New Website- The Latin Mass at St. Mary's

Please check out the Latin Mass of St Mary's new website. Being well structured, the website is user friendly and has great information on it.

www.fortworthlatinmass.com

Sincerely,

Richard

PS: You can also find the link on the side of this blog under the "Links" section.

From Broadway to the Sanctuary

This is a little part of a Four Part Article off the Adoremus.org website. Adoremus is a Catholic hymn book company which also puts out the "Adoremus Bulletin." This bulletin has articles which talk about Catholic issues in liturgy and sacred music. Many good writers have submitted their articles to this site. It's a good site to check out.

link

After reading this article, one must ask why people even go for this type of music when it is so out of place in the Mass. The one reason I think up of is ignorance of what sacred music really is.

"The functionalist approach is destructive to traditional music and art because it is essentially a secularizing approach. Some considered the use of popular music at Mass to be functional, while traditional chant and polyphony, as well as statues and other art work, were considered unsuitable "distractions". Funk insists, however, that the popular secular music of the 1960s used in worship shortly after the Council was also "unacceptable to the cultural ear of the worshipers". Though specific songs were dropped, the style was not:

As a result of what we learned soon after the Council, a second group of composers began to develop music that was heavily influenced by the secular culture but whose popular musical "codes" were more subtly hidden from the cultural ear by arrangement, harmony, or performance technique. When a composer was able to create music that the assembly did not recognize as blatantly drawn from the secular culture, but was nevertheless music that charmed its cultural ear, the assembly began to sing such music readily and with enthusiasm. ...

In the United States, a group of composers has attempted to use musical techniques drawn from the popular culture, e.g., Broadway, but these composers mask the secular codes in such a way that their sources are not recognizable by the listener. 23

A footnote to this passage names Father J. Michael Joncas, Marty Haugen and Christopher Walker as composers who have stated "that they deliberately encode their music with contemporary codes from Broadway show tunes". 24

Ironically, many musicians who produce music "coded" to Broadway shows for use in the Mass also reject chant or sacred polyphony, arguing that it is based on an "entertainment model" of liturgy. In their view only a trained choir can "perform" polyphony and the more elaborate chants, thus excluding a "simple refrain" for the people's "participation".

Father Funk believes that if secular music functions within the liturgy as ritual music, it ceases to be secular and becomes ritual music:

Likewise, if music such as chant and music from the sacred treasury can function as ritual music, then they are no longer sacred music but ritual music. 25

This last statement turns the idea of sacred music on its head, since its corollary is that the only part of the treasury of sacred music that, in Funk's terms, can be called sacred is that which is unsuitable for use in the liturgy."

Reflection on the Ubi Caritas

This sung chant, put to English, is such a great way of reflecting and meditating on the mystery of God's love and the joy that we should aspire to in this mystery. This will be used as a reflection piece (sung at the Offertory) on the Gospel this Sunday:

Gospel Mt 22:34-40
When the Pharisees heard that Jesus had silenced the Sadducees, they gathered together, and one of them, a scholar of the law tested him by asking, "Teacher, which commandment in the law is the greatest?" He said to him, "You shall love the Lord, your God, with all your heart, with all your soul, and with all your mind. This is the greatest and the first commandment. The second is like it: You shall love your neighbor as yourself. The whole law and the prophets depend on these two commandments."

The Spirituality of Sacred Music What does it mean when the Church sings? by Fr. Haynes, SJC

The Spirituality of Sacred Music
What does it mean when the Church sings?
(link to article)
by The Rev. Scott A. Haynes, SJC

The serious study of the liturgical music of the Catholic Church — namely Gregorian Chant, polyphony and those modern forms of music that are consonant with the Church’s liturgical spirit and tradition — is of utmost importance in the education of a Church musician.

Catholic musicians must revere the treasury of sacred liturgical music. As the philosopher Dietrich von Hildebrand observed, we should “fear to abandon the prayers and postures and music that have been approved by so many saints throughout the Christian era and delivered to us as a precious heritage. The illusion that we can replace the Gregorian chant, with its inspired hymns and rhythms … betrays a ridiculous self-assurance and lack of knowledge”.1

The constant teaching of the Magisterium, underlined in the teaching of Vatican II, has reiterated that Catholics should receive the Sacred Liturgy, with its renowned tradition of sacred music, as food for the soul.2

As French Cistercian Abbot Dom Jean-Baptiste Chautard wrote, “The Church uses her chant and her ceremonies to appeal to the sense faculties, and to reach, through them, the souls of her children more fully, and to give to their wills a more effective presentation of the true goods, and raise them up more surely, more easily, and more completely to God”.3

By analogy, as a child embraces the spoon that his mother puts into his mouth, he savors the food that his mother has prepared for him. In like manner, as children of the Heavenly Father, we too must earnestly hunger for the milk of our Holy Mother the Church, the truths of our faith that are lovingly prepared for us in the Eucharistic Banquet, so that fortified by all that is true, good and beautiful, our hearts, minds and voices might harmoniously resound with the voice of our Mother the Church, and return a joyful song unto the Lord.

