And the Chant Goes On

Pope Benedict XVI is considering a dramatic overhaul of the Vatican in order to force a return to Gregorian Chant, the medieval music that served the Catholic Church for centuries. Today, two Vatican watchers discuss what this might be more for more modern forms of music. Joining us is Damian Thompson, a leader writer for London's Daily Telegraph and editor-in-chief of The Catholic Herald; and William Berger, a librettist and author of several books including "Wagner without Fear" and "Verdi with a Vengeance."

Download the mp3 here.

H/t to Jeff Tucker of CMAA.

Baptist preacher agrees with Pope Benedict!

H/t to The Recovering Choir Director.

So Catholic Churches have major problems with music as do many evangelical and fundamental churches although the generational perpetrators are reversed. In Catholic Churches, the bad guys are older, more mature, well ensconced musicians who are supported by rebellious priests. They won’t surrender without a fight.

In Bible-oriented churches, the perpetrators are usually young men who like trendy, light music that compares to kumbaya. Often the lyrics don’t offend but neither do they teach, inspire, or motivate us to godliness. But what is lost in value they make up for it in volume. As Rick Warren says of his church music, “It is loud, very loud.” Scuttlebutt says that sometimes it is so loud, it breaks street lights a block away.

St. Cecilia, pray for us

Happy feast of St. Cecilia to all who are dedicated to the restoration of traditional Catholic music in the Sacred Liturgy.

OREMUS

St. Cecilia, glorious Virgin and Martyr of Jesus Christ, I admire the courage with which you professed your faith in the face of severe persecution, and the generous love with which you offered your life in withness to your belief in the Blessed Trinity. I thank God with you for the wonderful graces He had bestowed upon you to make your life holy and pleasing to Him even in the midst of the wealth that was yours. I thank Him for the privilege offered to you of receiving the glorious crown of martyrdom.

Saint Cecilia, I also admire the purity of love that bound you to the Savior, which was greater in your eyes than any human affection, so that you declared yourself before the enemies of the Church, "I am the bride of my Lord Jesus Christ." Pray for me that in imitation of you I may keep my body pure and my soul holy, and that I may love Jesus with all my heart.

In these times so full of pleasure seeking and so lacking in faith, teach us to profess our faith courageously and to be willing to sacrifice ourselves in practicing it, so that our good example may lead others closer to Christ and the Church He as founded.

In thanksgiving to God for the graces he bestowed on St Cecilia: Our Father. Hail Mary. Glory be. St. Cecilia, Virgin and Martyr of Jesus Christ, pray for us.
Amen.

OCP meets MTV

I recall the good things done by this priest and his order...However, the following travesty is not excusable.


Hat tip to Christus Vincit blog.

Why the Pope is right to purge modern music

By Damian Thompson

Last Updated: 2:06am GMT 20/11/2007

Comment

For decades, the standard of singing in St Peter's basilica has struggled to match that of a Gilbert and Sullivan society.

(more...)

Pope to purge the Vatican of modern music

By Malcolm Moore in Rome

Last Updated: 2:19am GMT 20/11/2007

The Pope is considering a dramatic overhaul of the Vatican in order to force a return to traditional sacred music.

(more...)

Ubi Caritas

This was sung as the communion hymn for the Mass of the 25th Sunday after Pentecost 2007 in conjunction with the administration of the Holy Sacrament of Confirmation by H.E. Bishop Alfonso de Galarreta.

Sacred Music Needs Governing, Says Director of Institute

Sacred Music Needs Governing, Says Director of Institute

States Deviations After Vatican II Have Been Rampant

ROME, NOV. 8, 2007 (Zenit.org).- Perhaps a pontifical office with authority over sacred music would correct the abuses that have occurred in this area, suggested a Vatican official.

Monsignor Valentín Miserachs Grau, director of the Pontifical Institute of Sacred Music, said this at a conference last Saturday, marking the 80th anniversary of the diocesan institute of Sacred Music of Trent, L'Osservatore Romano reported.

The pontifical institute directed by the monsignor was originally established by the Holy See in 1911. It is an academic institution dedicated to teaching and also performing sacred music. But, Monsignor Miserachs said, "In my opinion, it would be opportune to establish an office with authority over the material of sacred music."

Need

Monsignor Miserachs contended that "in none of the areas touched on by Vatican II -- and practically all are included -- have there been greater deviations than in sacred music."

"How far we are from the true spirit of sacred music, that is, of true liturgical music," he lamented. "How can we stand it that such a wave of inconsistent, arrogant and ridiculous profanities have so easily gained a stamp of approval in our celebrations?"

It is a great error, Monsignor Miserachs said, to think that people "should find in the temple the same nonsense given to them outside," since "the liturgy, even in the music, should educate all people -- including youth and children."

"Much music written today, or put in circulation, nevertheless ignores not only the grammar, but even the basic ABC's of musical art," he continued. "Due to general ignorance, especially in certain sectors of the clergy," certain media act as loudspeakers for "products that, devoid of the indispensable characteristics of sacred music -- sanctity, true art, universality -- can never procure the authentic good of the Church."

A reform

The monsignor called for a "conversion" back to the norms of the Church. "And that 'norm' has Gregorian chant as its cardinal point, either the chant itself, or as an inspiration for good liturgical music." He noted that his recommendations are not related to Benedict XVI's document on the use of the 1962 Roman Missal.

"'Nova et vetera,'" he urged, "the treasure of tradition and of new things, but rooted in tradition."

Monsignor Miserachs suggested that contact with tradition should "not be limited to the academic realm, or concerts or records." Instead, "it should become again the living song of the assembly that finds in it that which calms their deepest spiritual tensions, and which makes them feel that they are truly the people of God."

