Washington Post: “Christopher Candela dispels the notion that all organ music sounds the same.”

Together, these M.P. Möller organs (dedicated in 1965 and updated in 2001) house 9,393 pipes ranging from a 64-footer to one foot, four keyboards and 157 stops, each providing a specific sound. Candela took full advantage of these far-reaching sonic resources, playing works from different eras by Naji Hakim, Richard K. Fitzgerald, J.S. Bach (two wondrous chorale preludes), Jean Langlais and Marcel Dupré. Hakim’s exciting “The Embrace of Fire” thrashed about with conflicting and echoing layers of sonorities. But most of Sunday’s music was based on ancient church hymns.

 Full review here.

Children’s Chant Camps–in the News

Warmest congratulations to Chant Cafe blogger Mary Ann Carr-Wilson, CMAA board member David Hughes, and our colleague at the Cathedral of the Madeleine Gregory Glenn for this wonderful article, and for the groundbreaking accomplishments it celebrates.

Catholic Kids Love Summer ‘Chant Camp’

Flagship “chant camps” on both coasts and in Utah are proving popular.




by Joseph Pronechen, Staff Writer Friday, Aug 22 How do kids feel about participating in a weeklong camp on Gregorian chant?

Flagship “chant camps” on both coasts and in Utah are proving popular.

The summer camp that started in 2010 at St. Anne Church in San Diego has become so popular that this year it had to be held twice.

“The first year, we had 64 kids; last year, 84 children; and this year, 120 between two camps,” said a very pleased Mary Ann Carr-Wilson, the parish’s director of music.
“Word got around, and families got excited about it. It’s formative, beautiful and fun.”

The results inspired filmmakers and parishioners Kristen Von Berg and Daniel diSilva to make a short video called, appropriately, Chant Camp (available on YouTube).

“We were like one big wave, singing in unison for the greater glory of God,” said seventh-grader Sarah Kuss, describing the outcome after the five-day camp.

Wilson, a former opera singer, got the idea after attending an intensive chant workshop presented by the Church Music Association of America (CMAA) and later adapted the idea for children.

As a home-schooling mother of four boys, she also knew that if she asked children “to work hard over the summer, it had to be really fun, too.”

Each day, the children not only learned Gregorian chant in a really enjoyable way, but during the two-hour lunch break, they got to play games and soccer with the priests and seminarians from St. Anne’s and make new friends.

With help from some assistant directors and parent volunteers, clear leadership, and support from the church’s pastor, Father Carl Gismondi of the Priestly Fraternity of St. Peter, Wilson became their coach and cheerleader.

“If you want to make something beautiful for God, it involves the effort of all your mind, heart, soul and strength,” she told the children. “And the kids rise to the occasion. I can’t tell you how much they surprise people.”

Wilson pointed out that, last year, San Diego Bishop Cirilo Flores joined the children for the final Mass, sat with them in the choir in the sanctuary and encouraged the children during his homily.

“When the week culminates in the breathtaking, solemn high Mass, and I know that my children’s voices are part of that glorious hymn rising up to heaven. I am overwhelmed with gratitude for chant camp and even happy for the sacrifices it demands of our family,” observed Katie Walsh, whose five children have attended the last four years.

At the lunch break, the children run around, play football with the priests and laugh like the normal kids they are, Walsh said, “but when they return to the business of learning chant, somehow, in spite of their youth and high-spiritedness, they rise to the challenge.”

Wilson tells the chanters at the start that they are not there to sing for her or their parents, though that’s wonderful, but to sing for Jesus.

“Singing beautifully is not the final goal,” she explained. “Jesus has to be at the center and at the final end of our efforts. We want to encounter him and worship him in singing; and in so doing, we want to build up the Church.”

Wilson has the children learn difficult chants, and she is so proud of their good effort.
“One of the neatest things about the camp is to see the teens helping the younger ones, singing right next to them, so they have a voice to guide them,” Wilson said.

She finds that children want to be taken seriously and recognized for how much they appreciate the music. Wilson wants the children to see that what they are learning can remain part of their devotional life.

