Credo in Unum Deum

The essence of our faith, as recited every Sunday is the Nicene Creed which takes its name from the first Ecumenical Council of the Church in Nicea in 325. It has, for nearly 1800 years, been the foundation from which the principles of the faith have been taught. For almost as long it has been codified in chant that the people of God may sing it in unity of thought, unity of profession, and unity of voice.

It hasn’t been without its revisions and controvosies including the filioque clause, added to affirm the precedence of the persons of the Trinity that ignited a heated debate with the Orthodox Church and remains a point of contention today. Regular readers of Fr Z’s blog will understand the “lame duck” argument against the 1970 translation and the way in which even subtle changes in text have led to significant changes in understanding. Consubstantialem patri became “of one being with the Father” rather than “consubstantial” which it becomes with the new translation. We “believe in” rather than “confess” one baptism, which again, thankfully will change. The detractors of the new translations claim that words like “consubstantial” are difficult concepts to understand and linguistically tricky because we just don’t speak that way in normal conversation. There are many points to be made in reply, but Fr Z answers it succinctly in the argument “if it’s structurally tricky in English then why not sing/say it in the fluid Latin?” A good point well made.

In order to aid the transition later in the year I’d be game for singing the creed in one of the 6 chant modes. Some parishes do this, and many of the English cathedrals will most Sundays, using either Credo 3 in ordinary time and Credo 1 (which I much prefer) in the penitential seasons. Personally, I think if we are in a time of counter-revolutionary revolution why not push the boat out with some of the other modes? Credo 4 is a particular favourite of mine (confusingly Credo 1 is in mode 4, Credo 4 in mode 1) as it evokes a monastic feel. I’d happily see that become the norm for the Lenten season perhaps. Maybe if your parish is too wedded to the 4 hymn sandwich to introduce plainsong propers, the plainsong creed is another way to go.

One of the ways the liturgical tinkerers have really undermined the centrality of the mass has been through the creed. I remember 20 years ago as a teenager going along to a Youth Rally that ended in a “mass”. I was in “Rhets” (Rheteoric, the name given the the lower 6th form year in my school) and a friend of mine was involved in the organisation of the day. Part of it included a kind of assembly where some “grown ups” (read “yoof ministry” professionals a good 20 or so years older than us and with no real idea of what messages would really have resonated with us) would talk to us about their “testimonies”. From what I remembered most of them involved stories of how excited they were at our age because Vatican 2 was going on at the time and how the mass was going to change from crusty old Latin into funky English, and the mass was going to be “fun” and the challenges they faced standing up to “the man” in the name of justice and peace. We listened politiely while scoping out the girls we fancied planning our advances for the disco later that evening, as you do when you’re 17. Then came mass. It was awful. My friend David, who had spent months organising this event with others in the Deanery, was effectively told that the mass was out of bounds to him and that the “yoof ministry” of 40-something grown ups would organise this bit of the day. We had “liturgical dance”. We had standing round in a circle holding hands during the consecration. We had bidding prayers for Mother Earth. We had a nun asking a non-Catholic if she wanted to be a Eucharistic Minister (because “we are all members of God’s family”). We had Fr Funky in his sandals and polyester ethnic shawl/stole strumming a guitar leading “praise songs”. We had all of that, but we kind of expected it. We resigned ourselves to the mass being a playground for the infantile “grown ups” who thought they were “reaching out”, but instead did nothing other than pander to their own whims while making us think they were loosers (in the nicest possible way). We knew that was the quid pro quo, so it didn’t shock us. What did, what got us talking afterwards (other than whether anyone knew if so-and-so’s sister had a boyfriend) was the fact that the Creed, the bit everyone would usually say together had been replaced with some nonesense. I don’t remember it in any detail, except that there was absolutely no mention of God beyond a passing reference to (and this I do remember even now, 20 years on) “a collective consciousness that energises the whole of creation”. Whatever that means. We professed beliefs in justice, peace, caring for the world and each other, denying war and famine were true paths, but we never actually stated a fim belief in anything other than a “collective consciousness”. God simply didn’t get a look-in.