25th Sunday after Pentecost

For Nov 18, 2007 which is the 25th Sunday after Pentecost and also when the Holy Sacrament of Confirmation will be administered, we are going to sing:

1. Procession: Ecce sacerdos magnus (Chant version)
   
2. Antiphon: Confirma hoc Deus
3. Hymn: Veni Creator Spiritus
   
4. Introit: Dicit Dominus
   
5. Kyrie XI (Orbis Factor)
6. Gloria XI
   
7. Gradual: Liberasti nos
   
8. Alleluia: De profundis
   
9. Credo I
   
10. Offertory: De profundis
    
11. Offertory hymn: O Gloriosa Virginum
    
12. Sanctus XI
    
13. Agnus Dei XI
    
14. Communion hymn: Ubi caritas (M. Duruflé)
    
15. Communion: Amen dico vobis
    
16. Recession: Holy God, We Praise Thy Name
    

Click on the links to hear samples where available.

Top Ten Unknown Truths About Sacred Music

Here's an interesting and helpful article by Jeffrey Tucker found at the NLM blog:

In the last week, I've spoken before two groups of Catholics about sacred music and taken questions and observed on their faces looks of confusion and enlightenment (I leave aside the case of the heckler who exhibited red-faced anger). From this experience, I again learned the lesson that I somehow never fully grasp: it is not possible to underestimate people's level of knowledge of the basic facts of liturgy and music.

For decades, Catholic music publishers have been cranking out liturgy workbooks, hymnbooks, guidebooks, book books, and sending well-meaning but woefully uneducated workshop leaders to thousands of parishes, while well-heeled organizations have held hundreds of lucrative national conferences designed to somehow get Catholic musicians up to speed.

Incredibly, the results of all this "education" – which has had no unified theme and has been more about marketing expensive, copyrighted music than actually doing what the Church asks – has been to scramble the brains of Catholic musicians around the country to the point that most have not the slightest clue what they are seeking to do. Lots of money has changed hands but we are further away from understanding than ever before.

So here is my list of the top ten musical unknowns of our day:

The music of the Mass is not of our choosing; it is not a matter of taste; it is not a glossy layer on top of a liturgy. Liturgical music is embedded within the structure of the liturgy itself: theologically, melodically, and historically.


Hymns are not part of the structure of Mass. Nothing in the Mass says: it is now time to sing a hymn of your choice. Hymns are permitted as replacements for what should be sung but only with reservations.


The sung parts of the Mass can be divided into three parts: the ordinary chants (which are stable from week to week), the proper chants (which change according the day), and the priests parts that include sung dialogues with the people.


The music of for the Mass is found in three books: the Kyriale (for the people), the Graduale (for the schola), and the Missale (for the priest).


To advocate Gregorian chant is not merely to favor Latin hymns over English ones, because chant hymns make up only a small portion of chant repertoire. It is to favor a sung Mass over a spoken one, and to favor the music of the Mass itself against substitutes.


Cognitive pedagogy is not the primary purpose of music, so, no, it is not important that all people gathered always and immediately "understand the words."


The music of Mass does not require an organist, pianist, guitar player, bongos, or microphones. It requires only the human voice, which is the primary liturgical instrument.


The Second Vatican Council was the first ecumenical council to decisively declare that chant has primacy of place: "Ecclesia cantum gregorianum agnoscit ut liturgiae romanae proprium: qui ideo in actionibus liturgicis, ceteris paribus, principem locum obtineat." (And ceteris paribus does not mean: unless you don't like it. It means even if chant cannot be sung because of poor skills or lack of resources, or whatever, it still remains an ideal.)


There is no contradiction between chant and participation. Vatican II hoped to see that vernacular hymnody would decrease and the sung Mass would increase. Full, conscience, active participation in the Mass means: it is up to the people to do their part to sing the parts of the Mass that belong to the people.


The first piece of papal legislation concerning music appeared in 95AD, by Pope St. Clement. It forbid profane music in liturgy and emphasized that Church is the place for holy music. All successive legislation has been a variation on that theme.

It's going to take more than one-hour lectures to undo all the misinformation that has been spread for decades, and the publishers of these popular liturgy guides need an education more than anyone else. But let's be clear what we are talking about here. The paradigm of sacred music amounts to a complete overhaul of what most Catholic musicians think belongs in Mass. And the first step to education is to have an educable spirit.

Will musicians and publishers that have been working for decades in a spurious paradigm—the billions involved do not confer liturgical legitimacy—be willing to rethink matters?

24th Sunday after Pentecost

For Nov 11, 2007 which is the 24th Sunday after Pentecost, we are going to sing:

1. Procession: Come, Holy Ghost, Creator Blest
2. Asperges me
   
3. Introit: Dicit Dominus
   
4. Kyrie XI (Orbis Factor)
   
5. Gloria XI
   
6. Gradual: Liberasti nos
   
7. Alleluia: De profundis
   
8. Credo I
   
9. Offertory: De profundis
   
10. Offertory hymn: Adoramus te Christe
    
11. Sanctus XI
    
12. Agnus Dei XI
    
13. Communion hymn: Adoro te, devote
    
14. Communion: Amen dico vobis
    
15. Recession: I'll Sing A Hymn To Mary
    

Click on the links to hear samples where available.

Papal Address to the Pontifical Institute for Sacred Music

VISIT TO THE PONTIFICAL INSTITUTE FOR SACRED MUSIC

ADDRESS OF HIS HOLINESS BENEDICT XVI

Via di Torre Rossa, Rome
Saturday, 13 October 2007

Venerable Brothers in the Episcopate and in the Priesthood,
Dear Professors and Students of the Pontifical Institute for Sacred Music,

On the memorable day of 21 November 1985 my beloved Predecessor, Pope John Paul II, went to visit this "aedes Sancti Hieronymi de Urbe" where, since its foundation by Pope Pius XI in 1932, a privileged community of Benedictine monks has worked enthusiastically on the revision of the Vulgate Bible. It was then that the Pontifical Institute for Sacred Music moved here, complying with the Holy See's wishes, although it retained at its former headquarters in Palazzo dell'Apollinare, the Institute's historic Gregory XIII Hall, the Academic Hall or Aula Magna which still is, so to speak, the "sanctuary" where solemn academic events and concerts are held. The great organ which Madame Justine Ward gave Pius XI in 1932 has now been totally restored with the generous contribution of the Government of the "Generalitat de Catalunya". I am pleased to greet the Representatives of that Government who are present here.

