Not getting around to other parishes, not even our other three from our merged four, on Sundays, I’m not always up on current affairs as regards the practice of musical worship in general in CatholicLand. One thing I remember way back in the day in Oakland was that directors announcing the song to be sung often took the liberty of verbally contextualizing “why” that song was going to be sung, or simply a mini-homily. I have to assume or hope that practice has gone the way of the 8 Track Tape.
Anyway, as my schola (in its 22nd year) is greying, for every new member we lose about two to health or retirement issues (moving) and such. So, I’ve started to re-tool the overall thrust of choral repertoire towards SAB. Just got in Kevin Allen’s MOTETS FOR THREE (equal) VOICES which, though I’m full of glee about them, I have to manually transpose them as our organist has impeccably perfect pitch and even if he doesn’t accompany them, he sings them. So if a “B” is on the page but we’re singing it down the fourth on F#, he literally is disabled. I digress.
A big part of the SAB move of course is more than satisfied by Chuck Giffen (and others) wonder Wiki, CPDL. So, I found a number of wonderful motets recently by Gounod. One of those, especially tender, is a setting of “Da pacem, Domine.” (Give peace, O Lord.) We’d been rehearsing it among others for a few weeks and last rehearsal I decided to employ it yesterday.
Our schola is eclectic- we stuff the Meinrad Introit and Communio with hymns that most often resonate with the proper, the Offertory is flexible based upon a number of factors, but yesterday’s was obvious: Christ as both Word and Light. “Da pacem” wouldn’t have made sense there.
So, here’s the deal. I and the rest of the world woke up to the news that the second Japanese hostage by ISIS had been beheaded. I thought “This is getting to be Groundhog Day” (no pun intended) as everyday we wake up to some new horror perpetrated in the name of religion.
So before Mass, I welcomed everyone per usual, normal brief script. But then I told them I was going to uncharacteristically make some prepatory remarks. I then mentioned that as events around the world point to the overwhelming evidence of evil and violence, the choir would be offering the “Da pacem” to God as a choral prayer and in the hope that all victims and martyrs of such malevolence now know God’s peace.
Was I wrong to do that? I’ve been lobbying the pastor lately to brainstorm ways we can minimize or even eliminate extraneous talking and explanation from all “ministers” at Mass, and I make that call, all of maybe 15 seconds before Mass! But it was honest. It was prayer. But is it appropriate now and then to explain one’s intent for programming a piece, particularly if it is in Latin or another tongue?
Be gentle.
Singing Priests and Deacons at the Winter Chant Intensive
I recently had the pleasure of attending the Winter Chant Intensive’s track on “Singing the Mass” for priests and deacons. Why me? While I’m obviously neither a priest nor deacon, I was interested in seeing how Matthew Meloche of the Cathedral of Saints Simon and Jude would work with a diverse collection of clerics.
The willingness of the priest/deacon participants to get up one at a time and sing was wonderful. There is nothing more terrifying to most amateurs (and most professionals, if we’ll be honest) than singing before one’s peers. Some of the singers struggled to find their voices at all; some simply needed tuning up and clarification. Meloche sensed quickly how to meet each participant where he was at that point. He also knew when to back off, lest personal attention begin to seem humiliating focus. Everyone was encouraging and positive, even as we moved quickly from dialogues to orations and finally to the dread Exultet.
Each of the participants made progress and seemed ready to take some of the learning home and into actual liturgical practice. My only concern was the length of this intensive course because the last day seemed to push some over the edge into musical and psychic exhaustion. What did I get from this 4-day crash course? A better overall picture of the priestly and diaconal musical requirements of the Ordinary Form of the Mass, strategies for helping priests with whom I presently work or may work in the future, and most importantly a chance to spend a few days with dedicated men who want to do everything within their power to bring the richness of chant into their local churches.
A similar course will be part of the XXV Summer Colloquium at Duquesne University this summer. If you’re a priest or deacon who wants to build his chant on a firm foundation, give that opportunity some thought. It is a chance to experience musical collegiality and growth, to learn the music particular to your liturgical vocation, and to be surrounded by singers who want you to “shine” in the sanctuary as much as they would in the loft.
Faith, Hope, and Clarity
I heard a wonderful theology lecture the other night. One of the key points had to do with St. Thomas Aquinas’ account of the theological virtues. For Thomas, it’s the virtue of hope that has to do with persevering and trusting. Faith, however, is basically about doctrine.
In context, the lecturer was speaking about how Jesus could have the beatific vision throughout His earthly life–the fullness of faith, the “sight” that faith gives way to for the rest of us when we are in heaven–and still be trusting the Father and praying to Him. It is possible to be beyond faith and to still be living in full hope.
I was thinking how this distinction could make a real difference in our orientation in three key aspects of our liturgy.
1. If homilies are in part an exhortation to faith, it seems to me that they could in part be teaching moments. Of course they are exhortations to the other theological virtues, including hope. But it seems to me we generally have these aspects covered. Two of the most common types of homilies these days seem to be a) how life is a journey, and b) how we should trust God. And this is true. But we should also know God. The Church does know things about God, and a homily is a great time to communicate truth.