Whether it’s Ave Maria or other sacred songs, “these are very powerful prayers our ancestors have sung for hundreds of years,” she tells the participants. “Your patron saints have sung these prayers you are singing.”

She provides translations of everything so they know what they are singing about. This helps them to learn they can be evangelizers through the beauty of the Church’s sacred music.

Nancy Jurkoic found that St. Anne’s Chant Camp gave her three sons “a true love and appreciation for sacred music, even though at the time they were only 8, 10 and 13 years old. They will carry this love in their hearts for the rest of their lives.”

In Salt Lake City, at the Cathedral of the Madeleine, which has 360 students in the choir at the parish school, 87 students attended this year’s camp; the camp is nearly 25 years old.

It’s a bit different than choir during the academic year, according to Gregory Glenn, director for liturgy and music. The camp gives the children a chance to have fun, build up the group’s spirit and learn the chant and polyphony motets and Masses for the coming year.

On the East Coast, David Hughes, choirmaster at St. Mary’s Church in Norwalk, Conn., is pleased with his camp’s turnout.

For the daily sessions of the weeklong camp, children rehearse, sing for Mass daily and play games outside — but not always.

To his great surprise, he walked through the door of the first chant camp in 2008 to find 35 kids ready and eager.

After an hour of practicing Gregorian chant basics, he said they could take a short break, get water and play some basketball.

What happened next surprised him.

“They all got a drink of water and all sat down again,” Hughes said. He asked them, “Don’t you want to go play?”

He explained the response he received: “One little boy answered, ‘Mr. Hughes, we’re here to learn chant.’”

“The kids were so enthusiastic about singing beautifully and singing to the Lord it seemed a perfectly natural thing to turn this into a full-fledged student schola program that would meet every week,” Hughes said.

Hughes finds the children have “a tremendous enthusiasm for Gregorian chant because they readily perceive both its beauty and its eminent suitability for the sacred liturgy. I believe very strongly that Gregorian chant should be the foundation of any musical education, not only in a theological sense, but also in a pedagogical sense.”

Time and again, he sees “that beauty speaks for itself and that children especially are thirsting for this beauty. When you give them a taste of something truly beautiful, they only want more and more.”

He talks with them about St. Augustine’s maxim: “He who sings well prays twice.”
“I always underline the adverb well (bene),” he said.

St. Mary’s Chant Camp also includes older students who act as counselors, helping with vocal modeling for the younger students.

From older to younger, the children cannot imagine not coming.

“Singing chant helps me lift my heart and mind to God,” said Regina Kelley, who is 12 years old. “The instruction we get at chant camp is amazing.”

Her 8-year-old brother, Ted, added, “I love the singing; I love to see my friends.”

Brother Gus, 10 years old, agreed: “I really like seeing my friends and singing at Mass every day.”

Their mother, Amy Kelley, who is mom to seven current and former chant-campers, sees positive results.

“Too often, we assume children can’t appreciate the true and the beautiful, so we settle for giving them less,” she observed. “That’s a huge mistake. Kids naturally love beauty and gravitate toward it, if given the chance, and the traditional music of the Church is truly good and beautiful. Why shouldn’t learning it in preparation for singing at Mass be a fun summer activity?”

Read more: http://www.ncregister.com/site/article/catholic-kids-love-summer-chant-camp/

St. Joseph’s Seminary (NY) Announces the Inaugural Season of St. Cecilia Academy for Pastoral Musicians

News of this excellent new initiative comes to us from the Archdiocese of New York Office of Liturgy. The courses in the Academy can be applied towards masters degrees at St. Joseph’s Seminary (Dunwoodie), and they offer an excellent path for those who are looking for more education and to advance their academic credentials as they continue their work to renew the Church’s liturgy, especially the Church’s treasury of sacred music.

Yonkers, NY (August 21, 2014): St. Joseph’s Seminary, the center of formation for the priesthood for the Archdiocese of New York, the Diocese of Brooklyn, and the Diocese of Rockville Centre, together with the Archdiocese of New York’s Office of Liturgy, today announced the inaugural season of the St. Cecilia Academy for Pastoral Musicians.  A four-course, fully accredited program, the St. Cecilia Academy trains parish musicians in the history, theology, and pastoral principles of liturgy and sacred music.