I have come with joy to the didactic centre of the Pontifical Institute for Sacred Music, which has been totally renovated. With my Visit I inaugurate and bless the impressive restoration work carried out in recent years at the initiative of the Holy See with the significant contribution of various benefactors, among whom stand out the "Fondazione Pro Musica e Arte Sacra", which has overseen the total restoration of the Library. My intention is also to inaugurate and bless the restoration work done in the Academic Hall, in which a magnificent piano has been set on the dais next to the above-mentioned great organ. It was a gift from Telecom Italia Mobile to beloved Pope John Paul II for "his" Institute for Sacred Music.

I would now like to express my gratitude to Cardinal Zenon Grocholewski, Prefect of the Congregation for Catholic Education and your Grand Chancellor, for expressing his courteous good wishes to me also on your behalf. On this occasion, I gladly confirm my esteem and pleasure in the work that the Academic Board, gathered closely around the Principal, is carrying out with a sense of responsibility and appreciated professionalism. My greetings go to everyone present: the relatives, with their children, and the friends accompanying them, the officials, staff, students and residents, as well as the representatives of the Consociatio Internationalis Musicae Sacrae and the Foederatio Internationalis Pueri Cantores.

Your Pontifical Institute is rapidly approaching the centenary of its foundation by the Holy Father Pius X, who established with the Brief Expleverunt Desiderii, the "Scuola Superiore di Musica Sacra" in 1911. Later, after subsequent interventions by Benedict XV and Pius XI, with the Apostolic Constitution Deus Scientiarum Dominus, once again promulgated by Pius XI, it became the Pontifical Institute for Sacred Music, and is still today committed actively to fulfilling its original mission at the service of the universal Church. Numerous students who have met here from every region of the world to train in the disciplines of sacred music become in their turn teachers in the respective local Churches. And how many of them there have been in the span of almost a century! I am pleased here to address an affectionate greeting to the man who, one might say, represents with his splendid longevity the "historical memory" of the Institute and personifies so many others who have worked here: the Maestro, Mons. Domenico Bartolucci.

I am pleased in this context to recall what the Second Vatican Council established with regard to sacred music. In line with an age-old tradition, the Council said it "is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as a combination of sacred music and words, it forms a necessary or integral part of the solemn liturgy" (Sacrosanctum Concilium, n. 112). How often does the rich biblical and patristic tradition stress the effectiveness of song and sacred music in moving and uplifting hearts to penetrate, so to speak, the intimate depths of God's life itself! Well aware of this, John Paul II observed that today as always, three traits distinguish sacred music: "holiness", "true art" and "universality" or the possibility that it can be proposed to any people or type of assembly (cf. Chirograph Tra le Sollecitudini, 22 November 2003; ORE, 28 January 2004, p. 6). Precisely in view of this, the ecclesiastical Authority must work to guide wisely the development of such a demanding type of music, not "freezing" its treasure but by seeking to integrate the valid innovations of the present into the heritage of the past in order to achieve a synthesis worthy of the lofty mission reserved to it in divine service. I am certain that the Pontifical Institute for Sacred Music, in harmony with the Congregation for Divine Worship, will not fail to make its contribution to "updating" for our times the precious traditions that abound in sacred music.

As I invoke upon you the motherly protection of Our Lady of the Magnificat and the intercession of St Gregory the Great and of St Cecilia, I assure you on my part of a constant remembrance in prayer. As I hope that the new academic year about to begin will be filled with every grace, I cordially impart a special Apostolic Blessing to you all.

© Copyright 2007 - Libreria Editrice Vaticana

Source: http://www.vatican.va/holy_father/benedict_xvi/speeches/2007/october/documents/hf_ben-xvi_spe_20071013_musica-sacra_en.html

Propers of the Mass for the Entire Ecclesiastical Year

CMAA has again provided an invaluable free resource for the start-up scholas by providing an online downloadable edition of Fr. Carlo Rossini's Propers of the Mass for the Entire Ecclesiastical Year - Set to Gregorian Psalm Tones with Organ Accompaniment. Download it here. Our choir started singing some of the more complicated tracts and graduals in Lent by referring to this book. It was only slowly and after much more practice did we sing everything according to the Graduale Romanum.

See a short write-up about this book from an earlier blog entry from February which also shows where to get the printed version here.

A New Musical Season Opens at the Vatican – And Here's the Program

Pope Ratzinger seems to be stepping up the tempo. The curia will have a new office with authority in the field of sacred music. And the choir of the Sistine Chapel is getting a new director

by Sandro Magister

ROMA, October 18, 2007 – In the span of just a few days, a series of events have unfolded at the Vatican which, taken all together, foretell new provisions – at the pope's behest – to foster the rebirth of great sacred music.

(more...)

Support for our local parishes

Sacred Heart Choir is offering support to parishes in our archdiocese as far as finances permit for the implementation of the Holy Father's Motu Proprio Summorum Pontificum. We can help to assist in sourcing for items necessary for the celebration of the Traditional Latin Mass not currently available in most parishes, and help to train servers and choirs. Interested parish priests who would like to learn how to celebrate the Traditional Latin Mass may also get in touch with us for help. We encourage anyone who is interested in having a funeral, baptism or wedding in the Traditional rite to ask their pastor for it in accordance with the provisions of Summorum Pontificum (unofficial English translation here) and to contact us for assistance. See contact information at the sidebar.

