in the time and eternity.” In prayer, she is able general bibliography appear throughout to feel the presence of her husband. She the volume, while those specific to indi- senses his guidance and encouragement vidual chapters are cited following the as she undertakes doing the taxes for the general bibliography. This is an indication first time and buying a car by herself. Her by the author that the current edition relationship with Tom is being redefined does not claim to be a comprehensive to accommodate the reality of his death. overview of Eucharistic liturgy in the West Leckey does not seem to be in denial; she but relies on many other specialized and is clearly open to experiencing his pres- comprehensive works to complete that ence in some new way. vision. Grieving does not become a “time-out” I found the unique short stories at the from her life. Rather, grief seems to be a end of each section to be a delightful way very significant thread that she works to personalize and contextualize that his- into all aspects of her life—and that life is torical period. They helped the informa- filled with people, books, projects, work, tion provided to take on flesh and added and travel. While some people might put a spark of insight for the imagination. these aspects of life on a shelf during the The original layout, with its wide her present hometown. Leckey has served grieving process, Leckey incorporates her margins and graphics, continues to serve as executive director of the Secretariat memories, her questioning, her loneliness, as a pleasant way in which to present his- for Family, Laity, Women, and Youth of her prayer, and her need for silence into torical material and theological insights. the U.S. Conference of Catholic Bishops. the life that she lives. As they had planned I would have liked to have seen the use A respected speaker and an author of to do, she celebrates her husband’s seven- of color rather than the consistent black nine books, she is presently working as tieth birthday in Ireland, the place of his and white images, especially for some a senior research fellow at the Woodstock family’s origin. She gathers family and of the artwork and graphics. But this is Theological Center in Washington, DC. friends to celebrate the fiftieth anniversary a trivial matter compared to the wealth The Catholic tradition does not let her of the day that they met. Her children and and richness of the treatment which Foley down in her hour of need. The frame- grandchildren hold a privileged place offers to anyone who takes advantage of work that emerges for her grieving is the in her life, and she is respectful of their this excellent revision. liturgical year. This framework for life grief. Victor P. Cinson is where she dwells, and it serves very After reciting Psalm 116, Leckey con- well as a spiritual map for the first year templates what it means “to walk before without her husband. Within the context the Lord in the land of the living.” What Grieving with Grace: of the liturgical year, it is the liturgy of the characteristics mark those who survive A Woman’s Perspective hours—the prayer of the Church that cel- and prosper in “the land of the living” af- ebrates time—to which she turns. Leckey ter the death of a beloved? As she ponders Dolores R. Leckey. St. Anthony Messen- finds that vespers, prayed at evening time this question, she finds her way forward. ger Press, 2008. ISBN: 978-0867168884. and rich in psalmody, provides a treasured Her answers are not new to her. She finds 85 pages, paperback. $11.95. support for her. Into this prayer, over the them in looking to her past and to her course of the year, she draws much-loved present. She recognizes the future as gift In recounting her own first-year’s jour- poetry, silence, images from art, memory, and turns toward it with openness. In a ney following the death of her husband and communal celebration. way that is consistent with whole of the of forty-six years, Dolores Leckey gener- Leckey gives the reader permission to book, she concludes with a reverent nod ously invites us into her life. She offers find solace in unexpected places. When to the Book of Genesis, “Evening comes a straightforward narrative, using her she is given a copy of A Grief Observed by C. and morning follows . . . .” journal entries from that year to provide S. Lewis, a book that has comforted many Margaret Costello the starting point for later theological re- people following the death of a spouse, flection. Both her story and the subsequent she finds it unhelpful. It is, instead, a theological reflection offer the reader a book by P. D. James, the respected British Celebrating Divine Mystery: A perspective that is honest, enriched by mystery writer, which comforts her. Most Primer in Liturgical Theology her lived Catholic experience, creative, of the time, she is greatly consoled by the and open. She struggles with questions presence of her community of friends, Catherine Vincie. The Liturgical Press about the meaning of resurrection and but sometimes she needs to be alone. (A Michael Glazier Book), 2009. ISBN freedom. Most of all, she tries to discern: She seems comfortable articulating these 9780814653753. 206 pages, paperback. “What now?” needs in a way that allows her the space $24.95. What is clear from the beginning is that she needs but without alienating friends Leckey is truly steeped in the Catholic and family. Following the habits of a life- In Celebrating Divine Mystery, Cath- tradition, from her upbringing in St. Mary time, she turns to the arts for inspiration erine Vincie set out to write an introduc- Magdalene Parish in Queens through her and consolation. tory text for students beginning their marriage to Tom Leckey in the Lady Cha- During this time of grief, the author liturgical formation. She has done this and pel of St. Patrick Cathedral to her ongoing experiences new dimensions to her un- more. Across this book’s nine chapters, the service to the Church and to the poor of derstanding of the communion of saints as liturgical neophyte is taken into key areas

