What is the Mass?

Fr. Douglas Martis, director of The Liturgical Institute, offers a powerful reflection:

Everytime I’m at Mass, I can’t help but think that we have the most beautiful, poetic prayer possible, but if what we say does not resonate in our hearts, then it is empty and meaningless.
It is lip service.

There are three things that we must always remember:
1. Who God is.
2. Who we are.
3. What Mass is. 

WHO IS GOD? Thinkers have for centuries tried to describe, to put into words what God is like. 

What is especially unique to Christianity is that we believe in a triune God, a Trinity who is a relationship of persons: Father, Son and Holy Spirit.

Everyone knows St. Patrick’s image for the Trinity: the clover leaf. 

Pope Benedict describes the Trinity as a song of love. He says that essential to God is the quality of communication, communion.

The Trinity is a dialogue, an eternal song of love. And what is song but a combination of word and breath. Here we have the most perfect word: Jesus. And the sweetest breath, the Holy Spirit. 

WHO ARE WE? Another thing that we have got to remember, that we often forget, is that WE NEED NOT BE. 

We are contingent.
We do not have to exist. 

It is only God who keeps us in existence at every moment. And that is something we ought to be grateful for all the time. 

WHAT IS THE MASS? Why do we have Mass? What’s its purpose? We answer this question at every Mass. At the Orate fratres, we say the purpose of Mass: For the praise and glory of his name, for our good and the good of all his holy Church. 

That’s it. We come to Mass to praise God (for what he’s done for us in Christ—and for keeping us in existence) and to pray for our needs (ultimately that we will be united with him forever in heaven). The Mass isn’t so much about what we can get out of it, but what we give in praise to God.

Here’s more about the Liturgical Institute:

A Sense of the Sacred: Benedict, Francis, and the Liturgy

Today marks the first anniversary of the abdication of the Chair of St. Peter by Pope Benedict XVI. This event came as a shock, especially to those of us who had been working so hard in the liturgical apostolate during the past pontificate, and who excitedly followed the Holy Father’s lead and example daily.

When the Pope announced that he would be stepping down, and we soon realized that there would be a conclave within a matter of weeks, a certain anxiety began to set in.

Would his successor carry on according to the same mind? Some optimists thought that the resignation effectively doubled the life of Benedict’s papacy.

Or would his successor instead somehow reverse the legitimate progress made by Benedict XVI in the area of liturgical renewal? This latter concern, it must be admitted, struck many of us between the eyes when we saw Papa Bergolio step out on the balcony for the first time. Something didn’t seem to be quite right. Signs were indicating that significant changes could be coming.

And changes definitely have come.

Pope Francis has been a worldwide sensation, and he clearly is setting an example for the Church on what it means to roll up your sleeves and be the New Evangelization.

But is Pope Francis’ style and approach to the papacy a rejection of Pope Benedict’s focus on the dignity and sacredness of the liturgy?

After being with Francis for nearly a year now, and in light of his recent exortation and daily reflections, we can most certainly say that it is not.

This can be seen most clearly in Pope Francis’ papal liturgies. Sure, there are things that strike us as odd after seeing the grand ceremonial and ars celebrandi of Pope Benedict XVI, such as the plain vestments, black shoes, lack of singing from the priest celebrant, among other curiosities.

But there is something that we haven’t seen in Francis’ celebration of the Mass that some might have expected.

Where is Francis’ palpable joy? Where is his glowing smile? Where is the Pope Francis that we all know and love? The one who jumps out of his Ford Focus on the street to kiss babies and greet the poor?

Where is the Pope Francis who once said in a daily homily that “Often Christians behave as if they were going to a funeral procession rather than to praise God”. Or, similarly, that “We aren’t used to thinking about Jesus smiling, joyful. Jesus was full of joy, full of joy… Joy is true peace: not a static peace, quiet, tranquil. Christian peace is a joyful peace, because our Lord is joyful.”

Shouldn’t we be seeing the bubbly Pope Francis during his celebration of the liturgy that we see in the news and all over the web?

Perhaps some think that we should. But we don’t.

Watch any papal liturgy to see the stark contrast to this image. You will find a man with a stone cold face, breathing heavily, almost panting, appearing in mild discomfort, speaking the prayers of the Mass softly and without much definition, often gazing longingly upward and outward, and then with eyes closed in silent prayer. At the same liturgy you will also hear sacred music that is more solemn and beautiful than we ever heard it under Pope Benedict.

Why do we not instead see this Pope Francis when he celebrates the Mass?