When we have this sort of disposition, then we can come to know what the psalmist calls “the beauty of holiness” (Ps 29:2). The Divine Liturgy is the consummation of love between Christ and His Church, between Bridegroom and Bride, which is filled with song and replete with melody.

Because the liturgy peels back the veil of time so that we might come to see the Lord face to face, the formation of Church musicians cannot be limited to the study of theory, history or to the perfection of musicianship. Pastoral musicians must be drawn into an intimate contact with the Word of God, both through the Sacred Scripture and ultimately through the Holy Eucharist.

The Word of God must form in us mature Christian wisdom, to give us a relish and taste for the things of God. If we are to have clear perceptions of reality, we must know the eternal value of the Sacred Liturgy. If we can experience the music of the liturgy in this manner, then we follow the axiom based on the thought of Saint Augustine of Hippo, “he who sings well, prays twice”.4

To sing well is to sing with a heart that is on fire for God. Our earthly music, no matter how refined it is in our vision, or how imperfect it may be in God’s, will be pleasing to Him only when we truly become mirrors of charity. As Benedictine Father Stephen Thuis wrote in 1952, “It is of interest to note that today we are experiencing a revived appreciation of plainchant. This, then, would indicate … that we are in the midst of a reawakening of the religious spirit”.5

Church musicians are exhorted to follow the advice of Pope Saint Pius X, who counseled pastoral musicians, before making music before the Lord, to pray and meditate on the sacred words of the liturgy entrusted to the choir. If the renewal of liturgical music today is to bear lasting fruit, then each of us must cultivate a liturgical piety based on profound and prayerful meditation on the Word.

Lectio Divina — Listening to God

A very ancient art, practiced at one time by all Christians, is the technique known as Lectio Divina or “divine reading” — a slow, contemplative reading and praying of the Scriptures — which enables the Bible, the Word of God, to become a means of union with God. This ancient practice has been kept alive in the monastic tradition, and is one of the inherent benefits of celebrating the liturgy with Gregorian Chant.

In his rule, Saint Benedict says that the art of Lectio Divina begins with cultivating the ability to listen deeply, to hear with the ear of our hearts. When we read the Scriptures we should try to imitate the prophet Elijah. We should allow ourselves the opportunity to listen for the “still, small voice” of God (I Kings 19:12), which is God’s voice touching our hearts.

The cry of the prophets to ancient Israel was the joy-filled command to listen. Sh’ma Israel: Hear, O Israel! (Deut 6:4). In Lectio Divina we, too, heed that command and turn to the Scriptures, knowing that we must hear the voice of God, which often speaks very softly. In order to hear someone speaking softly we must learn to be silent. Gregorian Chant can quiet our souls, so full of the noise of the world, and prepare us to embrace this sacred silence.

From time to time, a word or a passage in the Scriptures speaks to us in a personal way, and we must take it in and ruminate on it. In the celebration of Mass, after the epistle, our Mother the Church guides us in this sort of Lectio Divina by selecting a short psalm verse called the Gradual, as a scriptural-musical meditation in preparation for the Gospel. While the text of the Gradual and Alleluia is short, the melismatic chants (with several notes sung to a single syllable) decorate and embellish the Scripture passage with a spirit of melodic and rhythmic freedom, which gives us time to spiritually digest and contemplate the sacred texts.

In antiquity, the image of the ruminant animal quietly chewing its cud was used as a symbol of the Christian pondering the Word of God. Christians have always seen a scriptural invitation to Lectio Divina in the example of the Virgin Mary “pondering in her heart” what she saw and heard of Christ (Lk 2:19).

For the church musician today, these images are a reminder that we must take in the Word — even memorize it like the monks of old, if we can — and while contemplating it, allow it to permeate our thoughts, our hopes, our memories, our desires. This is the second step or stage in Lectio Divina: meditatio, meditation. Through this meditation, we allow God’s Word to become living and active in our daily lives.