72 October 2009 • Pastoral Music of liturgical formation and scholarship, with an emphasis on Sunday; references as a member of the board of directors of offered clear instruction, introduced to include the Constitution on the Sacred The Liturgical Conference, publishers of underpinning concepts, opened up to the Liturgy Sacrosanctum Concilium, Justin Liturgy and Homily Service. leading scholars, and given a taste of the Martyr, Gregory Nazianzus, and John passion of liturgical scholars. But the work Paul II. Only then are rhythms of the year Ms. Margaret Costello, a former director also serves as an excellent refresher for taken up, understood as a form of cyclical of liturgy at Holy Trinity Catholic Church those who have left study for some time time. There are discussions that introduce in Washington, DC, leads prayer services and who seek updating and challenge. the complexity of the historical origins and Bible study for the Arlington Adult The author aims to continue the of Easter, Lent, Advent, and Christmas Detention Facility and two nursing homes reforms of the Second Vatican Council, and which enable the budding liturgist in Virginia. and from the beginning highlights her to glimpse the range of understandings own areas of interest and concern: full unearthed around the development of Dr. Gerard Moore is an assistant profes- participation in liturgical rites, the di- structures we accept so readily today. sor and director of worship at Sydney vine and human nature of worship, the The chapter closes with some thoughts College of Divinity in New South Wales, role of insights from the social sciences on the sanctoral calendar. Australia. in interpreting religious behavior, and Vincie’s approach, as seen in this chap- questions of gender. In making these ter, is exceedingly valuable. The reader Dr. Joe Pellegrino teaches world and post- areas clear, Vincie is not requesting that is introduced to Scriptural imperatives colonial literature at Georgia Southern they be uncritically accepted but rather is and approaches followed by key writ- University, Statesboro, Georgia. challenging the reader’s own stance and ings from the patristic tradition, which its implications for the way he or she acts often challenge prevailing assumptions Mr. Timothy Westerhaus is pursuing a in worship. yet provide the best historical evidence doctor of musical arts degree in choral The chapters each engage the reader for our practices. Further, major theoreti- conducting at Boston University, where in central liturgical issues, leading to a cians and scholars are brought into the he conducts the Boston University Cho- progressive deepening of insight. The conversation—in this case Eliade, Taft, ral Society and is assistant conductor of work begins with an introduction to and John Paul II—but the same can be the Chamber Chorus and Marsh Chapel the liturgical reform movement and its seen in the chapters on symbol where Choir. culmination in Vatican II. Chapter two Paul Ricoeur, Victor Turner, Louis-Marie takes up the question of the liturgical Chauvet, and David Power are promi- assembly, showing how the Church’s wor- nent. The text is thorough without being Publishers ship managed to reclaim the members of overwhelming, and it retains a readable the Church for worship. This leads into quality throughout. The matters covered GIA Publications, 7404 S. Mason Avenue, the third chapter dealing with liturgy as are well ordered, inducting the reader into Chicago, IL 60638. (800) 442-1358; web: an act of God and of the community, a a contemporary liturgical sensibility and www.giamusic.com. divine-human dialogue. In light of this, a deepened appreciation of the range of Hope Publishing Co., 380 S. Main Place, chapters four and five are central to any issues. Carol Stream,IL 60188. (800) 323-1049; vital theology of worship: They exam- This is an excellent example of a primer web: www.hopepublishing.com. ine the paschal mystery and liturgical and, as such, valuable to students and memorial/anamnesis and the naming anyone seeking a compendium of con- OCP, 5536 NE Hassalo, Portland, OR of God. The final chapters have a more temporary liturgical basics. 97213. (800) 548-8749; web: www.ocp. incarnational nature, bringing the reader Gerard Moore org. to think through the thoroughly human issues of time, symbol, and culture. Paraclete Press, PO Box 1568, Orleans, Given the nature of the book as a About Reviewers MA 02653. (800) 451-5006; web: www. primer, it is worth considering how paraclete-press.com. the material is laid out. The chapter on Mr. Michael Batcho is the director of time provides a good example. It opens music ministries at St. John Cathedral, Paulist Press, 997 Macarthur Boulevard, with a discussion on the conception of Milwaukee, Wisconsin. Mahwah, NJ 07430. (800) 218-1903; web: time (linear and cyclical) and brings www.paulist.org. Mircea Eliade to a discussion of the Jew- Sister Eleanor Bernstein, csj, is a member ish construct of time. Christian time is of the Congregation of St. Joseph. She St. Anthony Messenger Press, 28 W. understood in its combination of both is currently working with St. Anthony Liberty Street, Cincinnati, OH 45210- conceptions, with recourse to Robert Taft. Messenger Press on a prayer book for 1298. (800) 488-0488; web: http://catalog. The reader is then taken through a discus- women. americancatholic.org. sion of daily prayer in the Scriptures, the early centuries of morning and evening Rev. James Challancin is pastor of St. Selah Publishing Co., PO Box 98066, prayer, the monastic and ascetic practices Joseph Church, Ishpeming, Michigan. Pittsburgh, PA 15227. (800) 852-6172; web: of the many hours across the day, the www.selahpub.com. medieval deterioration from these early Rev. Victor P. Cinson, a priest of the Dio- groundings, and the reforms of Vatican cese of Steubenville, Ohio, is pastor of St. The Liturgical Press, PO Box 7500, Col- II. The sense of the day is followed by a Gabriel Parish in Minerva, Ohio, and St. legeville, MN 56321-7500. (800) 858-5450, discussion of the weekly cycle of prayer Francis Xavier in Malvern. He also serves ext. 2560; web: www.litpress.org.

