Category: Nathan Knutson

Posted on by Mr. C

The sky won’t fall because of our songs

In the first portion of fellow contributor Nathan Knutson’s article “Renewal” commentor Jacob Flaherty addended to Nathan’s litany of anthrocentric hymn/song titles the Paulist Father Ricky Manalo’s “In these days of Lenten journey.” Mr. Flaherty quotes some lyrics and then opines:

Nowhere, in this entire text is a prayer of adoration, petition, contrition, or thanksgiving offered. It is merely a horizontal conversation between ourselves which begs the question, why are we telling each other what we’re going to do when the whole goal of our worship should be greater union with God through Jesus Christ.

Having just this last Saturday night accompanied Fr. Manalo in an impromptu recital of some of his songs (and my second occasion of having met and shared very pleasant conversations with him) I really have to say that Mr. Flaherty’s analysis is a prevaricated and unfortunate misunderstanding of the function and purpose of this and other fourth option songs that can rightfully be employed at Mass beyond as a “closing song.”

I would ask, in this particular case and song, what precisely is the difference between “we” hearing what disciplines we are called towards during Lent coming from a homily orated by an ordained cleric and the global “we” (of which the cleric is also numbered) singing those same mandates provided us by Jesus Himself and Tradition? Mr. Flaherty lists the absence of words of adoration, petition, contrition and thanksgiving as omissions necessary for a hymn’s efficacy, and thereby deficient towards “union with God.” Honestly, if the lyrics of Manalo’s song aren’t a clarion call towards that very union by exhortation to realize the Lenten disciplines and thereby act in persona Christi, and not as he characterizes it a “conversation among ourselves,” then one of us is seriously missing the connection between worship and missio.

By Mr. Flaherty’s deduction, should we then dismiss for use the Anima Christi prayer, despite its adorational nature, because it essentially exhorts the intercession of our Lord to compel the true “me” to abandon egoism? Doesn’t Fr. Manalo’s lyric remind us to abandon ego for the corporate good?

I’ll wrap this up. The obsession some of us display with problematic anthrocentrism, “Vox Dei” or open-ended theology in certain texts wearies this older yet no wiser church musician. It, to me, smacks of the incredibility of the boy who cried wolf, or Chicken Little’s prophesying “the sky is falling.” The problem, Chicken Little, lies not in our stars nor in the words of faithfilled priests writing good songs and good homilies, but in our prelates and ourselves for failing to act towards a neighbor in need next to you in the pew, or in the streets of a Filipino barrio as if s/he were Christ Himself. (Mt.25)

Posted on by Nathan Knutson

S. Maria Magdalena – Apostle to the Apostles


Saint Mary of Magdala, in debated multiplicity of biblical character, is honored in both East and West as first among the disciples of Jesus.  Even the Saints share a variety of ideas on her life as “the woman who was a sinner”, sister of Martha and Lazarus of Bethany, footwasher at Simon’s house, etc. Regardless of the debate, one which continues to add interest to this very day, she remains a supreme model of conversion, servitude and faithfulness for us all.

We do know for certain our Lord cast seven demons out of her, after which she became a faithful and inseparable disciple. Mary Magdalene stood at the very Cross of Christ, witnessed the burial of Jesus, was the first to discover the empty tomb on Easter, and the first to see the risen Lord. (Mk 15:40, Mt 27:56, Jn 19:25, Jn 20:1-18).

St. Augustine, mirroring several before him, gave Mary Magdalene the title “Apostle to the Apostles” for her blessed place as steady and devoted servant, during, throughout and following the Crucifixion and Resurrection.

It is no surprise therefore that in Sacred Art, Sacred Architecture, and Sacred Music, we have been gifted with numerous treasures in her honor.  Think of the many glorious churches dedicated to her, notably in Italy, Spain, France, and the Americas to name a few.

In Sacred Music, we find a wonderful musical depiction of her quintessential servitude on Earth, with “the other Mary” in Francisco Guerrero’s six-part Easter Motet Maria Magdalene et altera Maria, 1570.

With homophonic mastery, Guerrero was ahead of his time in the use of a through composed, non-repetitive, and highly emotional narrative.  The motet has two main sections, a true feast for all the human senses.

In the first part, Guerrero transports us with the two Marys to the tomb of the buried Jesus Christ.  The scene is vividly painted in sight, sound, touch, color, and most interesting, smell.  The sweet embellishment of the words “emerunt aromata” (“they bought sweet spices”) depicts an importance of their loving and virtuous charism to adorn the Divine body.  One also receives a colorful sense of time, foreshadowing the Resurrection with the rising of the first morning sun, ushering a new beginning in weekly and Eternal time.  The entire first section one can easily hear and feel the simple rising sun, growing in musical and supernatural crescendo, granting light, peace, and newness of life to God’s faithful.  The close of the first section completes our initial honor and praise of the Almighty with a well adorned Alleluia, ending in half cadence.

