Some Brief Remarks: Fr. Smith’s Mutual Enrichment Recipe

I thought I’d try a new strategy in modifying my writing style to be much more “Strunk and White,” as my graduate advisor always, yet vainly exhorted me to try. So, succinct and cogent are my goals here.

As Fr. Christopher Smith provided us all a template for one of the stipulated goals of the Holy Father’s Summorum Pontificum, just today Fr. Cody Unterseher provided the readership at PrayTell with the opportunity to state their positive vision as to what constitutes worthy worship at Mass.

We have synchronicity, at long last.

So I will just give bottom line reactions as a pragmatist first, philosopher second to Fr. Smith’s items.

First Stage of Mutual Enrichment-(Fr. Smith’s “preamble.”)

“In this first stage, I see that there are many things that can be done now with no mixing of or change to the Ordinary and Extraordinary Forms of the Roman Rite as currently found in the liturgical books. I also envision some guidance from the Magisterium to point this mutual enrichment in the right direction so as to avoid arbitrariness and to give those priests who respond to the call to mutual enrichment support.”

An interesting observation in the PT article combox cited above, from Scott Pluff , might be appropriate here as a counter-preamble from PT:

“The best quality of architecture, art and environment that the community can muster. Great music, preaching and presiding can still limp in a church that looks and sounds like a 1970s living room.”

This is a church building. Hat Tip to The Crescat.

Well, one must admit that Fr. Smith’s first stage seems premised upon a “tabula rasa” platform, whereas Mr. Pluff does advance a frighteningly real, practical scenario. But now we press on. My remarks to select portions of Fr. Smith’s comments will be in “bleu italics,” as in “sacre bleu!”

Enrichment of the Ordinary Form by the Extraordinary Form

– Bishops in Cathedrals and Pastors in their churches spontaneously adopting the ad orientem position at Mass as implicit in the OF after sustained catechesis of the faithful.
Not a problem for me, personally. But, it bypasses both the Benedictine arrangement and/or the altar crucifix adornment that could be said to be EF enrichments, but more in keeping with the notion of progressive solemnity, or “brick by brick.”

– Reconstruction of altar rails in churches and the spontaneous use of the communion rail as a place from which to distribute Holy Communion.
Problematic on multiple levels for likely many folks, not the least of which pastors burdened with “Mr. Pluff” Rambusch-like buildings, but with pastors who would have to present the simple realities of cost for design, fabrication and installation to even fiscally stable parishes in this era. I won’t restate the obvious about external attributes of mutual enrichment being sold, er….catechized among the laity who will foot the bills.

– Catechesis from the pulpit about the Church’s preference for Holy Communion on the tongue and under one species.
Not “going there” at odds with Fr. Smith on this one. I assume the presumption of the communion rail and a minimalist need for EMHC’s is concomitant here.

– Move towards singing the Ordinary of the Mass in Latin at OF Masses.
I think Fr. Smith likely would polish that a bit more, as technically a Latin Ordinary could be set to metrical styles such as, say “calypso” or “conjunto.” So, I presume the extraordinary efforts of many of our CMAA and religious ordered colleagues to finally provide “new, gregorian-inspired chant and actual psalm tone settings, even in a vernacular, pass his muster, depending upon local conditions and personnel.

– Priests, on their own, choosing the options of the OF which are analogous to the EF, and leaving aside those which are not. No comment due to no competence here.

– The spontaneous and consistent use by the clergy of the maniple, biretta, amice.
Why does Fr. Smith add “spontaneous” to consistent as a criteria of enrichment? For many celebrants, donning a short sleeve BLACK clerical blouse with the collar piece before the alb, stole and chasuble is an austere act of obedience in their opinion. How about asking our clerics to don cassocks on Sundays as the “first stage” and be consistent with that under the local deans’ and bishops’ supervision?

