yp Dedit fragílibus córporis férculum, Dedit et trístibus sánguinis póculum. (Thomas Aquinas) Sacred Music Spring 2019 | Volume 146, Number 1 Editorial Reason and Affect | William Mahrt . 3 Articles Im Nigeria, singen alle lateinisch? A Critical Review of the Retention of Spoken and Chanted Liturgical Latin in the Nigerian Local Church | Fr. Jude Orakwe . 9 The Golden Years of an American Catholic Institution: an Annotated Chronicle of the Pius X School of Liturgical Music from 1946 to its Transformation as the Music Department of Manhattanville College 1969–1970 (Part I of III: 1946–1952) | Francis Brancaleone . 15 First Night, New Choir | Mary Jane Ballou . 47 Repertory Johann Sebastian Bach’s St. Matthew Passion and the Catholic Tradition | Markus Rathey . 50 Review Vicente Ripollés Pérez (1867–1943), Música en torno al Motu Proprio para la Catedral de Sevilla, Volumen 1: Misas, by Miguel López-Fernández | Valeska Cabrera . 60 Last Word The Pipe Organ as a Church Instrument | Kurt Poterack . 64 CMAA Announcements . 66 Formed as a continuation of Cæcilia, published by the Society of St. Cæcilia since 1874, and The Catholic Choir- master, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America since its inception in 1964. Office of Publication: 12421 New Point Drive, Richmond, VA 23233. Email: [email protected]; Website: www. musicasacra.com Editor William Mahrt Managing editor Jennifer Donelson Editor at large Kurt Poterack Editorial assistant Jacek Burdowicz Nowicki Ty pesetter Judy Thommesen Membership & Circulation: CMAA, P.O. Box 4344, Roswell, NM 88202 Church Music Association of America Officers and board of directors President William Mahrt Vice-president Horst Buchholz Secretary Mary Ann Carr Wilson Treasurer Steven Holc Chaplain Father Robert Pasley Director of Publications Vacant Directors Charles Cole, Jennifer Donelson, David Hughes, Susan Treacy, Edward Schaefer Directors emeriti Rev. Father Ralph S. March, S.O.Cist.†, Kurt Poterack, Paul F. Salamunovich†, Calvert Shenk†, Very Rev. Monsignor Richard J. Schuler†, Rev. Father Robert Skeris, Scott Turkington General manager Janet Gorbitz Membership in the Church Music Association of America includes a subscription to the quarterly journal Sa- cred Music. Membership is $60.00 annually (U.S.), $60 (Canada), and $65 (other countries). Parish member- ship is $300 (U.S. and Canada), $325 (other) for six copies of each issue. Single copies are $15.00. Send requests and changes of address to Sacred Music, 2014 Corn Drive, Las Cruces, NM 88001. Make checks payable to the Church Music Association of America. Online membership: www.musicasacra.com. Sacred Music archives for the years 1974 to the present are available online at www.musicasacra.com/archives. LC Control Number: sf 86092056 Sacred Music is indexed in the Catholic Periodical and Literature Index, Music Index, Music Article Guide, and Arts and Humanities Index. © Copyright 2019 by the Church Music Association of America. This work is licensed under a Creative Com- mons Attribution 3.0 Unported License. ISSN: 0036-2255 Sacred Music is published quarterly for $60.00 per year by the Church Music Association of America. 2014 Corn Drive Las Cruces, NM 88001 Periodicals postage paid at Richmond, VA and at additional mailing offi cies. USPS number 474-960. Postmaster: Send address changes to SACRED MUSIC, 2014 Corn Drive, Las Cruces, NM 88001 Editoral Reason and Affect Logical and ordered steps find their finest culmination in an affective climax. by William Mahrt here is in the popular imagina- tion a conflict between reason Tand emotion, or to use a term more suitable to aesthetic dis- cussion, affect. It cannot be denied that in It cannot be many instances, appeals are made to emo- tion that are in conflict with reasonable denied that in many concerns. Still, there is a purposeful rela- tion between these two poles. From an aes- instances, appeals thetic point of view, affect, or emotion, is at best the spontaneous response to some- are made to emotion thing important perceived—a link between the two. Such a link can be the result of a that are in confl ict simultaneous perception and experience of emotion, or it can be of a long preparation with reasonable that leads to a flood of insight and a sponta- neous burst of affection. concerns. Such a link is described in a fascinat- ing autobiography, From Fire to Water by Sohrab Ahmari. He describes his long pil- grimage into the Catholic Church, begin- ning with his upbringing in a liberal, agnostic family under the repressive regime Nietzsche then Karl Marx were his preoc- of the Ayatollas in Iran. After the divorce cupation, accompanied by a dissolute life. of his parents, his mother and he moved to He followed student social activism, par- the United States while he was still a teen- ticipating in