Pastoral Music • October 2009 73 33nd Annual Convention Photo © Patricia Haller/Downtown Detroit Partnership July 12 –16, 2010 Detroit, Michigan “The joys and hopes, the grief and anguish of the people of our time, especially of those who are poor or afflicted, are the joys and hopes, the grief and anguish of the followers of Christ as well.” Pastoral Constitution on the Church in the Modern World Hope and Harmony! Commentary Sing to the Lord: The 2009 National Convention

By the Participants

he major benefit I received from the NPM convention is . . . sharing musical liturgy and liturgical music with others who also treasure this ministry . . . learning new ways to teach what IT already know . . . gaining a lot to take home and use . . . feeling energized to go back and lead my church . . . re-connecting with friends . . . immersion in a commu- nity of peers . . . feeling revitalized in my role as liturgy coordinator . . . affirming that I’m on the right track . . . networking . . . getting practical ideas . . . tips for vocal improvement . . . helpful information on the Roman Missal . . . positive dialogue and presentation regarding the Ro- man Missal . . . information on Sing to the Lord . . . learning Peter Bahou of Peter’s Way (left) accepts photos of choir tours to more about youth involvement in liturgy . . . the uplift- Europe collected from members of the Director of Music Ministries ing experience of celebrating prayer with many others Division (DMMD), presented by Kathy Mumy, DMMD vice who really want to sing and participate . . . experiencing president, to replace some of the memorabilia destroyed in last music and liturgy . . . the Wednesday night Eucharist . . . year’s fire at the Peter’s Way office. (See Mr. Bahou’s letter on page time to enter into worship . . . new music . . . appropriate six of this issue.) music . . . octavos from the publishers . . . great examples of worshipful new music and arrangements to increase participation by congregations . . . new ideas for funerals Church we belong to . . . appreciation for the Catholic faith and weddings . . . a great update . . . handbell festival . . . refreshment . . . liturgical training . . . learnin’. performance . . . outstanding speakers . . . education from top-notch clinicians . . . hearing the children . . . t future conventions, we should have more conversations with other choir directors . . . workshops (better) . . . mind-stretching events . . . superb . . . concerts . . . showcases . . . inspiration . . . inspiration Aenvironment . . . space between chairs . . . seats to try new ideas . . . challenging questions . . . apprecia- . . . comfortable chairs . . . aisles . . . fire safety . . . hos- tion of the spectrum of liturgical expression and present pitality . . . maps . . . signs . . . volunteers directing us to concerns . . . spiritual food . . . priestly encouragement sessions . . . name tags with larger print . . . pages for . . . credibility as the pastor with parish music ministers notes in the program book . . . handouts and other ma- . . . that I had a chance to hear what is happening in the terials at breakouts . . . microphones in breakout rooms world of music to help me in my ministry as a priest ...... late-night exhibits . . . visits to churches . . . Masses in stimulation . . . more information on answering the call to a church . . . Masses and fewer prayer services . . . access become a music director . . . encouragement to continue to a quiet chapel area for personal prayer and meditation in ministry . . . encouragement to continue the ministry I . . . access to sacramental penance . . . inspiring concerts began in my youth . . . support from the breakout sessions . . . unscheduled time . . . time between sessions . . . time on various issues . . . access to various publishers in one for exhibits . . . early-morning exhibits . . . technology location . . . hearing today’s leading liturgical musicians exhibitors . . . a day with little scheduled but rest and re- and composers speak and play . . . confidence in the great laxation . . . available women’s restrooms . . . kid-friendly and family-friendly locations . . . ethnic food choices . . . These comments are drawn from the more than 600 restaurant-friendly convention locations . . . reasonably evaluations we received from the participants at the 2009 priced breakfast options . . . a variety of price ranges for NPM Annual Convention. restaurants . . . “green” food vendors who use paper

