Author: Mr. C

This has been a day that the Lord hath made, and I rejoice and am glad in it!

My youngest daughter came into town yesterday, and save for having all three of them with Wendy and I, is there anything grander than enjoying the company of your grown children that don’t live close by? Our oldest lives “in town” and is the finest singer in the family, up there with MA, Singing Mum in the pipes department. But, having our 32 Y.O. “baby” in town provided all of us with the occasion of also having our two grandsons attend Sunday Mass together for the first time; mom and auntie can monitor our 4 year old genius/terror in tandem!

Sure, schola and ensemble Masses were successful, artful enterprises both. The “progressive solemnity” aspect of the schola Mass is well in tact, and the ensemble Mass can in no ways be labeled anything close to a travesty. These are givens.

What this post is about is the afterwards, the culmination. After packing out after the last Mass we were inching our way to the car for a brunch, greeting and exchanging pleasantries with assorted folk. We gained a new tenor for the schola, etc. But, as we about to make the final move to the car, a couple walked up to us with purpose and smiles. I knew that I should have recognized one of them, especially the gentleman. But they saved me from my confusion and the gentleman said, “Charles…Frank LaRocca.” I let loose with a litany of OMG’s that our Lord knew not to be taking His Name in vanity due to a smile that I haven’t felt so extremely wide for a while now. Dr. Frank LaRocca, Professor Emeritus at California State University East Bay was my composition teacher, and simply, the best teacher I have ever known.

He and his lovely wife, Lucia, explained they were in Fresno for a performance of his motet, EXPECTAVIT DOMINUM, with the Fresno State Concert Choir. And of course, I did my graduate work there 23 years ago, which was also about the last time I’d seen Prof. LaRocca as well. I could not contain my joy! Some of you might remember that Dr. LaRocca, a REAL, working composer such as MacMillan, Corigliano, Adams or Part, won second prize for his “Credo” (I think from his “Missa Cordi Sacro”) this last summer sponsored by the International Sacred Music Competition held at the National Basilica in D.C. And, in some brief correspondence, we reconnected and he shared that he had joined the chant schola at Oakland’s well-known EF church, St. Margaret Mary’s near Park Boulevard and my alma mater, Oakland High.

Frank just mentioned that, along with the Fresno State event and a visit to relatives in a nearby city, he just thought he and Lucia would get over to Visalia and see if I was around (I’m very round, actually!) He went to our 11:30am Mass after we exchanged salutations. I told Lucia and anybody around (I must have introduced him as “my most beloved teacher, ever” to anyone walking by) that he was also the best teacher in any discipline I’ve ever known.

And he was so gracious to repay the compliment that he was so pleased that I followed my dream to be a professional musician for this last quarter century. I laughed when I told him that I was a bit stunned that in an alumni periodical he was titled “Professor Emeritus” and that I felt so old when I read that. Little did I know that he and I were born the same year! Frank graciously said that he, as well as many of us like me, are just getting our feet wet in the everlasting, ever freshened font of chant.

Later this evening I called a former protege of mine whose regarded me as his mentor for many years, as he pursues his degrees in music at Fresno. I asked him did he meet Professor LaRocca and remember his piece. He answered with great affirmation as to the beauty of Frank’s motet. “Will the circle be unbroken?” No, not with providence and inspiration such as this that our Lord provides.
We had our respective appointments to leave for, so we agreed to exchange a couple of pieces.

But, I hope I haven’t trespassed the sensibilities of our cafe with this personal indulgence. I thank God for this day, for the opportunity to visit with a great mentor and friend from what could have just been another lifetime. And it speaks to the real tendons that ennervate our efforts to restore that which is sacred, beautiful and universal to our worship arts at all levels.

P.S. Frank didn’t really know what goes on at colloquium. I simply said basically that it’s truth in advertising: “Six Days of Musical Heaven.” I hope he can join us in June.

I wish I could join him in Glasgow for the world premier of his “Iam Lucis Ordis Sidere!” Maybe we should give MacMillan a ring and they could widen our circle!
Soli Deo Gloria

I type as I’m listening to Jeffrey Tucker’s interview with Dr. Jennifer Pascual on Sirius Radio via Adam Bartlett’s link here at the Café.

