The World Since Summorum

Three years ago, Pope Benedict XVI issued Summorum Pontificum, a motu proprio that liberalized the older form of the Roman Rite that had been brutally suppressed in 1970. This suppression was accomplished not by legislative design but intimidation and pressure coming from every quarter. It took courage to resist that pressure and those who did paid a large price.

Strikingly, they were not the only ones who paid a price in those days. Priests who celebrated the reformed liturgy was attention to rubrics and with strict adherence to the words of the Second Vatican Council — people like Msgr. Richard Schuler at St. Agnes — also suffered derision and marginalization simply for using the Latin language and Gregorian chant. The atmosphere was so poisoned that even quoting the very documents of the Council was enough to get you labelled as a troublemaker.

Clearly the damage done by the events of 1970 went far being the suppression of the older form, though this was the most conspicuous and shocking change endured by this generation. This was only part of a dramatic change in the culture of Catholicism. It was tradition itself, along with the doctrine and morals that are central to the faith, that were under attack. Intensifying the irony is that the words of the Council itself were being ignored or reversed in their meaning,

It is for this reason that Summorum has far greater significance than it would first appear. It not only freed the Tridentine Mass, now called the extraordinary form; it also provided license to re-embrace tradition in all its manifestations, and in ways that influence the entire life of the Church.

To say that this was a glorious event is an understatement. In the three years since its passage, the effects and results go far beyond even the most optimistic expectations. All over the country, the extraordinary form is being celebrated, not just in outposts created for that purpose but also in mainstream parishes, where young priests are learning the form and offering it to parishioners. This opportunity has helped to heal some of the terrible hurt that was caused all those years ago.

But the effects haven’t stopped there. We are seeing at massive outpouring of books, media, apostolates, and vocations that are centered on recapturing what had been lost and nearly forgotten. The change in the liturgical ethos for the ordinary form has been stunning. We are seeing for the first time in 40 years a deep questioning of what has become the standard manner of celebrating the liturgy with pop hymns and casual decoration. Instead of this, we are seeing a new dawning of consciousness about the propers of the Mass, with even the head of the International Commission on English in the Liturgy urging all musicians to revisit their significance – and the effects of this change alone will be enormous.

Matias Augé, former consulter to the Sacred Congregation for Divine Worship, stated as as follows: “While there are still abuses and aberrations, there is also a growing recognition that the rite comes before individual innovations and must be respected and correctly interpreted. There is greater attention to silence and reflection which improve the quality of participation. Priests are more aware that they should not pull the assembly’s attention onto themselves.” (Translation by Fr. Anthony Ruff).

Augé, however, is reluctant to credit Summorum for this. He says that these positive development were fostered by responsible leaders long before Summorum appeared. While it might be true that these developments were favored, the question is what created the environment that permitted them to be realized and put into effective at the grass-roots level. And here is the critical point. It was Summorum that provided encouragement as never before toward a movement that has in fact been building for decades. The motu proprio, as I’ve said many times, was the key that unlocked the mansion of tradition and all the treasures that it contains. Lacking this encouragement, the atmosphere of intimidation, the prevailing ethos that all that had come before was now invalid, might have lasted much longer.

The striking fact is that it has been Summorum and its liberalization that has permitted the most optimistic and healthy motivations present at the opening of the Second Vatican Council to flourish. This is true even with regard to the lay participation in the life of the Church that the Council sought to encourage. Augé complains about the massive proliferation of “traditionalist” forums, blogs, newsletters, and other movements that become ubiquitous since Summorum. But why not count this as healthy lay involvement of exactly the sort that Vatican II favored?

I’m especially grateful that Summorum took the old Mass that had become the private preserve of a small movement, one that had perhaps understandably grown belligerent and strange, and and mainstreamed the cause, leading millions of unjaded and forward-looking Catholics to participate in its glories and beauties. And the influence of these new celebrations is having that expected spillover effect on the ordinary form. It strikes me that there would be more much controversy alive about the new translation of the Mass in English, appearing next year, had Summorum not sent such a strong message that the tide has turned.