Pastoral Music • October 2009 75 rather than plastic . . . boxed lunches and dinners (what a time saver!) . . . inexpensive hotels . . . skywalks . . . access to drugstores . . . kiosks with drinks, snacks, and ice cream . . . a quiet room for a power nap . . . spoken prayer . . . better liturgies . . . training in presiding skills . . . breakout sessions . . . update sessions . . . sessions on training others . . . opportunities to recycle handouts and booklets . . . opportunities for private lessons . . . op- portunities to sing in master classes . . . focus on smaller choirs for leading congregations . . . workshops on basic arranging for ensembles . . . on guitar and percussion basics . . . workshops for other instruments . . . for choir members as well as choir directions . . . workshops on presiding for clergy and lay people . . . on liturgical dance . . . on singing correctly in Latin and Spanish . . . on bud- geting for a music program . . . on art and environment and decorating for the seasons . . . repeated workshops . . . practical workshops . . . question and answer time in the workshops . . . physical space between workshops . . . educated presenters . . . exhibits with bins of octavos to look at . . . announcements about the silent auction . . . massages . . . opportunities to rent mobility carts . . . convenient parking . . . entrances to the main hall . . . lighting during reading sessions and showcases . . . space for liturgical dance sessions . . . organ recitals onsite . . . Hispanic Day and Latino night . . . places to sit and rest . . . opportunities to do things outside the convention center . . . youth and youth leadership . . . places for youth to hang out . . . work toward common liturgical goals . . . showcases . . . conventions in smaller cities . . . conven- tions in the west . . . conventions in Chicago. Alan Hommerding (left) and Anna Belle O’Shea pass the NPM banner to Louis Canter, chair of the 2010 National Convention in nd less (fewer) . . . remote locations . . . air Detroit. conditioning . . . regrets for lost opportunities A. . . crowding . . . things crammed into each day flash photography . . . expensive T-shirts . . . typos and . . . extra stuff in the program book (it was hard to follow) note errors in the program book . . . quasi-ethnic food . . . long walks between hotels and convention center . . . rude people . . . negativity toward the Church ...... walking . . . hiking . . . showcases during breakout front-and-center concelebrants . . . Spanish . . . chant . . . sessions . . . talk . . . speakers who present a topic different pop music . . . breakout sessions . . . “off campus” time from the written description . . . non-inclusive language . . . concerts masquerading as prayer . . . interruptions . . . uncomfortable chairs . . . jumbo jets flying over the from the audience during breakout sessions . . . exclama- convention center . . . amplification of instruments . . . tion points in breakout titles.

76 October 2009 • Pastoral Music The annual worship resource for vibrant parishes — at a modest cost! The flexibility of a missal and the breadth of a hymnal in one annual volume. • Readings, Entrance Song, and Communion Song for Sundays & Holy Days — plus no extra charge for weekdays! • The core Catholic musical repertory your parish needs. • A wide selection of musical choices: contempo- rary music, seasonal selections including introit hymns, Mass parts (including Latin), and more! • Large print for easier reading. No other annual worship resource provides so much for such a modest cost. Call 800-566-6150 or email [email protected] for a complete song list & CD sampler!

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Quantum™ console in loft

The Roman Catholic Church of Saint James the Greater CHARLES TOWN, WEST VIRGINIA

The largest Catholic church building in the state of West Virginia has installed a Quantum™ Four-Manual/136 Stop instrument built by Allen Organ Company, Macungie, Pennsylvania. The Allen console is situated in the Choir Gallery in the west end of the 1,000-seat nave. It speaks from five different locations throughout the room. The main organ is fronted by two custom-designed pipe façades. A twelve-channel Antiphonal division supports cantors and soloists at the lectern, three hundred feet from the console. This division also supports congregational singing at large festival services. An eight-stop floating String Division speaks from an ingenious “shadow box” chamber atop the south transept entrance, producing a spine-tingling dimension of soft, ethereal voices. This comprehensive instrument was chosen by parish leaders to support an expansive and excellent music program that boasts eight vocal choirs and two handbell choirs. A Pastoral Associate for Liturgy and Music is assisted by five choir directors and a Sacred Music Intern. The Music Department offers a series of bi-monthly Abendmusik Concerts following Saturday evening Mass.

Nave viewed from loft

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