What does it say about the innate understanding of the centrality of the Creed when Fr Funky and Sr Bendy and a few “yoof workers” can liturgically dance to the “table of more than plenty” and we, as teenagers, were hardly surprised and only mildly offended; but play with the Creed? That was a whole new dimension and it bothered us. We would have struggled to articulate why, but the absence of the Nicene Creed seemed to disjoint the whole experience.

As a counter to the folly of my older generation your correspondent leaves you with Credo 4. Let’s hope my children’s generation are spared the toe-curling embarassment of infantile “grown-ups” offering up what I had to endure. Now would be the time to encourage that change.

Music Workshop in the Diocese of Shreveport

Janet Gorbitz, CMAA Secretary, will be presenting on Saturday afternoon, February 5. The new translation and the music pertaining to it are the focus of the workshop, which is open to all. Other presenters include representatives of OCP, GIA, and World Library Publications. Janet will be discussing the missal chants and the CMAA’s Simple Propers project in particular. Here is the flyer.

Winter Chant Intensive 2011: Day 4 – Epiphany “King Cake”, Last Night in Town

And so today was the last full day of the the Winter Chant Intensive. Tomorrow participants will have a brief session in the morning, a rehearsal for the closing Mass, and then a liturgy in the Extraordinary Form in Old St. Patrick’s Church with a full sung Gregorian chant proper, Mass IX, and Te Deum in an organ alternatim setting played by B. Andrew Mills. Many of us will be heading straight for the airport at the conclusion of tomorrow afternoon’s Mass in order to get back to our parishes for the weekend. The week has gone by so quickly, I’m sure than many of us will hate to see it end.

Today was the Feast of the Epiphany in the EF calendar, and so at lunch today we got to have some authentic New Orleans “King Cake” which is a traditional way to celebrate the Epiphany, and, so I’m told, it also is a sign of the beginning of the Mardi Gras season! Here it is:


And here is a shot of some of the participants at lunch time in the beautiful St. Patrick’s rectory:


Today’s chant sessions continued to focus on the repertoire for tomorrow’s sung liturgy, and also covered topics such as a further study of the development of the manuscript tradition, and chant hymns and sequences. I had the pleasure of sneaking into the “beginner’s session” led by Scott Turkington. Since I’ve never been in one of Scott’s training sessions I was very glad to see how he handles the task. I must say that he truly has mastered the art of training amateur chanters. The group sang so well and seemed to have picked up a vast amount of information and knowledge in a very short amount of time. It will be very interesting to see how the beginning and advanced groups sing together tomorrow in both rehearsal and liturgy. I can see already that the two conductors, Turkington and Mahrt, have taken at times very different approaches to the same pieces. This should indeed make for an interesting result when the two choirs are combined!

I also had the pleasure this evening of touring the French Quarter. One of the Intensive attendees who is a resident and member of Andrew Mills’ schola cantorum gave a few of us a most fascinating tour of the quarter which is truly one of the most unique places I’ve been. We had some gumbo and a muffaletta at the Napolean House and coffee and a beignet at Café du Monde. I also have to concede that my casual comment about Bourbon Street in my opening post was a bit uninformed… let me suffice it to say that I now have a fuller understanding of the place and would encourage anyone who has much concern for the state of their soul to not spend much time there! Maybe I’m a little green–wow, wasn’t expecting that!

On a more sacral note… I absolutely love how the New Orleans cathedral is placed directly front and center in the French Quarter. This is a sign of a culture that was built around the Catholic Faith (though certain parts not too far away seemed to have wandered a bit away from the fold!). I snapped a few shots, one of the front of the cathedral from the levee near the river, and one from the back of the church where a haunting shadow of Christ is cast upon the wall from a statue in the courtyard:



And so the last evening draws to a close. I will try to secure some recordings of tomorrows liturgy and post them for all to hear.