Christ the King

For October 28, 2007 which is the feast of the Christ the King (last Sunday in October), we are going to sing:

1. Procession: To Jesus Christ, Our Sov'reign King
2. Asperges me
   
3. Introit: Dignus est Agnus
   
4. Kyrie II (Fons Bonitatis)
   
5. Gloria II
   
6. Gradual: Dominabitur
   
7. Alleluia: Potestas eius
   
8. Credo III
9. Offertory: Postula a me
   
10. Offertory hymn: Cor, Arca Legem Continens
    
11. Sanctus II
    
12. Agnus Dei II
13. Communion hymn: Ave Verum (W.A. Mozart)
    
14. Communion: Sedebit Dominus
    
15. Recession: Christus Vincit
    

Click on the links to hear samples where available.

Te gestientem gaudiis

Here's a neat little explanation of the offertory hymn that we are going to sing on Sunday Oct 7th, Te Gestientiem Gaudiis.

The author of this hymn is Fr. Augustine Thomas Ricchini (1695-1779). A native of Cremona, Italy, he held several ecclesiastical offices and was a friend of Pope Benedict XIV. Fr. Ricchini first held the office of the Secretary of the Congregation of the Index, and then was the Master of the Sacred Palace. He was also an adviser to the Master General of the Dominicans from 1759 to 1778.

This hymn, along with its three companion hymns, Caelestis aulae Nuntius, In monte olivis consito, and Iam morte, victor, obruta are the hymns from the Roman Breviary for the Feast of the Most Holy Rosary (Oct. 7). The hymns were composed by Fr. Ricchini in 1757 and first appeared in the Dominican Breviary. Later, when the present Office was approved for the Universal Church in 1888 by Pope Leo XIII, these four hymns were added to the Roman Breviary. In the current Liturgia Horarum, the only surviving hymn for the feast is now Te gestientem gaudiis, the other three having been deleted.

The Feast of the Most Holy Rosary itself actually goes back to Pope Saint Pius V, who established this feast on the anniversary of the naval victory won by the Christian fleet at Lepanto over the Turkish fleet on 7 Oct., 1571. The victory is attributed to the intercession of the Mother of God, whose aid was petitioned through the prayers of the Rosary before the battle. The celebration of this feast day is an invitation to all to meditate upon the mysteries of Christ, following the example of the Blessed Virgin Mary, who was so singularly associated with the incarnation, passion, death, and glorious resurrection of her Son, the Son of God.

The subject of all four hymns are the fifteen mysteries of the Rosary. The first three hymns deal with each set of Mysteries: the Joyous, the Sorrowful, and the Glorious. The fourth hymn is a short summary of the first three hymns. This hymn summarizes the themes of the first three hymns, namely the Joyous, Sorrowful and Glorious Mysteries of the Rosary.

TE gestientem gaudiis, te sauciam doloribus, te iugi amictam gloria, o Virgo Mater, pangimus.	THE gladness of thy Motherhood, the anguish of thy suffering, the glory now that crowns thy brow, O Virgin Mother, we would sing.
Ave, redundans gaudio dum concipis, dum visitas; et edis, offers, invenis, Mater beata, Filium.	Hail, blessed Mother, full of joy in thy consent, thy visit too; joy in the birth of Christ on earth, joy in Him lost and found anew.
Ave, dolens, et intimo in corde agonem, verbera, spinas crucemque Filii perpessa, princeps martyrum.	Hail, sorrowing in His agony the blows, the thorns that pierced His brow; the heavy wood, the shameful Rood Yea! Queen and chief of Martyrs thou.
Ave, in triumphis Filii, in ignibus Paracliti, in regni honore et lumine, Regina fulgens gloria.	Hail, in the triumph of thy Son, the quickening flames of Pentecost; shining a Queen in light serene, when all the world is tempest-tost.
Venite, gentes, carpite ex his rosas mysteriis, et pulchri amoris inclitae Matri coronas nectite.	O come, ye nations, roses bring, culled from these mysteries divine, and for the Mother of your King with loving hands your chaplets twine.
Iesu, tibi sit gloria, qui natus es de Virgine, cum Patre, et almo Spiritu, in sempiterna saecula.	All honor, laud, and glory be, O Jesu, Virgin-born to Thee; All glory, as is ever meet, To Father and to Paraclete.

Latin text from the Roman Breviary, translation by Abbot Oswald Hunter-Blair, abbot of Fort Augustus Abbey, Scotland (1853-1939).

Source: Preces Latinae

The miasmal excrescences of Marty Haugen and David Haas

A converting Episcopalian has the following parting remarks. H/T to Fr. Z.

So it’s off to Rome for me. I do not labor under the illusion all is milk and honey on the other side of the Tiber. It is not, the Roman Catholic Church, especially in the United States, is beset with woes, lousy liturgy and music being among the less egregious. But the Holy Catholic Church possesses something the Episcopal Church does not: sound doctrine, along with a Pope (especially the present one) and magisterium to ensure that it remains so. Sound doctrine will make it possible for me (I pray) to tolerate Masses where the priest sits in the Captain Kirk chair while the miasmal excrescences of Marty Haugen and David Haas waft into the nave. And while my heartbreak over what happened to the Episcopal Church will remain with me to the end of my days (as I suspect it will for Fr. Kimel), at the same time I look forward with great joy to embracing the full Catholic Faith. I ask your prayers.

Conference - The Holy Catholic Mass - What We Have Lost

Dear Friends in Christ,

In conjunction with the release of the Motu Proprio Summorum Pontificum by our Holy Father Pope Benedict XVI, we are inviting you and your non-muslim friends to a conference as follows:

The Holy Catholic Mass - What We Have Lost by Rev. Fr. Daniel Couture.