“The St. Cecilia Academy fulfills a long-standing need to provide quality education for our dedicated parish musicians,” stated Fr. Matthew Ernest, the Director of the Archdiocese of New York’s Office of Liturgy. “We are excited to offer them a program of study in the history, theology, and pastoral principles of the Church’s beautiful tradition of sacred music.”

Musicians enrolled in the St. Cecilia Academy will participate in Masters Level Courses, including:

· Introduction to Liturgy
· Liturgical Music: History of Sacred Music, Principles of Sacred Music, Liturgical Music Planning
· Liturgical Year/Art and Environment in Worship
· Principles of Chant: Theory and Practicum

At the program’s conclusion, qualified students will receive accreditation as a pastoral musician within the Archdiocese of New York. Musical proficiency will be determined through performance adjudication and a written test, covering skills in musical theory and aural dictation.

“We at St. Joseph’s Seminary are looking forward to partnering with the archdiocese’s Office of Liturgy in this exciting new initiative, ” said Msgr. Peter Vaccari, Rector of St. Joseph’s. “The St. Cecilia Academy continues our institution’s historic tradition of offering the highest quality theological education to lay, religious, and clergy in the greater New York area.”

Musicians sponsored by their parishes will receive a 50 percent discount on Seminary tuition upon enrollment.

For more information, please contact Fr. Matthew Ernest at liturgy@archny.org or visit nyliturgy.org.

###

About St. Joseph’s Seminary

St. Joseph’s Seminary and College, founded in 1896, is the major seminary of the Archdiocese of New York. Its primary mission is to serve the Church by forming men for the Catholic priesthood. Beginning in 2012, St. Joseph’s functions as the principal institution of priestly formation for the Archdiocese of New York, the Diocese of Brooklyn, and the Diocese of Rockville Centre. St. Joseph’s also welcomes seminarians from other archdioceses, dioceses, eparchies, and other religious congregations.
Rooted in the apostolic community gathered around Jesus Christ, St. Joseph’s Seminary seeks to form future priests who will hand on the life and tradition of the Church’s faith in the context of the new evangelization of the twenty-first century.

As a complement to its primary mission, St. Joseph’s Seminary also serves the Church by offering graduate theological and philosophical degree programs to qualified students at locations in Yonkers, Huntington, and Douglaston.

A spirit of service to the Church guides all of the programs which St. Joseph’s Seminary and College provides to seminarians, lay, religious, and clergy. This spirit is strengthened by a profound sense of ecclesial communion that is fostered and expressed through fidelity to Church teaching, a daily life of prayer, the celebration of the Holy Sacrifice of the Mass, the ceaseless invocation of the Holy Spirit, and the intercession of the Blessed Virgin Mary, St. Joseph, and all the saints.

Okay, now we’re talking. Dear John,….

A few days ago I wrote about how we ought to give the big publishers some straightforward advice about the songs that aren’t worth reprinting for next year, and also about the songs and composers that deserve to be heard more.

http://www.chantcafe.com/2014/08/can-we-talk-with-ocp.html

Well, here’s what I would and will send to the editor at OCP. Feel free to use this as a template or reconfigure yours in any manner you like.

Dear Mr. Limb,

I have been a music director in three parishes and a cathedral since 1977 that have, without exception, utilized OCP resources exclusively as worship aides. Much thanks is due to the founders of the Oregon Truth and Tract Society that eventually evolved into Oregon Catholic Press, and was transformed through the efforts of fine folk like Owen Alstott into the pre-eminent supplier of musical and liturgical worship aides not only for the USA, but in many other English conferences.
As you likely aware from the adjustments OCP has made in its flagship products (Music Issue/Breaking Bread/Flor y Canto) over the decades such as the licensing and then ultimate acquisition of the former NALR catalogue, the agreements with other major RCC and other publishers for reprint permission for emergent repertoires of significant value to congregations, change as well as innovation is not to be unexpected in liturgical matters.