There is no way to know how many folks actually listen to such joyful exhortations on the wires/wireless’. There’s no way to measure any sort of corporate conversion of the hearts of the clergy and laity who might happen upon the encouraging, informed common sense from the pen of Dr. William Mahrt in “Sacred Music.”

But I’d like to revisit an experience I’ve now shared with my own parishioners on this Holy Day, and on this same day last year, that is undeniable testimony to the principles that are espoused by CMAA and all champions of restoring chant to a place of principality in our liturgies.

Again, as I type, I’m listening the very same Introit for All Soul’s from the pen of Adam Bartlett that we actually enjoined an impromptu congregation at our district cemetery this afternoon. I literally printed the one sheet Order of Music from Adam’s post, along with Arlene’s Psalm 23 and they were handed out and sung at first reading by a completely diverse congregation of souls from all demographic points. A couple of members of our local garage schola (profiled in an earlier post,) myself and my lovely bride comprised an ersatz, but mighty schola, and we bolstered a gathering of about 200 folks who took up the English Propers with ease, as well as the Ordinary of the Requiem Mass commonly associated with the “Jubilate Deo” project.

There has been a great deal of reportage about various multicultural traditions that express a reverence or anamnesis for the souls of relatives that have passed. Here in the San Joaquin Valley we have embraced the traditions of Latinos, the tribal peoples of Laos, Vietnam and Thailand, the Filipinos and others. But, each of those ethnic subcultures were represented by folks this afternoon called to pray for the state of the souls of “all the faithful departed” in a catholic manner, one that transcends and unifies us all within the unity of the ritual. By the God-given language of chant, I not only wished afterward that such a witness to our rituals and faith traditions could have been such witness to our entire Christian community in our city, but that it could have been such witness to our own dis-enchanted Catholics who have, through no fault of their own, been kept at bay from their rightful inheritance.

I don’t know what else to say. I know that I’m whole and complete in the midst of colloquium liturgies, even at rehearsals. And I am likewise whole on this unique day by virtue of being presented the opportunity to exclusively “sing the Mass” on All Soul’s Day at our cemetery rather than the “brick by brick” pastiche at our magnificent church, and confident that I have empirical evidence in my own vineyard (where my grandparents rest) that St. Pius X called it correctly over a century ago; the Faithful can, will and do sing the chant when afforded the trust and opportunity by the powers that be.

Thank you, CMAA. Thank you, Jeffrey, AOZ, Dr. Mahrt et al. Thank you, Adam. All praise be to the Risen Christ, Lord of All. Soli Deo Gloria!

This volume of arrangements is a studied, serious and comprehensive necessity for the future of guitarists whose earnest desire to advance the instrument’s “value” to the liturgy will eventually come to terms, and merge with the growing enthusiasm for restoring “pride of place,” or even “primary place” to the use of Gregorian Chant that is burgeoning in this century. The author does not hesitate to equate the revival of chant with the revival of Christendom (“Save the Liturgy, save the world” come to mind?) and sees his work allowing guitarists to “participate more effectively” in that aspect of the worship life of the singing church.

Mr. Garno gives a not-just-a-nod introduction to chant and its current revival in his introduction, and then states, “My goal…is to aid the working guitarist…..(whose)….economic success….depends upon their ability to be flexible in a wide variety of performance situations. Having the potential to play Gregorian chant melodies….will broaden the possibilities of performing in churches, or even accompanying congregations. (Interesting that he would note “chant” in the participation active modality!) He also notes that with the larger public’s interest in the meditative qualities of chant that the guitar, as a “meditative” instrument makes an appealing antidote to the busyness, industrialization and technical distractions of modern life. He concludes, in this vein, “Logically, then, the melodies of Gregorian chant are a type greatly complemented by those qualities inherent in the acoustic guitar.”

The introduction continues to give a thorough history of the chant, complete with engravings, complete footnotes and supportive quotations. Then Garno systematically introduces the modern notation reader to the mensurate contrasts both in symbolic notation and in actual rhythmic practice. He offers the studied guitarist the tools to interpret phrase divisions and neumes, and basic guides to the duple, triple groupings with which chanters are familiar. He demonstrates his methods for transcribing chant scores to guitar staff notation correctly. And then he declares at the end of the introduction that “Gregorian chant transcriptions should be a part of the standard classical guitar repertoire, citing many authoritative artists such as the late Andres Segovia as champions of this cause.