The talk will centre on:

1. The Tridentine Latin Mass - not just an issue of language but sacramental form and matter.
2. How to recover and reclaim what we lost.
3. Pope Benedict XVI's recently released Motu Proprio: Summorum Pontificum

Date: October 6, 2007 (Saturday)
Time: 6.00pm
Venue: Perdana Room, Bukit Kiara Equestrian Resort, Jalan Bukit Kiara,
Off Jalan Damansara, Kuala Lumpur
Admission : By Invitation Only (For non-Muslims only)

For more information, please contact :
Mr. Nicholas Lim +60 12 2966347 or
Mr. Cyril Yee +60 16 3619104

Please invite your friends to this interesting and not-to-be-missed
conference! Do RSVP if possible.

The beginning of the end

Compare this video:

to this video:


I think the producers of Sister Act got their idea from the first video.

H/T to Gerald

BVM of the Rosary

UPDATED: As confirmed by Father, we will be singing the Mass of October 7 BVM of the Rosary.

For October 7, 2007 which is the feast of the BVM of the Rosary (with a commemoration of the 19th Sunday after Pentecost), we are going to sing:

1. Procession: Thou Hope Of All The Lowly
   
2. Asperges me
   
3. Introit: Gaudeamus
   
4. Kyrie IX (Cum Iubilo)
5. Gloria IX
   
6. Gradual: Propter veritatem
   
7. Alleluia: Solemnitas gloriosae
   
8. Credo IV
9. Offertory: In me
   
10. Offertory hymn: Te gestientem gaudiis (LU1680)
    
11. Sanctus IX
    
12. Agnus Dei IX
    
13. Communion hymn: Adoramus te, Christe (G. Palestrina)
    
14. Communion: Florete flores
    
15. Recession: O Queen Of The Holy Rosary
    

Click on the links to hear samples where available.

Musical Guidelines for the Traditional Roman Rite

Here are two useful guidelines for start-up choirs planning to sing at a Traditional Latin Mass. Courtesy of the Canons Regular of St. John Cantius.

Liturgical Services – Music for High Mass

Liturgical Services – Music for Low Mass

The Little Office of the BVM with Chant

Description from Baronius Press:

This is the first ever edition that includes the complete Gregorian Chant for the Little Office – in traditional four stave notation! The music for the Little Office has never before been gathered together in one volume. For many people the Gregorian chant of the Little Office offers an introduction to the beauty of the Church’s traditional liturgical heritage. This volume will help you sing all the Hours of the Little Office.

Our edition includes a commentary on the rubrics and ceremonial by “A Master of Novices” (which was first published in the early twentieth century), and also includes a description of the indulgences with which the recitation of the Little Office has been enriched by Holy Mother Church.

The Little Office of the Blessed Virgin Mary is a shorter form of the Divine Office in honour of the Blessed Virgin Mary. It has long been the Church’s daily liturgical prayer to Our Lady, and these hours of praise have been used by Priests, religious and the laity throughout the centuries. Lay people used to flock to the great Cathedrals to publicly recite The Little Office during the Middle Ages, and during the great persecution, when the practice of the Catholic Faith was illegal in Great Britain, Bishop Challoner commended The Little Office to his flock.

Through its psalms, antiphons, readings, responsorials, and prayers the Little Office stresses the role Our Lady played in salvation history, and how through her fiat the divine Word took flesh in her womb and achieved salvation for us all; and how Our Lord granted her the first fruits of the general resurrection in her holy and glorious assumption.

All Catholics are called to a consistent prayer life. For those who do not feel called to recite the Divine Office, but still wish to participate in the liturgical prayer of the Church, or for those who have a particular devotion to the holy Mother of God, there is no finer form of prayer than the Little Office of the Blessed Virgin Mary.

Buy it here.

Chant Pages

Did you notice anything peculiar about this schola? Click here for the article.

O Sanctissima

This was sung as the offertory hym on the 15th Sunday after Pentecost 2007.

17th Sunday after Pentecost

For September 23, 2007 which is the 17th Sunday after Pentecost, we are going to sing:

1. Procession: Come, Thou Holy Spirit, Come
   
2. Asperges me
   
3. Introit: Iustus es, Domine
   
4. Kyrie IX (Cum Iubilo)
5. Gloria IX
   
6. Gradual: Beata gens
   
7. Alleluia: Domine, exaudi
   
8. Credo IV
9. Offertory: Oravi Deum, meum
   
10. Offertory hymn: O Maria, Virgo Pia
    
11. Sanctus IX
    
12. Agnus Dei IX
    
13. Communion hymn: O Esca Viatorum (SGH#228b)
    
14. Communion: Vovete
    
15. Recession: To Jesus Christ, Our Sov'reign King
    

Click on the links to hear samples where available.

Dancing with the organ

This is amazing. It shows the organist playing J.S. Bach's Fugue in G minor. It's as if he's dancing with the organ. Thanks to the NLM again for unearthing such a gem.

15th Sunday after Pentecost

For September 9, 2007 which is the 15th Sunday after Pentecost, we are going to sing:

1. Procession: O God Almighty Father
   
2. Asperges me
   
3. Introit: Inclina, Domine
   
4. Kyrie IX (Cum Iubilo)
5. Gloria IX
   
6. Gradual: Bonum est confiteri
   
7. Alleluia: Quoniam Deus
   
8. Credo III
9. Offertory: Exspectans exspectavi
   
10. Offertory hymn: O Sanctissima
    
11. Sanctus IX
    
12. Agnus Dei IX
    
13. Communion hymn: Ave Verum (W.A. Mozart)
    
14. Communion: Panis, quem ego dedero
    
15. Recession: Jesus My Lord, My God, My All (handout)
    

Click on the links to hear samples where available.