In opposition of the first section, the second begins with entrance of stacked voices in reverse order, this time low to high, creating a varied mysterioso.  As we are now at the tomb itself, rather than an introductory surrounding, we are drawn into the incomparable suspense of Mary Magdalene and the other Mary seeking the Holy crucified Jesus.  Guerrero draws out the text “viderunt iuvenem” adding to the exciting uncertainty and fear of the man in white.

As the stranger speaks (“qui dicit illis, Iesum…”), metrical and harmonic rhythm slow to a suspenseful new sound, again showing the Spanish composer’s mastery of simple, yet emotionally complex use of homophonic musical structure.  A series of surprising key changes as well as a gorgeous 20-note flourish in the tenor, ushers in the climax, breaking the news of Jesus’ Resurrection and thus absence from the tomb (“crucifixus, surrexit…”).  

May we honor St. Mary Magdalene and follow her example as devoted servant of our Lord, willing to accept present sorrow, face the Cross, and eternally proclaim utmost joy!


Text & Translation:

Latin English
Maria Magdalene, et altera Maria
emerunt aromata,
ut venientes ungerent Iesum.
Et valde mane una Sabbatorum,
veniunt ad monumentum,
orto iam sole, alleluia.
Mary Magdalene and the other Mary bought spices, intending to go and anoint Jesus.
And very early on the first day of the week they came to the tomb just after sunrise, alleluia.
Et intro euntes in monumentum
viderunt iuvenem sedentem in dextris,
coopertum stola candida, et obstupuerunt.
Qui dixit illis: Iesum quem quaeritis
Nazarenum, crucifixum:
surrexit, non est hic,
ecce locus ubi posuerunt eum. Alleluia.
And as they entered the tomb they saw a young man sitting on the right dressed in a white robe, and they were afraid.
He said to them: You seek Jesus of Nazareth who was crucified: he is risen, he is not here, see, this is the place where they laid him. Alleluia.
Posted on by Nathan Knutson

On Roman Cannons, Missiles, and Liturgical “Planning”

On this Feast of Saint Barnabas, Apostle, the Roman Canon provides us once again with great wisdom. The Sacred music of our beloved Catholic Church should unite mankind with Heaven and “graciously grant some share and fellowship with Thy Holy Apostles and Martyrs: with John (the Baptist), Stephen, Matthias, Barnabas, Ignatius, Alexander, Marcellinus, Peter, Felicity, Perpetua, Agatha, Lucy, Agnes, Cecilia, Anastasia, and with all Thy saints.”

Gregorian chant is the most perfect expression of this Divine fellowship.  A Treasure of Inestimable Value.  Instead, it appears altogether easy in our present age to avoid this Heavenly banquet, in favor of personal taste.    Unfortunately, and often unintendedly, the result is one of a liturgical jukebox mentality.  Shorten the prayers, omit sung orations and responses, even favor simple vernacular chants over the true, beautiful, and universal.  We put our quarter into the offering, and expect to choose “D4” for the offertory ditty.The Sacred Liturgy is not a jukebox, subject to our eclectic, and often taste-deprived aural palate.  The Mass is not a “chant café” in which one should be free to ask: “What music did you do for Pentecost Sunday?” 
How many sang/prayed Spiritus Domini, Veni Creator, Factus est Repente?  If not, what’s stopping you?

Certainly there are local considerations of ability, leadership, social and sometimes financial resources—one can make a case with nearly any fathomable excuse.  We can even say that the Church allows for such substitutions.  The reality, however, is that as Church musicians and clergy, it is our undeniable duty, our service, to simply comply with Sacred and Liturgical norms.  We conform our will to that of the Fathers.  We decrease, so that HE may increase!  As a dear friend so wisely remarks in light of musical directives, only strengthened at Vatican II: “Obedience alone would be an adequate response.” 

One must be vigilant and careful to mistake a brick-by-brick approach with that of lethargy.  There is a clear distinction between prudence and procrastination.  Are you taking steps toward the Liber Usualis, Graduale/Gregorian Missal?  Has your choir even heard of these books?  What is your timeline? 

Certainly this has been discussed before, although it is worth repeating with a resounding cannon or non-roamin’ missile:  too much time and money are spent “planning” the Mass. Many parishes pay musicians to choose alternate music and styles for Mass.

Instead, use that time to PREPARE for the Sacred Liturgy, both musically and Spiritually.  Start a schola.  Improve your choir.  Encourage them and trust them with real music, rather than feeding them the latest hit from 1970.  Choir members are the heart of the parish!  They need your trust, confident smile, and liturgical leadership!

So as the Saints throughout the year are named and remembered at Mass, either at the Altar and/or in the pew, may we remember our beautiful music and worship are Sacred, Universal, and outside of ourselves.