This is the evangelizing Pope Francis, radiant with the joy of the gospel; the image that Time Magazine and Rolling Stone like to portray.
Why the contrast? Why isn’t the Pope making the news in his celebration of the Mass? Why aren’t camera crews lining up outside of St. Peter’s Basilica, awaiting the Pope’s newest liturgical innovation in service of the gospel? Certainly this could be happening. But it is not.
Pope Francis explained why this is not happening during his homily yesterday, as he spoke of the importance of the “sense of the sacred” in the liturgy. He said: 

“We would do well today to ask the Lord to give to each of us [a] ‘sense of the sacred,’ this sense that makes us understand that it is one thing to pray at home, to pray in Church, to pray the Rosary, to pray so many beautiful prayers, to make the Way of the Cross, so many beautiful things, to read the Bible… The Eucharistic celebration is something else. In the celebration we enter into the mystery of God, into that street that we cannot control: only He is the unique One, the glory, the power… He is everything. Let us ask for this grace: that the Lord would teach us to enter into the mystery of God.”

(Emphasis added)

This echos the statement of the Pope in his recent Apostolic Exhortation, Evangelii Gaudium:

“Evangelization with joy becomes beauty in the liturgy, as part of our daily concern to spread goodness. The Church evangelizes and is herself evangelized through the beauty of the liturgy, which is both a celebration of the task of evangelization and the source of her renewed self-giving.”

The effect evangelization has on the liturgy is different from the role of evangelization on the street corner. The joy of the Gospel, as it is spread in the happenings of daily life, becomes something entirely different when it enters the liturgical sphere for Pope Francis. It is not ecstasy, it is not feverish elation, it is not unbridled energy and glowing smiles of happiness.

In the Eucharistic liturgy, according to Francis, we enter a different realm: A realm where evangelization with joy becomes beauty, where a life of private devotion leads into a participation in the “theophany”, where we “really enter into the mystery of God” and “allow ourselves to be brought to the mystery and to be in the mystery”.

This dichotomy is clear in the life of Pope Francis. He clearly is in the world, but is not of the world.

In the liturgy, the Church steps out of the realm of the world, and steps into the realm of the sacred, where there is true, substantial, and transcendent contact with the divine. This is as true for Pope Francis as it was for Pope Benedict, and remains equally true for the entire Church – as it always has been and as it always will be.

The gaze on the face of those who fully and actively participate in the sacred mysteries of the liturgy is one of contemplation. It is the face as it is portrayed in an icon, not on the cover of Time Magazine. It is the face that encounters the real, substantial and beautiful presence of Christ. It is not a face of gloom or misery; it is not the face of a Christian lacking joy. It is the face of a Christian who’s joy is complete.

The work of bringing a sense of the sacred into our parishes and dioceses is not over, one year following the abdication of Pope Benedict. In many ways it is only beginning.

Pope Francis is showing us that beauty in the liturgy is central to, though distinct from, the task of evangelization. As the source and summit of the life of the Church, without the liturgy the Church would have no source for its missionary zeal. The world is hungry for Christ, and it is hungry for beauty – The world is hungry for the liturgy, beautifully celebrated.

This is why we must continue our diligent work in the liturgical apostolate. The success of the New Evangelization depends upon it.

This is why efforts for the renewal of sacred music have continued, and are gaining momentum. It is what is driving efforts like the Lumen Christi Series, which is about to see the addition of the Lumen Christi Simple Gradual, the natural successor and fulfillment of Simple English Propers. These efforts must continue, and the work on the ground in parish life must continue, and they are continuing. Signs of this are all around us.

As today we remember the legacy of the great liturgical pope, let’s be reinvigorated by its mission. As Benedict once said, and surely Francis would agree: “Concern for the the proper form of worship…is not peripheral but central to our concern for man himself” (Feast of Faith, p. 7). If evangelization with joy is to be successful, we must worship God well, we must allow beauty in the liturgy to transform, and we must draw our missionary zeal from its true and authentic source. Let’s not let the work of liturgical renewal slip away – we must carry forward the work that Pope Benedict has begun, and that Pope Francis is relying upon.

“The Mass…is a participation in this theophany”–Pope Francis

“When we celebrate the Mass, we don’t accomplish a representation of the Last Supper: no, it is not a representation. It is something else: it is the Last Supper itself. It is to really live once more the Passion and the redeeming Death of the Lord. It is a theophany: the Lord is made present on the altar to be offered to the Father for the salvation of the world. The Mass…is participated in, and it is a participation in this theophany, in this mystery of the presence of the Lord among us.”