One of the most noticeable changes promulgated both independently and in concert with the infusion of the third edition of the Roman Missal and the earlier advisory document SING TO THE LORD from the USCCB has been a resurgence of interest in following through with the full spectrum of objectives and legislation clearly articulated in the conciliar documents, namely the CSL, MS and GIRM. These documents themselves owe a large measure of allegiance to the goals of the century old papal motu proprio, Tra le sollecitudini of St. Pope Pius X.

As a Director of Music that has relied upon OCP for over thrity five years, what has become clear is that though the interest of an emerging and younger demographic that, as Catholic seekers, are very aware of the great heritage, unique and profound effect of what is generally called “Gregorian Chant” (for our purposes I’ll refer simply to “chant”) upon their worship experience as Roman Rite Catholics. OCP has not been remiss in accomodation of that demographic with specific publications, but as of yet has not evinced its commitment to inclusivity of that demographic in its flagship pew publications.

I would ask you to consider consulting with your editorial board and ask them, regardless of the standard methodologies of the annual survey and their editorial guidance, have they given a thorough and critical analysis of the content of the BB/MI/Heritage line of products as regards “chant?”

I would suggest that a significant portion of the subscription volumes have not only stagnant and unused repertoire that escapes attention year to year, but also some material whose textual content is clearly at odds with the needs of authentic worship with the rites. There are likely a substantial number of songs, hymns and ordinaries whose musical content has seen its sunset realistically and take up valuable page space that other much more vital and necessary content could resuscitate OCP’s waning perception as a viable, all inclusive and orthodox service provider.

The following examples of what I would consider as “defunct” pieces would likely not be missed by significant numbers of parishes:
(From BREAKING BREAD 2014)

WAITING IN SILENCE/Landry-both lyric and musical content is very pedestrian. The scriptural allusions are better set elsewhere in other songs.
ASHES/Conry- poor theology throughout the entire lyric that reflects a more anthrocentric impetus and modus operandi than a penitential expression.
ROLL AWAY THE STONE/Conry-inarticulate allegorical verses, overtly dramatic and combative by comparison to the psalms they paraphrase, and an oblique and obscure message in the imperative refrain text.
BREAD, BLESSED AND BROKEN/Lynch- even if for children, the lyric is so puerile that dilutes the Eucharistic theology to young minds. The single most damaging element is the naming of the Eucharistic host as a “symbol” of God’s love. That must be remedied by elimination, not alteration.
LOOK BEYOND/Ducote- incomprehensible verses in that there is no coherency between 1 to 2/3, 4 to 5. A stale mess of snapshot references.
BREAD OF LIFE/Cooney- again, massive anthrocentrism failing to expiate properly a solid Eucharistic theology. “I, myself, am the bread of life” is an augmentation of John 6 that is condescending to the Faithful, too confusing and self-referential to “us” as Eucharist.
SING A NEW CHURCH/Dufner- a well-intentioned but extremely flawed abstraction of ecclesiology.
GATHER AND REMEMBER/Alstott-another well-intentioned but inappropriate and didactic homage and paean to an ecumenical council, and some very incendiary assessments of church history and traditions. The Vox Dei component is poorly employed as well.
HERE I AM/Booth- another Vox Dei that has some indiscriminate notions, or inarticulate at best, added to the typical syncopation that dissuade participation rather than invites it.
HOLY SPIRIT/Misetich, SNJM- tired, dated, banal text and melody
THE SPIRIT IS A-MOVIN’/Landry- see immediate song above.
ALL I ASK OF YOU/Norbert/Weston- incredibly saccharine content in lyrics.
ANTHEM/Conry- of all the Conry pieces dropped (I will lift up my eyes…I will not die…”) in the past, the fact that this jarring, confrontive theology remains is a huge mystery. We are….not amused.
I WILL CHOOSE CHRIST/Booth-besides having some motivic elements that are too close to popular hits of the secular past, it can’t be really defended as viable to all cross sections of worshipping communities.
‘TIS A GIFT TO BE SIMPLE/Shaker trad.- a novelty that has no value in a Roman Rite context.
LET THERE BE PEACE ON EARTH/Miller&Jackson- tired, dated, a courteous nod and association with “God” that is minimalist. A commercial.
PEACE IS FLOWING LIKE A RIVER/Landry- have we checked the pulse of the world lately?