Then the bulk of the volume, which he titles “Hymnum Gloriae,” consists of staff and tablature versions of four basic Mass movements: a Kyrie, Gloria, Sanctus and Agnus Dei.

And then he provides full transcriptions of Missas VIII, IX, XI and XVI.

The next section includes “Miscellaneous Chants” that are of great renown, and then a section of Latin Hymns that include “Adoramus te Christe, Ecce panis angelorum, O esca viatorum, O salutaris hostia and a host of others.”

Following those transcriptions Garno includes the appendices with the original neumatic scores. The volume concludes with excerpts from “The Catholic Encyclopedia of 1913” and his bibliography.

This collection should be part of every serious guitarist’s library, especially those whose instruments remain closeted from their scholas or choirs when chant is employed. And folks who question the validity or propriety of the classical guitar at Roman Catholic worship should simply browse through its content out of respect for the fact that the instrument is not explicitly named as illicit or deficient in accompanying the highest form of sacred music for liturgy. Take it or leave it, this book is worth a thorough examination.

You might remember that a few weeks ago I posted on “Dr. Invigaro’s Prescriptive Solemnity” remedy for liturgical situations and choirs. The good doctor contacted me recently with a few comments and questions he’s since received, and a particular one caught my eye.

“Dear Doc Invigaro,

A significant number of my singers in our choir are converts, some who swam the Tiber before we entered the desert, and many over the intervening 40 years. I have noticed as we have deliberately, slowly, “prescriptively” moved towards propers, chant and polyphony that not a few of my singers apparently miss those occasions that the odd spiritual, the rousing gospel tune, the ubiquitous non-catholic anthem or choral song would be programmed. A few have even remarked that we’ve gone all polyphony, all the time. They didn’t seem to be complimenting my programming. Doc, what do I do?”

Dr. Invigaro then left a few suggestions in his memo:

*Eclecticism in programming is neither friend nor foe. It is a tool among others. For example, in my previous advice I reminded folks that if there are folks (among them even clerics) who just can’t abide the imposition of an Offertorio proper into the mix, and thus displacing the notion of the “hymn of the day” which bridges the scripture readings and homily into the Liturgy of the Word…. a well-thought out choral song could present a golden opportunity. For example, in this devotional month of October, or with the upcoming feasts of the Immaculate Conception and Our Lady of Guadalupe, the late Leon Robert’s “CANTICLE OF MARY” could be the pill that fills the bill. It includes congregation, has a solid gravitas to both refrain and melody that could contrast well with other Marian literature. One doesn’t know if it’s incongruous, jarring or uncomplimentary until one tries. This might also work with many other choral and congregational pieces of recent times. John Foley’s “MAY WE PRAISE YOU” or the Mark Haye’s “PRAYER OF ST. FRANCIS” comes to mind.

*In larger parishes where the whole “process” of distributing Holy Communion requires a disproportionately longer time period, one of these eclectic selections could follow the Communio and the Communion Processional, and still allow for reflective silence from all after the Tabernacle Veil is shut. I think of pieces by Lazlo Halmos, such as his proper “CANTATE DOMINO,” that wouldn’t function quite as well if it was programmed at its proper location. Or Stainer’s “GOD SO LOVED THE WORLD,” Brahm’s “HOW LOVELY…” or even a setting of “I HEAR MUSIC IN THE AIR” such as arranged by Alice Parker or John Bell.(Consider editing the text of this one.)

*Of course, if there is a “whipping post” for the odd favorite, it will always remain the terra incognita of the recessional. If you absolutely, positively must “throw a bone” to choir malcontents with pieces like “EVERYTIME I FEEL THE SPIRIT,” or “RIDE ON, KING JESUS,” or Wilhousky’s BATTLE HYMN OF THE REPUBLIC, then this is that time.

One could bridge the time it takes for the celebrant to have made his procession and retreat by a brief organ postlude, and then launch the sonic rockets.

But, these choices cannot be made willy-nilly. As I said, this eclecticism is a tool. Using a specific wrench as a hammer will be injurious, probably to the choir director, the choir, the congregation and worst of all, the integrity of the Liturgy. But if used with precision, might be another tonic to keep your choir members unified and happy.