demonstrations. In his aim ager, and he began a long intellectual jour- to serve social purposes he affiliated him- ney. He started as an agnostic, and first self with a program dedicated to teaching William Mahrt is the president of the CMAA and the editor of Sacred Music. Sacred Music | Spring 2019 Volume 146, Number 1 Y 3 underprivileged youth. He pursued this conversion circulated among friends and teaching while maintaining his agnostic acquaintances, and many said that it was an and disorderly personal life, but he found impulsive action and hardly justified. His in this teaching a colleague who embod- response is the narration of his story: a long, ied a kind of personal discipline and ide- gradual, rational process of discovery that alistic dedication, which became a model was spontaneously fulfilled by the concrete for him. He turned to matters of religion, reality to which his reason had led him; a and began an inquiry. In the course of his rational process leading to an overwhelm- progress, he read the scripture, but as an ingly affective conclusion. A reviewer com- observer, an inquirer, while his dissolute mented that the book represented an life remained. One day, in a state of dis- important juncture between reason and couragement, walking the streets of New York, he came across a Capuchin monas- tery. He looked in, and there was a Mass being celebrated. He was astonished by Th e juncture of reason the obvious contrast between the peace and order of the place, its worshippers, and aff ect is crucial to and the priest on one hand and the noisy disorder apparent on the streets of New the practice of religion, York on the other. When the priest conse- crated and elevated the Eucharist, he found and is particularly himself weeping profusely; his long objec- tive inquiries were totally transcended by epitomized in the the reality he faced, but he kept searching. Some time later in London he was invited liturgy, especially in to an evangelical Anglican service; this was disappointing, and he left it unconvinced. the liturgy celebrated He walked down the street to find a mag- nificent, Italianate church, the Brompton with its proper Oratory, where there was a High Mass in Latin going on. Again the peace and order music—the completely of the proceeding and the beauty of the place were overwhelming, and he again sung liturgy. found himself weeping profusely. At this point, he went to the rectory and received wise instruction from an old priest and was baptized and now continues to be a dedi- cated Catholic. affect, the affect being the spontaneous, He had not intended to write an auto- culmination of a long rational process. The biography; indeed it may not be quite the result was “grace and order in perfect har- time for autobiography when you are just mony.” In seeking truth and goodness in in your early thirties. But the news of his a rational way, he received a supernatural 4 Y Volume 146, Number 1 Sacred Music | Spring 2019 confirmation of all he sought. and Lauds, in the presence of a large cande- This juncture of reason and affect is cru- labra holding fifteen candles. It occurs the cial to the practice of religion, and is partic- evenings before Holy Thursday, Good Fri- ularly epitomized in the liturgy, especially day, and Holy Saturday; it is particularly in the liturgy celebrated with its proper effective when it occurs after dark. It con- music—the completely sung liturgy. Here sists of a series of psalms and lessons; after the relation of truth and beauty is epito- each psalm, one of the candles is extin- mized by long rational processes that cul- guished. After this rather long process, all minate in beautiful fulfillment. There are but one candle remains burning, and it is several notable examples of such a process. taken away, leaving darkness. The psalm Miserere is chanted in a low voice, and then an astonishing thing occurs, the strepitus, a terrible noise made by the singers banging their books against the pews. It is a truly Th e whole liturgical shocking occurrence—nowhere else in my cognizance does the liturgy require noise. It year leads to a is the liturgical low point of the year, sym- bolizing the death of Christ, a death epit- culimination in Holy omized by the succession of extinguished candles, the light of Christ being progres- Week, and this in turn sively reduced, until the symbolic chaos of his death is expressed by a liturgical earth- to a fi nal culmination. quake. I have sung a form of this office for decades, and I never cease to be shaken to the core by its expression of Christ’s death. It proceeds through a long process through The whole liturgical year leads to a cul- fourteen psalms and nine lessons, orderly mination in Holy Week, and this in turn to and reasonable, but concludes with an affec- a final culmination.