Winter Chant Intensive 2011: Day 3 – Rain Showers and Propers

This morning the winter chant intensive participants woke up to rain showers in New Orleans. This made for a rather wet walk to morning Mass for some, and a misty walk to class for others.

In the advanced session the day was mostly spent rehearsing music for the concluding liturgy on Friday afternoon. This involved the singing of the entire proper for the Feast of the Epiphany, Mass IX, the Te Deum and eucharistic hymns for benediction.

Here are a few pictures from today’s sessions:

Revised Grail or Book of Divine Worship?

Sub Tuum compares the two and explains why the Book of Divine Worship is better. By the way, I only recently saw the BDW for the first time. It is the approved book for Anglican Use, and it is thrilling to see:

Concordat com originali
Reverend Monsignor James P. Moroney
Committee on the Liturgy
United States Conference of Catholic Bishops
Censor
Imprimatur
Bernard Cardinal Law
Ecclesiastical Delegate for the Pastoral Provision
August 28, 2003

And as Sub points out, the Psalms herein are entirely in the public domain.

Experiencing God

In a very accessible book explaining the theology and philosophy of St Thomas Aquinas, Fr Francis Copleston makes a lucid argument that Aquinas differed in many respects from Augustine and Anslem in that he refused to allow that God’s existence is self-evident and that mankind automatically “knows” God. Copleston defines this as a more “empiricist” view in that Aquinas argues that mankind comes to know God not just through an innate predisposition, but through experience.

How then do we experience God? There are probably as many ways to answer that question as there are ways to ask it, but that point did get me thinking. The most direct experience of God we all encounter is the mass where (as Catholics) we believe He is truely present. It was interesting to read in one of Jeff’s earlier posts It didn’t turn out that way where he quotes passages from the 1976 edition of Pastoral Music such as James M. Burns bemoaning the old days when Church music “was locked into a theology that stressed the transcendence of God… Today, however, with existential theology and philosophy being the intellectual ground for many of the scholars in the Church, a tendency to reduce the transcendental aspect of worship to a more ‘realistic’ concept has appeared. The stress is on the human, the real, the ‘non-God-talk’ approach.”

The net result of Mr Burn’s thinking has been the adoption of folksy “realistic” mass settings in parishes the world over. Those of us in the UK will be sadly familiar with the Hopwood Mass, Kirkwood Mass, and the other plinky-plonky, up and down the scale, unsingable faux-folk “choones” that the ordinary is sung to. Perhaps if Mr Burns and his ilk had spent a little bit of time reading some Aquinas and contemplating his writings they might have realised the dangers inherent in the path they trod.

There is an evident truth: if we wish to experience God in order to come to believe in Him and have our faith in Him strengthened then we need to transcend the earthly and come to terms with Him in His reality. We are God’s creation and in His plan I cannot conceive of us lacking the faculties to connect with God in some way or form. Equally, I can also conceive of a gulf existing between creator and created that somehow needs to be bridged. In my understanding of His plan, God created the angels who have at various points in the history of creation and salvation been the mechanism by which God communicates heavenly beauty.

It was the message of an angel that became the Word made flesh. It was the song of the angels at the nativity which became the Gloria. It is the image of the angels that dominates the visual representations of heaven. Is it then impossible to consider that the greatest works of our musical tradition have somehow been Divinely inspired to reflect some aspect of the beauty of the continuing song of the angels in heaven? If asked, what would we consider the angels more likely to sing – Allegri’s Miserere Mei Deus of a Bob Dylan-esque pastiche of a folk song? If played a smaple of both even the most naive or agnostic would likely think the former over the latter.

Well I would argue by some form of logical extension that this is exactly the case. At the end of the preface the priest says (in its current translation) “and so with all of the choirs of angels in heaven we sing….”. The ending of the preface ought to set us up nicely to subconsciously and internally consider the awesome beauty of God ahead of Him breaching the vault of heaven to come down to earth, and just as we do so more often than not we get…. plinky-plonky folksy earthly tunes that create a disconnect between the theology being exposed and the behavior of the faithful (who are now singing something un-heavenly and “earthly” as Burns puts it) that detracts from the experience of God that Aquinas argues is so essential to our ability to know of God’s existence.