2. Likewise, in the Rite of Christian Initiation for Adults, helping people to embrace the faith includes communicating the facts of faith.
3. Liturgical music has the power to make these facts shine. The Second Vatican Council says “The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.” Because of the unity of words and music, the cantillation or heightened recitation of doctrinal sections of the liturgy, such as the Creed, helps the congregation that sings them both internalize and remember them. Just this morning I heard a chanted Preface–another doctrinal section of the Mass–and noticed immediately a new intensity of listening, in the attentive hush that fell over the congregation.
The gifts of the Holy Spirit can give us a real taste for the things of God, and although it takes some work to communicate these in any age, it has been my experience that the clear teaching of the Church finds a welcome hearing, and actually is often experienced with a certain sense of relief by the many in the Church who are really ready to know.
New Chorister Program in San Francisco
Lucky kids!!
Child Choristers of the San Francisco Oratory (in formation)
Star of the Sea Church
San Francisco
A child chorister program will be starting this Spring for boys and girls between 8 and 12 at the San Francisco Oratory in formation at Star of the Sea Church, San Francisco. The children admitted into this unique program will be taught the elements of music, modern musical theory and notation, as well as Gregorian Chant and it’s theory, modes and performance. Emphasis will be placed on learning solfege (Do, re mi…) in order to perfect sight-singing, as well as rhythmic training. Special emphasis will be placed on voice production and training. The eventual goal of the Chorister Program will be to supply singers for one of the Sunday morning Masses at Star of the Sea Church. The program is under the pedagogical auspices of the Royal School of Church Music. This is a splendid opportunity for a musical education for your child which the parish offers free of charge.
Homeschooling parents can receive music/arts credits for the class in most programs. Interested parents should call the parish office on 415.221.8558 or email at sfchoristers@yahoo.com, to make an appointment to meet the director and for a very short audition, primarily to ascertain that your child is able to match pitch. Classes will begin in March, exact date to be announced once auditions have ended.
St. Paul’s Cathedral Choir Tour in USA
The St. Paul’s Cathedral Choir (London, U.K.) will be making a major tour through eight cities in the U.S. during the month of April 2015.
BOSTON, MA Trinity Church Thursday 16th April 7.00pm
ATLANTA, GA Cathedral of St Philip Saturday 18th April 7.30pm
MACON, GA Vineville UMC Sunday 19th April 4.00pm
SHREVEPORT, LA First UMC Tuesday 21st April 7.30pm
HOUSTON, TX St Martin’s Episcopal Friday 24th April 7.00pm
WASHINGTON, DC National Cathedral Sunday 26th April 5.00pm
ST PAUL, MN Cathedral of St Paul Tuesday 28th April 7.30pm
VALPARAISO, IN Valparaiso University Wednesday 29th April 7.30pm
There has been a choir at St Paul’s Cathedral since 1127. Thirty boy choristers and twelve vicars choral provide music for eight sung services a week with regular recordings and broadcasts. The choir is regarded as one of the best in the world and regularly leads services of British national importance from State occasions such as the Diamond Jubilee of Her Majesty Queen Elizabeth The Queen to the funeral of Baroness Thatcher.
For many years St Paul’s Cathedral has held a close relationship with the USA. It is home to the American Memorial Chapel and hosts the annual Thanksgiving Service for the American Community in London. Indeed it was the first British cathedral choir ever to visit the United States (in the year of The Queen’s coronation, 1953).
This tour will be the choir’s first visit to the USA in twelve years and marks the first of three visits over the next 6 years. The choir is active in communicating updates on its work. You can follow their progress via the following channels:
Twitter: https://twitter.com/
In case you want a preview, they will be broadcasting live over the internet on 4th Februaryvia BBC Radio 3. Mark your calendars so you don’t miss these wonderful concerts!
You can download the brochure about the tour here.
Women in the Liturgy; Women in the Church
One of the problems in dealing with underprivileged groups is that it’s pretty hard to say anything that doesn’t strike a chord of sensitivity. The valuing of the gifts of women in the Church is one of these third-rail issues that no man can handle quite delicately enough for every woman, sorry to say. That’s the cost of hegemony, I’m afraid, and hopefully one day bygones will be bygones.
In the meantime, recently two senior churchmen have said things that I think are somewhat unfair, on diametrically opposite sides of the same issue.
Pope Francis, who is actively promoting the legitimate rise of women in the Church, and who is eager to address a leadership imbalance that is really inexplicable on any reasonable criterion, nevertheless said something that I think is just a little problematic. In his characteristically colorful way, he spoke in positive terms about the outstanding women scholars who have recently been named to the International Theological Commission. Noting that there were more than before, and emphasizing that their presence was necessary, and also saying that there ought to be more, he nonetheless said that we are like “strawberries on the cake.” You can see that this was kindly meant–and if he had said that they were strawberry cake marbled in among the usual vanilla, no woman, I suppose, not the most sensitive woman, could possibly take offense. Different kinds of cake; feminine perspectives on reality; scholars among scholars. Not decorative, not adorning fruit, not necessarily more delightful than any other theologian, but real, true cake: this is what women are able to contribute to theology, I believe.