Adoramus Te

This was taken during communion for 13th Sunday of Pentecost 2007.

Adoramus Te, Christe

This is so cool. By the way, we're planning to do Adoramus Te during Communion for this coming Sunday. Only 5 male voices though.

13th Sunday after Pentecost

For August 26, 2007 which is the 13th Sunday after Pentecost, we are going to sing:

1. Procession: Praise To The Holiest
   
2. Asperges me
   
3. Introit: Respice, Domine
   
4. Kyrie IX (Cum Iubilo)
   
5. Gloria IX
   
6. Gradual: Respice, Domine
   
7. Alleluia: Domine, refugium
   
8. Credo III
9. Offertory: In te speravi
   
10. Offertory hymn: Ave Maria (J. Arcadelt)
11. Sanctus IX
    
12. Agnus Dei IX
    
13. Communion hymn: Adoramus te, Christe (G. Palestrina)
14. Communion: Panem de caelo
    
15. Recession: Salve Regina
    

Click on the links to hear samples where available.

On Some Musical Differences between the Extraordinary and Ordinary Forms of the Mass

Here's a useful article found on the NLM blog. These points are faithfully adhered to by the Sacred Heart Choir at the Chapel of the Sacred Heart of Jesus, Bukit Rahman Putra, Malaysia.

On Some Musical Differences between the Extraordinary and Ordinary Forms of the Mass

posted by Michael E. Lawrence

In the course of the past few weeks, I have seen evidence that there is some confusion regarding music as it applies to the Extraordinary Form of the Roman Rite. Some are applying the Novus Ordo rules to the Traditional Mass. In light of this, I thought I'd publish a short clarification on a few points.

The following points presuppose a High Mass; Low Masses are a bit different, and kind of confusing in some respects. Perhaps I'll post on the Low Mass at a later time.

1. In a sung Mass all of the Propers must be sung. They do not necessarily need to be sung according to the authentic chants in the Graduale Romanum, although it is surely a pity when they are not, but they need to be sung. One could sing the Propers to a Psalm tone instead, as well as recto tono; though musically unsatisfying, this does fulfill the obligation to sing them. [1] (Also, one colleague of mine with encyclopedic knowledge and whose judgment I trust instinctively has written to say that one could sing a falso bordone setting of the Proper as well. "The more modal and Renaissance versions are particularly fitting," he writes.

There are also many good polyphonic settings of the Propers. Perhaps the most notable is the Gradualia by William Byrd. Visit cpdl to find such things. [2] Of course, new polyphonic settings can be composed as well. [2a]

2. The Graduale Simplex does not apply to the Extraordinary Form, and it cannot be used with it. It is not an option. [3]

3. Hymns cannot replace the singing of the Proper antiphon. This is a crucial point, and one which many may be quite unaware of, however obvious it would seem to most of the readers here. A Latin Hymn (e.g. Adoro te devote) could be added, for instance, at Communion, once the Proper has been completed. [4]

4. Nothing in the vernacular can be sung during the Mass. Even extra music besides the Propers must be in Latin. [5]

5. Vernacular hymns can be used while the priest processes to the altar. But they must cease once he gets there. Vernacular hymns can also be used at the conclusion of Mass. Neither of these times are technically part of the Mass.

6. The Ordinary of the Mass must be sung in Latin in all High Masses. Pride of place is held by the very fine Gregorian chant Ordinaries which can be found on the CMAA's website and in which the congregation can join in singing. It is, however, not necessary that these be used all the time. There are some good Latin settings of the Ordinary which the congregation can sing. There is one by Healey Willan that is quite good. Don't forget the polyphonic choral Ordinaries. They are quite fine indeed. [6] Again, new settings can also be composed. [6a]

7. Finally, make sure you are using the right chant books. Use the 1961 Graduale Romanum which can be found again at MusicaSacra for free download (or you can buy a nice copy for a reasonable fee). The later books published by Solesmes are for the new rite, and it is in many cases completely impossible to reconcile what appears in those books with what is required by the Extraordinary Form of Mass. The upcoming Feast of the Assumption is a really good example. I remember the enthusiastic but naive young man who showed up at the Assumption Mass in Camden a few years ago with a 1974 Graduale Triplex. By the middle of the Gradual, he was lost. That's because the chant actually changes halfway through in the 1974 book.

What was that guy's name again????? ;)

In any case, if all of the above was obvious to you, that's good. If you learned something, that's even better. Whether you learned something or not, please print this out and give it to anyone who breathes a word about singing a High Mass. Let's do it right.

Footnotes:

[1] Sacred Congregation of Rites, De musica sacra et sacra liturgia, 21 b and c.

[2] Ibid., 17 and 21a.

[2a] Mediator Dei, Encyclical Letter of the Servant of God, Pope Pius XII, 193.

[3] Ibid., 21c.

[4] Ibid., 14a. See also Musicae sacrae disciplina: AAS 48 [1956] 16-17.

[5] Ibid.

[6] Ibid.

[6a] Mediator Dei, 193.

Something haughty about Mr. Haugen

Gerald of The Cafeteria Is Closed posted these amusing items on Marty Haugen, who's a darling among liberal Novus Ordo parish 'musicians'.

Marty Haugen

CNS reports that Marty Haugen, Protestantism's cuckoo's egg, was named Pastoral Musician of the Year. Kewl. At least one can't blame Catholicism for Haugen - he's a former Lutheran, now "United church of Christ" member. In case you've been lucky enough to never have been exposed to this kind of music, now is time for you to suffer, too. Inclusive like I am I will extend this moving tribute beyond just Marty Haugen, and also honor other pastoral musicians. To honor them, maybe people like Curt Jester could write some additional lyrics for these beloved classics.