– Singing of the Propers according to the Graduale Romanum at Sung Masses.
B-I-N-G-O! But pastors and musicians must also be totally familiar with the hierarchy of musical disciplines, and take great care in their introduction and consistent usage in the clearly stated goals of Tra le sollecitudini” and all subsequent authoritative documents that clearly define the singing roles of congregations, cantors/psalmists, celebrants and scholas/choirs.

– Enforcement of the ecclesiastical discipline on extraordinary ministers of Holy Communion.
No problem here, theoretically. But we’re going to need a lot of permanent deacons ordained in a couple of decades to be consistent with this demand and the other enrichments Father states above.

I’m sure much of this is a rehash of the many combox reflections in Fr. Smith’s original post. But I offer my practical “take” here on these specific, initial items. End of this commentary of Fr. Smith’s prescriptions, part one.

What If We Just Said “Pray?” Indeed.

There’s an interesting post over at our friend Fr. Anthony Ruff’s PRAY TELL blog in which he gave notice to yet another petition concerning the ecclesial and liturgical scenarios swirling about St. Blog’s with the coming promulgation of the Third Edition of the English Roman Missal. The usual suspects, myself included, have had quite the banter going. But as the combox count nudged to a buck twenty five, these consectutive comments tweaked my attention and the following response. What’s your take?

Why does anybody think that a new translation is going to squelch liturgical innovation? I expect it to increase as priests try to cope with mangled syntax and tongue twister prayers. Lots of earlier accretions were added to fill the void of incomprehensible or unspoken prayer, like encouraging people to pray the rosary during the liturgy.

Not that I am opposed to innovation. I think the whole STBDTR idea is classicism gone wild. It may appeal to some people, but there is a lot of good jazz out there that complements the classical.

Jim McKay on March 28, 2011 – 9:44 am

Creative innovation is to be welcomed — though I agree with Mr Culberth (sic) that bad preaching is a key factor. I do not know what paradise he writes from — in the USA one third of Catholics have left and Garry Wills reports that the heart of the Catholic crisis lies in what is experienced in the sunday liturgy: Ireland is in far more sudden and widespread disarray as are Belgium and Austria. 

Joseph O’Leary on March 28, 2011 – 4:02 pm

“Creative innovation” has never been unwelcomed to be introduced into liturgy, even after the winnowing of Trent. But then, as now, there was a clear clarion that in its ars celebrandi, music being a principle example, that innovation without the disciplines cultivated organically within the ecclesial culture, would inexorably evolve towards an art for art’s sake in equal measure to its decadence and unsuitability at service as a worship art. It was true before Trent with the parody (both profane and benign cantus firmi versions) Masses and the excessive unintelligibility of works by certain composers, and after Trent when the classical Sunday Mass in Vienna was as much an entertainment as liturgy. (IMO, YMMV.) This, predictably, continued in concert with the Enlightenment through to its inevitable clash represented by Pius X’s motu proprio “Tra le sollecitudini.” We’re just in yet other cycle that we prefer to examine with contemporaneous eyes and spectacles. In whatever arena Jos. O’Leary wants to superimpose over the term “creative innovation,” it cannot adequately serve worship without an accompanying discipline to which it must, for worship’s own betterment adhere to.
I don’t worship or write from any liturgical paradise, Mssr. O’Leary. In fact, we are a bishop-less (R.I.P.) diocese in central California; but our parish (cluster) is endowed with sensible yet idiomatically unique celebrants who understand that the liturgy is not to be a trifle, whether merely mouthed from a pulp missalette, or a platform for the exhibition of the cult of personality on display before a “captive audience.” And they understand that the humility involved in cantillating their collects and orations not only compel an active response from the faithful, but will likely be an asset come November 28th.
As I’ve mentioned, I do appreciate (uncharacteristically to my RotR colleagues)  a certain amount of the critiques of Professor Wills. I can’t testify to this, but I would bet that Wills would concur that if Sunday Mass was truly the life-blood nexus of parish life, as advanced by the liturgical theologian Dietrich von Hildebrand, that some of the post-conciliar “Catholic Crisis” so lamented by both traditionalists and modernists as ancillary ecclesial crises in vocations, reproductive and gender issues and clericalist authoritarianism, might have been postively mitigated, and perhaps would have benefited towards remedies by the sheer beauty and power of a fulfilled liturgy performed universally.
(Save the liturgy, save the world. *”G”)
Perhaps that’s a bit pie-eyed.
But I’d also bet Professor Wills would prefer to be fully engaged in FACP and sing the Credo in a well mannered TLM or “DTRSTB” OF, than to bear the distractions of giant paper maché puppets of our Savior and saints parading about in sanctuaries.