In a recent blog post by Fr Tim Finigan The hermeneutic of continuity: My mum forced me to clean my teeth he pours scorn on the argument people use for not going to Mass any more (My mum made me go), but actually, I see a reality in that. Imagine being innately designed to seek the existence of God, being innately programmed to want to experience God, being taken to the place where God can be encountered, and then being ultimately disappointed because our sensory experience of God failed. I’m not suggesting for a second that taking your children to Mass is a bad thing to do, on the contrary, but I find some sympathy in the argument that being taken to Mass as a child can be off-putting for the future when the very experience that should lead us to God falls flat on its face even as an earthly experience and then ultimately fails in its mission.

Winter Chant Intensive 2011: Day 2 – Early Neumes and Po’ boys

After day two of the CMAA Winter Chant Intensive I have made the realization that the event is aptly named! A day at the intensive begins at 9:00AM and concludes at 6:00PM with a break in the afternoon for Mass and lunch. Now, I’ve studied chant with the Benedictines (ora et labora), and even they don’t spend this much time in the classroom each day! But I have concluded that the attendees have a real and authentic desire for knowledge and for improving their understanding of and skills in the singing of Gregorian chant. It is undoubtedly a love of Christ, of his Church, of the liturgy, and of the normative music of the Roman Rite that impels all of those who participate in an event like this.

Today it seemed as though everyone has settled in nicely and a real unity of purpose was at work. The advanced session and the beginner session are taking place on the 1st and 2nd floor of the same building, respectively, and the advanced session (the section I’m participating in) which has thus far involved much more lecture, discussion and lecture than singing, has thoroughly “enjoyed”… the lovely singing of scales, modes, Kyries and office hymns from above, with the occasional 15 minute serenade of a bell choral in the half-hour preceding noon Mass. It truly makes one concentrate very closely to the subject matter!

In the advanced session today I was very pleased that we continued to explore the early neumes found in the Graduale Triplex, and also that we surveyed briefly the continuation of the manuscript tradition. Much time was spent discussing and singing the Mass propers for the Feast of the Epiphany, which we will sing in liturgy at the end of the week.

Among the most fascinating things about the advanced group, I have found that 1. all singers are quite fluent in chant and have no problem sight-reading through virtually any chant in the gradual, and that there is a real desire to go beyond the rudiments of just singing the right pitches, and 2. the nature of the discussion often swirls in wonderful directions that range from history, theory and interpretation, and seamlessly into practical matters and frank discussions about the realities of our current liturgical culture context. There are scholars in the group (no less than Dr. Edward Shaefer!), priests, seminarians, music directors, choristers, and the like. And all bring a very insightful perspective to our discussion of these issues. Every perspective contributes something that is needed in the conversation. A very holistic experience seems to happening in this group, and it is very exciting to be a part of it.

I look forward to going deeper into the depths with Dr. Mahrt this week. I think that the group is also ready for this. The chant intensive advanced session seems to be an ideal venue to climb up to the mountain top and gaze around for a while. Especially since so much of our time is spent in the valley of parish life, doing the work that is necessary to impact real change in our liturgical music culture.

Many of the attendees are also getting out into the city and viewing its beauty and charm, and, – per the recommendation of the hosting pastor – getting a taste of the city as well! A few of us made our way over to the Notre Dame Seminary Chapel (pictured above) for a service of Eucharistic adoration and benediction with some of the local college-aged residents, and walked across the street afterward for a taste of authentic Cajun cuisine! With the recommendation of my good friend and New Orleans native Todd I went for the oyster and bacon po’ boy and a local amber ale. And my other new friends went for a red-fish with crawdad (or something like that!).

All-in-all it has made for a great day. I look forward to all that is in store for the next.