(The links from the song titles link to the Windows Media audio files. To listen via Amazon audio/Real player, go to the links to the CD titles in this post)

Check out this CD on Amazon - one can listen to samples there. It's truly a feast - Haugen, Haas and Joncas, the triumvirate of tripe, together in concert. The album's catchy title: "Come and Journey". Hoo boy. Upon hearing "Gather Us In", I was convinced that surely "the Minna would be lost" (referring to a popular old American tv show called Gilligan's Island, whose theme song is reminiscent of the infamous church tune) and also felt like putting on an eye patch, praising a pirate's life.

It all feels like that movie "A Mighty Wind" which makes fun of PBS's non-satirical folk concerts. There's of course the catchy (as in, might require penicillin to get rid of) "come, Lord Jesus, reneeeeeeeeeeew the face of the earth". Then there's the irresistible "Come and journey with me" which sounds like a rejected song from a Disney soundtrack.

In case you haven't suffered enough, here another Marty Haugen CD. The best from 1980-84! If you ever need to get a hostage taker to surrender, you might want to blast We Walk by Faith at him in an endless loop, the luxurious instrumentation alone guarantees success. Then there's Taste and See, which seems to be a coffee commercial gone terribly wrong. The song "We are many parts" is either a cry for help by someone suffering from multiple personality disorder or a threat that indeed resistance to the joy of pastoral musicians is futile, for they are many. Be With Me is what happens when someone with a lobotomy is given a high dose of Xanax. Marshmallowy goodness.

I hope you won't be too disconsolate, but the years 85-59 aren't for sale on Amazon. But, fear not, or should I say, be not afraid, they got 1990-1996. It may seem a whoooole lot longer to you, but the song All Are Welcome apparently has only been around since the '90s, despite its destinct 1967 odor of faux folk. Then there's Bread to Share with its distinct off-off-off-Broadway sound (Social Justice - The Musical). As the Grains of Wheat brings back the more familiar choir of the brainwashed sound. I was waiting for them to start sweetly chirping "One of us, one of us, one of us."

We'll end this tribute to our Protestant singer-songwriter with another collaborative effort whose title is something we've all been asking ourselves - How Can I Keep From Singing ! Advice would be welcome. But please, practice nonviolence. The gaping wound that is the absence of Joncas is made somewhat easier to bear by the addition of Jeanne Cotter. The first song is actually by Pete Seeger, who gave the world such classics as If I Had a Hammer - curiously enough the very sentiment the music invokes. Then, enjoy the sweetness of another classic - You Are Mine featuring the line "Do not be afraid, I am with you". The song reminds me of "that" scene in a movie when the unsuspecting protagonist is in a small town, has just found refuge from the monsters, say in the diner, and the camera shows the locals giving one another knowing looks - you know, right before they turn into their alien selves ?

Also on this seminal recording is the song Rain Dance, which answers the question "Just how high can a female voice go?". I'm certain that part of the song can only be heard by dogs, so be careful, there might be hidden messages such as "Dogs of all countries, unite". Then again, it might just be something re-assuring such as "All dogs go to heaven."

All You Works of God combines the age of Aquarius with some "ethnic" percussion, thus embodying the spirit of inclusiveness. Shepherd Me Oh God is evocative of the sweetly innocent character, half Annie, half Dickensian street urchin, of a musical who sits outside at night, looks at the stars with his big eyes and breaks into song. "Can you hear me, god? A puppy pwease, a puppy pwease"

We Are Called features these immortal lyrics:

We are called to act with justice,
we are called to love tenderly,
we are called to serve one another;
to walk humbly with God!

The exclamation point really drove home the humility for me. What do you feel? Please share. Buy quick, Amazon informs us that there's only 1 CD left in store. But, be not afraid, more are on their way.

Make sure to check out Marty Haugen's new CD - an "interfaith project centered on peacemaking" which curiously had rather the opposite effect on me. I guess I am just not ready. To be sure, the message is powerful, and the word "peace" is in 5 song titles, so you know he's serious - check out some of the songs: Seek Truth, Make Peace, Reverence Life, which expresses the fond hope "may we walk as one with the poor and oppressed against the powers..." and there I could not understand the words - "that keep them in peas?" "that feed them the cheese?" Anyway, I'm sure it's profound. The inter-religious dialog message really is driven across powerfully in the songs "Salaam Aleikum" (Arabic meets a jingle for a tropical resort) and "Sim Shalom". Surely the Palestinian-Israeli conflict could be solved if they were threatened with compulsory listening to this CD.

Let us end this tribute to Catholish music by a look at this CD - Celebrating Our Faith. Of course, when Protestant Marty Haugen celebrates "our faith" it's a bit like an Englishman walking in St. Patrick's Day Parade, but hey, I'm feeling ecumenical. This CD is quite an accurate portrait of the contemporary Catholish music scene. It even has the "Halle Halle" Alleluia - hoo boy, the third time around the parish percussion section always got into it, it'd have been perfect but for my desire for more cowbell.

Perhaps the greatest gift Marty Haugen has given us is the ubiquitous Mass of Creation. As the Center for Disease Control and the diocesan music director will tell you, it's spreading rapidly across the country. If that won't make you attend a Tridentine Mass, nothing will. For my readers outside of the USA who are - as of now - safe from it, let me educate you, so you'll be prepared. If you hear this,
you know that the hand holding isn't far off. Flee while you can.

And so, in closing, let me express a very ecumenical wish - may the members of Marty Haugen's new ecclesial community, the "United church of Christ", suffer enjoy his music just as much as Catholics do.

For those who can't appreciate the beauty of this music, there's a support group.

Quote of the Day

I took my first job as a way of keeping me from going to Africa in the Peace Corps. I had signed up but didn’t want to go because I was in love with the woman who was to become my wife. I thought perhaps I could take a job for a year until I could get married and find out what I really wanted to do. A chaplain suggested that I apply for a Catholic church job. I said I didn’t know anything about the Catholic liturgy, and he said, well, these days, nobody does—you’ll feel right at home. And he was right.