Sincerely, Dr. Lucious Invigaro”

Well, I don’t know if this addedum protocol might work for you in your program, but I might just consider this as I continue reconfiguring my own bricks. I expect lots of different mileage variances and stalling might result here, there and everywhere.

With full disclosure, our Advent/Christmas Annual Concert title is a misnomer, though it’s meant as a quaint and humble homage to our founder. Though it’s hard to imagine, Christmas music, carols especially, have proven not to be the centerpiece of sacred seasonal concerts of a hundred-years yore.

We have endeavored to reconstruct a facsimile of “American” Roman Catholic music as it was practiced and heard during the years of Fr. Dade’s formation and service in Philadelphia, and what of that repertoire might have eventually emigrated with him to California, Visalia and St. Mary’s. In addition, we have researched period catholic hymnals of the mid to late 19th century for carol texts, Spanish-language “villançicos” and other song forms that would have likely been sung during Fr. Dade’s tenure as Visalia’s pastor.

Virtually the only musical forensic evidence in Fr. Dade’s biography, THE APOSTLE OF THE VALLEY, denotes that “entertainments” that included music and dance benefited the building of the second church building in 1872 and that the parish did have an organist/music teacher for the parish school children. Speculation about exact musical pieces is all that remains from that. However, the book states “, “Music was provided by a quartet who went in a special conveyance from Visalia; they rendered ‘Peter’s Mass in D’ ‘ in a beautiful and impressive manner.”

Thanks be to God, the very pleasant agents of the Library of Congress and the University of Louisville, we were able to locate that very Mass setting and secure copies. Before discussing this work and others, I must also give great appreciation to my colleagues Ed Teixeira (Organist/Director-St. David’s, Richmond CA), Dr. Doug Shadle, (Musicologist at the U. of Lousiville), and Dr. Mike O’Connor, (Musicologist of Palm Beach Atlantic University), for providing veins of sheer gold for me to mine.

The “Peter” of the “Mass in D Major” was composed by Williams Cummings Peters, whose personal history is associated with the great Stephen Foster. Peters was a noted Catholic choir director who also compiled and published a number of catholic hymnals that bore striking resemblance to the forms of denomination hymnals of that era, using the terms “Harmonist” and “Harp,” as in the famed “Sacred Harp” school of shape note singing used for worship and music literacy. Peters’ Mass is grounded in a sort of Hadyn meets Mozart European style. The two movements from the Mass that we will perform are the Gloria (most appropriate as it is the hymn the angels sang to the newborn Christ at His Nativity) and the Agnus Dei (Lamb of God.) The Gloria contains a pastiche of melodic “scenes” which could lightly be called “text painting.”

Another great “find” was an emigrant German Philadelphian composer, Albert RoSewig (b.1846) who had many Victorian-era hymns, carols and motets. The choir will sing my arrangement of his setting of the AVE MARIA, as well as his setting of a Communion motet “O Salutaris Hostia” and another period piece for Christmas.
An amazing piece that we will feature is yet another Philadelphian, J. Remington Fairlamb’s “Great” TE DEUM, a hymn of praise sung at the New Year and at great feast days. This piece is significant in that Fairlamb uses English rather than Latin (unusual for the era) and for some compelling musical harmonic devices that are unique to my ear. Fairlamb was designated by Abraham Lincoln to be a consul to Switzerland as well!

More traditional carols such as “Adeste Fideles” and “What Child is This?” we have located in the “Young Catholic’s Hymnal” circa 1870 that contain verse lyrics that are stunningly different than those we sing today. We will enjoin the audience in the singing of these “discovered” texts.

As mentioned earlier, the choirs will also sing Christmas “villançicos.” These are a hybrid form of European polyphonic motets with native (Nahuatal) folk idioms of the post-conquisition and missionary era in Mexico. They are incredibly beautiful Spanish “carols.” Though there is no evidence that this music was sung in St. Mary’s, there is plenty of evidence they were sung daily across the central coast range in the Franciscan missions in this era.

And we will be joined by our own Gregorian Schola of St. Francis, led by Ralph Colucci, for a selection of Advent, Nativity and Epiphany proper chants that were hopefully sung by the children’s choir in those pioneer times.

We hope the entire Visalia music-loving community will join us at 4pm, December 18th for our “antique” concert celebrating our history.