(interlude: You might notice I’ve avoided any of the major bogeyman titles that are commonly flogged horses here and elsewhere, OEW, MoC, GUI, IATBOL, etc., precisely because the psychological pushback would likely kick in immediately. Those are the golden eggs of the golden geese. One has to think strategically, tactfully and tactically.)

Mr. Limb, there are, as you likely know, many more titles that others have taken up as a cause celebre for post-conciliar examples of musical anathema. The “de gustibus” factor will always be in play in such critical discourse, deconstruction and deliberation. But I hope to move you to more attentively call your editors’ discretion towards the best and beautiful, not the easiest or most popular.
Please relieve this glut of ineffective and insufficient pieces from further occupancy in publications that are supposed to be responsive and responsible. You have given credence to the chants found in Columba Kelly’s collection and other chant books in your own catalogue. You have composers such as Barbara Bridge and others who’ve had chant-emulative pieces extracted from the hymnals. This is contradictory, in fact, to conciliar philosophy that encourages new compositions to flourish within our own traditions.

Thank you for your kind attention,
Charles Culbreth, Director of Music and Worship
The Catholic Church of Visalia (California)

Does this give you any ideas about your own advice for
OCP/GIA/WLP/TLP/ILP, etc.? What are you telling them to keep or toss?”

Adoro Te: Gregorian Chants & Marian Antiphons

I rarely write reviews, but this is the exception that breaks the rule.  When people offer to send me their music (and they do when they realize I can get it on the air), I brace my listening ears when I first play the sample track.  Oh, what a delight it was to hear this!

When most of us think of a chant CD, we think of a “group effort.”  That may be a choir of monks or nuns, perhaps a professional ensemble or even a gifted church choir.  We don’t think soloists, the exception being teaching and enthusiast recordings found on YouTube.  Donna Stewart’s new CD, Adoro Te, is just that – a solo woman’s voice singing a range of chant hymns and antiphons.  And it is quite effective.

Stewart is best known as a singer of Renaissance lute songs, as half of Duo Mignarda. In fact, she met the lutenist while they were singing in a 5-voice schola for a weekly Tridentine Mass.  She has also recorded with the baroque ensemble Apollo’s Fire.  So she is both professionally and personally committed to the genre.

Recorded live at the Church of St. Stanislaus in Cleveland, Ohio, Stewart makes full use of the church’s reverberent acoustic.  Each phrase gets a chance to resolve itself into silence. And she doesn’t hesitate to use a judicious amount of rubato in her singing – never schmaltzy – just the right amount of plasticity that beautiful vocal lines demand.  Importantly, Stewart has the beautiful voice equal to those melodies; it is seamless and rich.  Not an imitation boy-choir white tone, but a restrained and attractive adult woman’s voice.

The 15 selections begin with the solemn tone Salve Regina and conclude with the Adoro Te Devote. In between are classic chants from all parts of the liturgical year: Creator Alme Siderum, Jesu Redemptor Omnium, Ave Regina Caelorum, Ubi Caritas, Crux Fidelis and Pange Lingua, Veni Creator Spiritus, and Ut Queant Laxis, among others.

Is this the model for your schola’s singing?  Probably not.  At the same time, this is the album to give to folks who might find it a window into understanding the chant ethos.  And it’s an album worth listening to yourself because its very different style can open an experienced singer to new ways of thinking about both text and melody.  Further, if we insist that chant has to be “my way or the highway,” we may find more on the on-ramp than driving along with us.

The album is available directly from the artist at Mignarda or at the usual download sites.  As a proponent of women’s voices, especially in a genre that is often regarded as exclusively male, I cannot praise Donna Stewart’s Adoro Te, highly enough.