- Marty Haugen -

I swear, I did not make it up. You can find it here.

11th Sunday after Pentecost

For August 12, 2007 which is the 11th Sunday after Pentecost, we are going to sing:

1. Procession: Crown Him With Many Crowns
   
2. Asperges me
   
3. Introit: Deus in loco sancto suo
   
4. Kyrie IX (Cum Iubilo)
   
5. Gloria IX
   
6. Gradual: In Deo speravit
   
7. Alleluia: Exsultate Deo
   
8. Credo IV
   
9. Offertory: Exaltabo te
   
10. Offertory hymn: Salve Mater
    
11. Sanctus IX
    
12. Agnus Dei IX
    
13. Communion hymn: Ecce Panis Angelorum (J. Zaninetti)
    
14. Communion: Honora Dominum
    
15. Recession: Immaculate Mary (Lourdes refrain)
    

Click on the links to hear samples where available.

Liber Usualis (1961)

Hear ye! Hear ye! The ubiquitous chant book for the Traditional Roman Rite, the Liber Usualis (1961 edition) is now available for free download online from the good folks at CMAA.
No more excuses of expensive Libers from Novus Ordo parishes wanting to implement Pope Benedict XVI's motu proprio Summorum Pontificum.

8th Sunday after Pentecost

For July 22, 2007 which is the 8th Sunday after Pentecost, we are going to sing:

1. Procession: O God Almighty Father
   
2. Asperges me
   
3. Introit: Suscepimus
   
4. Kyrie XI
   
5. Gloria XI
   
6. Gradual: Esto mihi
   
7. Alleluia: Magnus Dominus
   
8. Credo I
   
9. Offertory: Populum humilem
   
10. Offertory hymn: Cor meum (O. di Lasso)
    
11. Sanctus XI
    
12. Agnus Dei XI
    
13. Communion hymn: Ave Verum Corpus
    
14. Communion: Gustate et videte
    
15. Recession: Holy God, We Praise Thy Name
    

Click on the links to hear samples where available.

6th Sunday after Pentecost

For July 8, 2007 which is the 6th Sunday after Pentecost, we are going to sing:

1. Procession: Glory Be To Jesus
   
2. Asperges me
   
3. Introit: Dominus fortitudo plebis suae
   
4. Kyrie XI
   
5. Gloria XI
   
6. Gradual: Convertere, Domine
   
7. Alleluia: In te, Domine, speravi
   
8. Credo III
9. Offertory: Perfice gressus meos
   
10. Offertory hymn: Ave Maria (J. Arcadelt)
    
11. Sanctus XI
    
12. Agnus Dei XI
    
13. Communion hymn: Panis angelicus
    
14. Communion: Circuibo
15. Te Deum (in thanksgiving for the release of the Motu Proprio Summorum Pontificum)
    
16. Recession: Hail, Jesus, Hail
    

Click on the links to hear samples where available.

Domine, non sum dignus (Victoria)

Digital pipe organ

Here's an interesting thread from the CMAA Resource mailing list:
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According to tradition would it be ok to stop using the usual pipe organ in disrepair or close, for a digital substitute such as Allan or Johannes organs? At the moment my parish uses a Yamaha electric organ eventhough we have an old, though working pipe organ, *scream!!!*. Please forgive my informal post!

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The De musica of 1958 says:

B. The classic organ and similar instruments.

61. The principal musical instrument for solemn liturgical ceremonies of the Latin Church has been and remains the classic pipe organ.

62. An organ destined for liturgical use, even if small, should be designed according to the norms of organ building, and be equipped with the type of pipes suitable for sacred use. Before it is to be used it should be properly blessed, and as a sacred object, receive proper care.

63. Besides the classic organ, the harmonium or reed organ may also be used provided that its tonal quality, and volume are suitable for sacred use.

64. As a substitute, the electronic organ may be tolerated temporarily for liturgical functions, if the means for obtaining even a small pipe organ are not available. In each case, however, the explicit permission of the local Ordinary is required. He, on his part, should consult the diocesan commission on sacred music, and others trained in this field, who can make suggestions for rendering such an instrument more suitable for sacred use.

Electronic organs have come a long way since 1958. The wording of the final sentence suggests that the objection to the electronic organ was not the fact that it was electric but that it did not remotely sound like a pipe organ. Vatican II in Sacrosanctum Concilium (1963) has this to add:

120. In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church's ceremonies and powerfully lifts up man's mind to God and to higher things.

But other instruments also may be admitted for use in divine worship, with the knowledge and consent of the competent territorial authority, as laid down in Art. 22, 52, 37, and 40. This may be done, however, only on condition that the instruments are suitable, or can be made suitable, for sacred use, accord with the dignity of the temple, and truly contribute to the edification of the faithful.

I should think this clearly permits use of a good electronic instrument, though the pipe organ still is the "official" instrument. After all, nothing but a pipe can really sound like a pipe. I think it is safe to say that all organs in heaven are pipe organs, although there may be a non-punitive limbo for decent electronic organs.
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Nothing can match the beautiful sound of a first-class pipe organ. However, if the choice is between a digital organ and a [digital] piano, guitar, drums, or other electronically amplified music instruments, the electronic organ would be preferable, until a proper pipe organ may be acquired.

Digital organs are NOT cheaper than pipe organs; they just don't live as long. If anyone wants more information on this topic, or some help to convince your parish please contact me.
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That's right. And a pipe organ will live for centuries, properly maintained.
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In fact a pipe organ, properly maintained, lasts indefinitely, whereas a digital organ is no organ at all but rather an electric appliance, which, like any other appliance, wears out after a while.