Gregorian chant, as the Lectio Divina of the early Church, provides a deep reflection on the Word of God in the context of the Sacred Liturgy and in the wider tradition of the Church. Gregorian chant has a spirituality — a liturgical spirituality — all its own.

True Christian, spiritual, music is never an end in itself. It returns the soul to God, causing the listener to become sanctified. Truly sacred music leads to the most profound silence, to true contemplation of the Divine Majesty.

Saint John Chrysostom, Doctor of the Church, taught that “our chant is nothing but an echo, an imitation of the angelic chant. Music was invented in Heaven. Around and above us the angels sing”. By embracing the Church’s song, Gregorian Chant, as Lectio Divina, our holy Mother the Church lays the foundation stones of an ecclesial renewal, attuning Catholics to the beauty of Christ, reflected in the Sacred Liturgy.

The Church Sings to Her Bridegroom

The axiom lex orandi, lex credendi (the law of prayer is the law of belief) should be expanded to include lex cantandi, lex amandi — the law of singing is the law of loving. As Saint Augustine said: “For he that sings praise, not only praises, but only praises with gladness: he that sings praise, not only sings, but also loves Him of whom he sings. In praise, there is the speaking forth of one confessing; in singing, the affection of one loving”.6

Music is the language of love. Hence the Church, as the Bride of Christ, has always sung the praises of her Divine Bridegroom, Jesus Christ. Her praises, in turn, are the echo of that ineffable canticle sung in the Godhead from all ages. For the Eternal Word, Jesus Christ, is a divine canticle singing the Father’s praise.

This is the infinite hymn that forever sounds in the “bosom of the Father” (Jn 1:18). It is the canticle that rises up from the depths of the Divinity, the Living Canticle wherein God eternally delights, because it is the infinite expression of His perfection.

Thus the Church is filled with the songs of the angels. When the Sanctus passes through the lips of the Church she is echoing the joyous praise of the cherubim and seraphim, who adore our Triune God in ceaseless adoration.

Because one who loves is wont to sing — Cantare amantis est, as Saint Augustine says7 — then the Church must sing God’s praises with knowledge, with understanding and with love.

Our voices, filled with such love and understanding, will not be silenced, but rather, with all the saints and angels, our songs of praise will echo through all eternity in the halls of heaven.

Notes:

1 Dietrich von Hildebrand, “The Case for the Latin Mass”, Triumph magazine, October 1966.

2 “The musical tradition of the universal Church 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 solemn liturgy”. Sacrosanctum Concilium 112. (Catechism of the Catholic Church 1156).

3 Dom Jean-Baptiste Chautard (1858-1935), The Soul of the Apostolate (Trappist, KY: Abbey of Gethsemani, 1946, pp. 218-219).

4 See Catechism of the Catholic Church 1156; Eph 5:19; Saint Augustine, En. in Psalm 72:1: PL 36, 914; cf. Col 3:16.

5 Stephen Thuis, OSB, Gregorian Chant: A Barometer of Religious Fervor in the Catholic Church; Excerpt from Master of Music Thesis, 1952. St. Meinrad, Indiana. (First two chapters posted on Una Voce: www.unavoce.org/chantbar.htm).

6 Saint Augustine. Commentary on Psalm 73, 1: Qui enim cantat laudem, non solum laudat, sed etiam hilariter laudat; qui cantat laudem, non solum cantat, sed et amat eum quem cantat. In laude confitentis est praedicatio, in cantico amantis affectio…

7 Saint Augustine. Sermon 336, 1 (PL 38, 1472).

Aufer a me Chant/Q: Why does one sing chant in chant notation?

The following article is taken from the New Liturgical Movement blog:
(see blog)

Friday, October 13, 2006
Aufer a me: Latin and Neumes for meditation
by Jeffrey Tucker

Anytime the topic of Gregorian chant comes up, the conversation immediately veers in two directions: why can't this material be in the vernacular, and why can't we just sing in modern notes? The communio this week, which conveys an intoxicating spiritual power, is a good illustration of why both of these paths seriously diminish the glories of chant.





We begin with a plea that moves unusually quickly through a long opening phrase: no breaks, no "downbeats," no time signature, and very effective use of vowel and consonant sounds to match the words. Put this in modern notation and you lose the visuals, the phrase, and, ironically, make it more difficult to place the consonants. Now look at the word "contemptum" in which the first "n" sound closes on the lower note (which is small, a liquescent in the Gregorian notation). I can't think of a way that this unity of notes and music can achieve the same effects in modern notation.