Given that understanding, I was baffled by the remarks of Cardinal Burke in a recent interview, particularly as the endless internet discussions surrounding the interview were crossed by the Adoremus Bulletin in an issue largely dedicated to the memory of one of the most powerful women of our times, Helen Hull Hitchcock. Here is a beautiful conceived and written article in her honor by a diocesan priest and co-worker in their hugely successful campaign to restore the sacral language of the Liturgy. No one I know of has had more influence over English-language liturgy than she has. Which is one more reason why the good Cardinal’s negative statement that the Liturgy has been “feminized” and under feminine influence is so bewildering and hurtful.
Personally I am in favor of an all-boy altar server corps, because there is a certain age at which the polarities and fears between the sexes is almost insurmountable. Twelve year olds, for example. However, those conditions of fear should not be in place at the time of entering the seminary, and to the extent that they are, is there truly no remedy? Certainly these fears and hesitations can and must be overcome. Certainly there is some hope that a man who is called by God to the priesthood of Jesus Christ can overcome small hesitations, particularly when these hesitations would eventually become barriers to collaboration.
Because at heart, I believe, the problem is not about justice for women. The problem is justice for the Holy Spirit. Gifts are given as God wills, not according to our comfort or conventions. One of the first apostles was a Samaritan, and a woman. The Church is meant to benefit from the gifts that are given, and when truly arbitrary customs prevent this, then the People of God are missing out on what God wants to give them. For this reason I am very thankful for Pope Francis’ efforts to initiate a balanced view, in which the best candidate for a position–cleric, lay, religious, whomever–is not artificially excluded from consideration.
The Liturgy itself is a feminine act of worship, an act of reception. As the final chapter of the Dogmatic Constitution on the Church teaches, we are like the Blessed Mother, but on pilgrimage. She who prayed in the midst of the apostles prays among us now. Like the virgin martyrs and all the angels and saints, she is in our sanctuary.
The Church, as in the Song of Songs, is a “she”–and she has a Bridegroom.
Singing the GIRM
One of the many ephemeral phases of liturgical music theory during the second half of the 20th century–phases that flowed in on one another’s ebbs like waves upon the shore–was the one that a friend calls “Singing the GIRM.”
Under this paradigm, it was of vital importance that at each layer of the 4-hymn sandwich, we would all note in song the liturgical action. At offertory, for example, we sang songs about the offering of bread and wine, and about our offering of ourselves.
Take our bread, we ask You. Take our hearts, we love you. Take our lives, O Father, we are Yours, we are Yours.
All that we have, and all that we offer, comes from a heart both frightened and free. Take what we bring now, and give what we need: all done in His name.
A shorter-lived example of this phase occurred in the Recessional hymns that described the meaning of recessing.
The Mass is ended, all go in peace.We shall diminish, and Christ increase. We take Him with us where e’er we go, that through our actions, His life may show.
Go forth among the people. See men of every nation. With the gift of faith He gave, tell them how He came to save. Tell them how He came to bring salvation.
Communion was celebrated by songs of sharing and eating and caring, etc. That wave formed a tidepool that lingers still on our shores, as did the later idea of the “gathering hymn.”
The element that seems usually missing from these texts is the very important idea of why we would do all these things.
There are parallels to the Gathering Hymn in Scripture. The Church in fact perennially uses the greatest of these in the Liturgy of the Hours, as the invitatory Psalm 95.
Come, (it sings), let us bow down. (why?) “The Lord is God, the mighty God, the great King over all the gods. He holds in His hands the depths of the earth, and the highest mountains as well. He made the sea; it belongs to Him. The dry land, too, for it was formed by His hands.”
Why worship? Because we, and everything that is, are His creatures.
A different kind of Gathering Psalm is in the Psalter, the Psalms of Ascent. These would have been sung by pilgrims going up to Jerusalem.
Why? “For Israel’s law it is, there to praise the Lord’s name. In it are set up judgment seats: seats for the house of David.”
See the difference? The reason we “go to the Lord’s House” is spelled out in the Psalms. It’s not because “new light is streaming” or because we bring “our tears and our dreaming,” and it’s certainly not so that we can “build a house where love can dwell.” It’s because of our relationship with God. In Israel’s case, this covenant was expressed in the giving, and the fulfillment, of the Law. In our case, Jesus said, “Do this in memory of me.”
I really believe that focusing on that relationship is the key to ending the liturgical feeling of restlessness and contingency that still plagues many parishes, the sense that we are putting things together in our own weekly skit instead of worshipping the living God.
The propers constantly sing about the relationship we have with God our Creator, Savior, Redeemer, the One on Whom we can rely, the One in Whom we hope. Rather than narrate the liturgical action–which surely can speak for itself–our singing ought to express, with thanks, what we have been given.