The tide has indeed turned in the last three years, and Summorum has much to do with it. But the objection is sometimes made that the motu proprio has not led to healing but rather created division. My response is that for millions of people who had been estranged from the mainstream of Catholic life, Summorum has in fact been a occasion of healing and unity. Catholicism is starting to feel Catholic again, much to the relief of multitudes. Their perspective surely must be considered here.

As for those who feel estranged as a result of the return to tradition, it is hard to know what to say other than: look inside yourself and try to repair the problem. After all, if one’s intolerance toward tradition is so intense that one feels anger and hurt to know that it exists somewhere and can’t no longer be suppressed or stomped out, we might consider that the issue is with the person himself, and not the Church and the direction of change.

It would be too rough to say that Summorum is helping to separate the wheat from the chaff. But we can say that it has provided an opportunity for teaching and learning, for remembering what had been forgotten, for rediscovery the meaning of what it is like to see, hear, live, and breath the magnificence of the faith that the Church, in her generosity and liberality, hopes the entire world will embrace.

You think your parish has politics?

Sandro Magister today offers a biting polemic against the appointment of Fr. Massimo Palombella, director of the Interuniversity Choir of Rome, as director of the Sistine Chapel choir. Magister, who is close to the former director Domenico Bartolucci (the director for life who was “tossed out in 1997”) writes that “the quality of [Palombella’s] conducting raises merciless criticism from many, including the one who taught him to no effect, Valentino Miserarchs Grau, president of the Pontifical Institute of Sacred Music, Bartolucci’s successor as choirmaster of the basilica of Saint Mary Major, and another prominent interpreter of the Roman school of polyphony.”

In Magister’s telling, the appointment would be a disaster, and a far better choice would be to leave the current director in place. And is this because Palombella rejects Benedict’s liturgical and musical aims? Apparently not, at least not from what I can tell from his wikipedia entry. He has extensive training in music and theology, and specializes in Roman polyphony – at least according to his public biographies.

Maybe Magister is right and maybe not. It is impossible to tell from this distance. But Magister’s piece has the ring of a polemic that is more about internal politics than it is about music as such, at least from my reading.

Commercial Publishers vs. Retired Protestant Minister

Most of us Catholic musicians are familiar with the copyright policies of the major Catholic music publishers. We are told in copyright warnings, in annual reprint licenses, by the support staff of these publishers that we are absolutely not allowed, ever, to make a photocopy of a hymn from a published hymnal (without paying a licensing fee). The reason for this, it is said, is to protect the publisher’s financial investment in the musical engraving of the hymn. It doesn’t matter if this hymn, text, and harmonization have been in the public domain for 200 years. Even if only the engraving is all that the publisher can legitimately claim copyright on, this is enough to assess reprint licensing fees which often begin with a $20 base fee.

Well, it seems that the weighty “financial investment” that warrants these reprint licensing fees is somehow able to be avoided by individuals, such as a single retired protestant minister and organist who has put together SmallChurchMusic.com.

This website is not flashy, it is not perhaps meeting Web 2.0 standards of design, but it does currently contains 3260 public domain mp3 hymn recordings, 2270 free pdf hymn scores, 3110 hymn texts, and 610 downloadable midi files–all of a remarkably high quality. And did I mention that these are available for free download? That reprint licenses are not required?

So how is that a retired protestant minister can share freely with the world the best music of his tradition as a result of a personal project that amounts to not much more than a hobby, when for-profit corporations cannot afford to lose the return on their financial investment in the typesetting of a public domain hymn for one of their hymnals? Perhaps the reason is slowly becoming clearer.

I wonder how the world of Catholic liturgical music could be affected if a bunch of similarly devoted individuals pooled their time, energy and resources to produce something of a similar nature for Catholic liturgy?