Pope Francis, this morning.

Sacred Music Two Ways, Both Wonderful!

The Catholic Church’s vast heritage of sacred music, which has been kept alive for years by university music faculties and commercial publications rather than being a living presence in our Catholic churches, received two quite different expositions in Washington, DC this weekend.

On Saturday evening in the Basilica of the National Shrine, the Shrine’s resident professional choir joined with the vocal ensemble Seraphic Fire to sing Monteverdi’s 1610 Vespers of the Blessed Virgin, an extensive piece which Seraphic Fire has recorded previously. The music was in every way stunningly beautiful, filling the vast space with unbelievable harmonies and overtones. The great choruses were beautiful, but perhaps even more of an aural treat was provided by small groups, duets and trios. The physical space was used to great effect, most notably on the charming call-response hymn Audi coelom. It was a start-to-finish celebration of the human voice, in praise of God and the Blessed Virgin, and hopefully the prolonged standing ovation will be some small encouragement for this sort of enormous effort to be repeated in the future in our outstanding Catholic music programs.

***

On a much smaller scale, and in a liturgical context, the choral ensemble Musikanten sang a polyphonic Solemn High Mass at Old St. Mary’s Church in Chinatown, DC. The resident men’s schola sang the proper chants from the Graduale, and the Ordinary and motets were sung by Musikanten.

 
Mass – Missa “O Quam Gloriosum” (T. L. de Victoria) 
Prelude’ — Ingrediente Dominum (Russell Woollen)
Offertory motet — O quam gloriosum (Victoria)
Communion motets — Ave Maria (Russell Woollen)
                                     Dona nobis pacem (Christopher Hoh)
 ‘Postlude’ — 4 Marian Antiphons (Robert Evett)

***

Weekends like this feel to me something like the Antiques Road Show, where someone’s forgotten old belongings turn out to be worth millions. I think it’s just marvelous that these nearly-forgotten treasures of ours have been brought out from the boxes and cupboards where they’ve lain for centuries, scarcely noticed, and fill the air with excellence, beauty, and praise.

AGO scholarship

Some of our readers may be interested in applying for this scholarship from the AGO.

  February 7, 2014

The American Guild of Organists is delighted to announce a new college scholarship program for organ students with financial needs:

The Ronald G. Pogorzelski and Lester D. Yankee Memorial Scholarship will be available to six students (four undergraduate, and two graduate) beginning with the 2014–2015 academic year.

  • Four undergraduate scholarships in the amount $7,500 each will be offered: one each to an incoming college freshman, sophomore, junior, and senior. Each scholarship will be renewable through completion of the student’s undergraduate years of study.
  • Two graduate scholarships in the amount of $15,000 each will be offered and will be renewable for a total of two years of graduate study.

Eligibility requirements and application details are available online. The application deadline is March 1, 2014.

The mission of the AGO is to enrich lives through organ and choral music. For more information, please call 212-870-2310 or e-mail info@agohq.org.

Recording Music that has never been recorded before

The following was written by forum member matthewj.

Go on YouTube and search for a piece of polyphony or a specific Gregorian chant.

In most cases, you’ll find recordings (even if they’re not perfect).

This is a wonderful thing and makes our lives quite nice and easy.

Looking at a score for the first time in your parish office with the noises of an office all around you (chattering co-workers, photocopier, bookkeeper playing praise and worship music, etc)? Throw on some headphones and listen to a recording. Much easier than trying to hear the schola in your head sing the score with the background noise.

However, occasionally you will run across a piece of sacred music (Song X) that has no recording on YouTube, no sample MP3, etc.

How can you help make sure this doesn’t happen to the next person who comes along?

Record your (hopefully competent) choir singing the (hopefully public domain) piece! Upload it with a clear and easy-to-search-for title.

Then bingo – six months down the road some Music Director from the other side of the country who searches for Song X will find your video! You’ll have helped a colleague and you don’t even know it.

Orlande de Lassus has a number of polyphonic Offertory propers. Almost none of them have recordings available online. I will begin the process of putting them online this weekend with his Perfice Gressus Meos.

The next time you find a piece of music that doesn’t have a recording online, do the same.

I say: Heck yeah!

St. Bridget’s Day

I can’t let this day pass without a song in praise of the Mary of the Gaels, beautifully performed by Claire Roche.

If the video doesn’t appear for some mysterious reason, head over to YouTube and search for Gabhaim molta Bride – I give praise to Brigid.