What does “creative, liturgical innovation” really mean in our era?


*often misattributed to a famous cleric.

Pointed Sarum Psalter, coming up

Someone at some point mentioned to me that we had no pointed Psalter available for download, so I must have ordered one with the intent to scan it. It arrived today. This wonderful little treasure from 1916 goes off to the scanner today and come back next week. Especially charming: no copyright notice (for who would dare ask the state to enforce exclusive ownership of the Psalms of David?).

Byron Consort Comes to the U.S.

The Byron Consort of the Harrow School is making a U.S. tour, and you should be sure to go.

This US tour which includes appearances both Washington D.C. and New York City. In Washington the choir will sing at St Matthew’s Cathedral, St Mary Mother of God, Christ Church Alexandria and at the Basilica of the National Shrine; in New York at the choir will sing at St Mary’s Times Square, Trinity Wall Street, the Basilica of Old St Patrick’s Cathedral and at the Cathedral of St John the Divine. Shortly after returning to England, the choir is scheduled to sing Choral Evensong at St Paul’s Cathedral in London.

The Byron Consort is Harrow’s elite vocal ensemble and was founded in 2001 by Philip Evans (then Assistant Director of Music and now House Master of Moretons) who continues to direct the choir.It consists of between three and five Harrow boys and one adult on each voice part (Soprano, Alto, Tenor & Bass) – the choir sings a mixture of unaccompanied sacred and secular music, most of which comes from the Renaissance, Romantic and Modern periods. Many of the boys are ex-choristers from leading cathedral and collegiate choirs – there have recently been representatives from the choirs of King’s College Chapel, Cambridge, Westminster Abbey, Canterbury, Chichester, Westminster and Winchester Cathedrals, St George’s Chapel, Windsor and Christ Church Cathedral, Oxford, as well as a former member of the Vienna Boys’ Choir – most of the boys are Music Award Holders at Harrow School.

The schedule is as follows:

  • Saturday 2nd April at 17:30 – Mass at St Matthew’s RC Cathedral, 1725 Rhode Island Avenue NW
  • Sunday 3rd April at 09:00 – Mass at St Mary, Mother of God Church, 727 5th Street NW (Extraordinary form of the Roman Rite, celebrated by Msgr Andrew Wadsworth)
  • Sunday 3rd April at 16:30 Mass at Roman Catholic National Basilica, 400 Michigan Avenue NE
  • Monday 4th April at 18:00 Choral Evensong at Christ Church, 118 N Washington Street, Alexandria
  • Tuesday 5th April at 19:30 Concert at St Mary’s, Times Square, 145 W 46th Street
  • Wednesday 6th April at 13:00 Lunchtime Recital at Trinity Church, Wall Street & Broadway
  • Wednesday 6th April at 17:00 Choral Evensong at the Cathedral of St John the Divine, 1047 Amsterdam Avenue
  • Wednesday 6th April at 19:15 Old Harrovians Drinks Party & Recital at The Brook Club, 111 East 54th Street
  • Thursday 7th April at 14:00 Recital at The Churchill School, 301 E 29th Street
  • Friday 8th April at 12:30 Lunchtime Recital at the Basilica of St Patrick’s Old Cathedral, 263 Mulberry Street

Here are some audio samples