Now move halfway through, beginning with "nam." This last phrase is a singer's dream but only as written. It feels and sounds just like what you expect of meditation. It captures the sense of private, contemplative, concentrated prayer. The intervals are short and the changes in notes are a perfect match with the text, and it is a long and uninterrupted phrase. What you certainly do not want here is a sense of bumping through the notes one by one, as you might get in modern notation. Also with the neumes you can enjoy the visual presentation of what it means to meditate.

As for language, I'm sure it's been put into English somewhere, but it is almost painful to imagine how it might sound. Isn't it time that we all just acknowledge that the presentation of Gregorian chant is at its highest glory in precisely the form that it has come to us through the ages?

O Sacrum Convivium Recordings

Soprano line:
Boomp3.com

Alto line:
Boomp3.com

Piano Accompaniment:
Boomp3.com

Having problems streaming or trying to download the audio files? Simply go to this site and download them from the source:
Source

3 Motet Recordings

Linked are three very good motet recordings of the music that we are/will be working on. Please listen to them and follow along:

Ave Maria by Victoria

Ave Verum Corpus by Byrd

Ave Verum Corpus by Mozart

Memento Verbi/Communio Chant for the 26th Sunday of Ordinary Time

Boomp3.com

I liked to thank Kimberly Depatie who recorded the Communio antiphon for us. If you'd like to check out her blog, you are welcomed to go to this link:
http://www.sacredmusiclover.blogspot.com/

A Great Tutorial on Chant

Do remember the Idiot's Guide series for pretty much anything? Well, I found the Idiot's guide to chant!!

Idiot's Guide to Chant

I hope this helps too.

Sincerely,

Richard

Chant Made Easy!/Tu Mandasti Chant for this Sunday (25th Ordinary Time)

Learning chant made easy!
There are only three simple steps:
1. Click the link below to start the Chant Recording.
2. While listening to the recording for the first time, read along with the music!
3. Next, sing along with the recording a couple times. Having sung this about 3-4 times you should have it! It's that simple.



Boomp3.com

I liked to thank Kimberly Depatie who recorded the Communio antiphon for us. If you'd like to check out her blog, you are welcomed to go to this link:
http://www.sacredmusiclover.blogspot.com/

Sign up to be a follower!

Salve!

Please sign up as a follower in order to get all the needed updates concerning the Sacred Music Program!

The sign up link is found on the middle right side of this page.

Thanks,

Richard

Ave Maria by Biebl

This piece is absolutely beautiful. No one can deny it.

Chanticleer - Ave Maria (Franz Biebl)

It will give you goose bumps. This is Sacred Music.

Singing Is Praying

"Singing is praying twice" - so said the great Saint Augustine. Viewed in the light of true active participation in the Mass, singing finds its meaning. It is here where one lifts heart and mind to God. Besides the contemplative side of the Mass, it necessary to participate in the active sense, ie, responses and prayer. In the lecture “Liturgy and Church Music” given by our Holy Father, Pope Benedict XVI speaks of the bond between singing and participation in the Mass:

“Mere words do not suffice when man praises God. Discourse with God goes beyond the boundaries of human speech. Hence by its very nature the liturgy has everywhere called upon the help of music, of singing, and of the voices of creation in the sounds of instruments. The praise of God, after all, does not involve only man. To worship God means to join in that of which all creatures speak.”¹

In singing the hymns, one must not look at them as a set of lyrics put to a tune. That is pop music and other secular music is concerned with. Sacred music is holy music; and holy means “to be set apart.” Within the sacred music and hymns, there are lines of prayer (the verses). These verses make up the prayer which is given breathe and beautiful through the melody. By singing to the best of our abilities (no matter how un-professional it may sound, one is able to lift the use of language and truth back to God as a holy offering, just as incense symbolizes the lifting up of our prayers to God. It is also here in hymn where we can meditate on its prayer while still actively expressing it. Thus, singing during the Mass is important in order to fully participate in offering worship to God. Since all men have the ability to participate in the Mass and the ability to worship God, everyone has the ability to pray. And, according to one of the most illustrious saints of the Church, ie, St. Augustine, singing is praying this prayer of the Mass twice.

-Richard Kochel

1http://www.musicasacra.com/publications/sacredmusic/pdf/liturgy&music.pdf