Some might consider a literal reading of the Holy Father's Chirograph On Sacred Music to be out of step with modern liturgical practice. And that would be correct. However, what is actually out of step is not the chirograph itself, nor its reading, but the greater portion of modern liturgical practice. Let me explain.
The problem with reforming liturgical music seems to be one of qualitative judgment. We need to discuss what music is sacred, and thus worthy of the liturgy; and what music is profane, and thus not worthy. It seems that virtually anyone who can put two notes together deems himself qualified for determining suitability of music for the liturgy. See here for an example of what I mean.
And I don't mean individuals alone. Even if an organization puts together a musical publication, and many like it, buy it, and use it, that does not make it suitable. The Holy Father reminds us: "Today, moreover, the meaning of the category 'sacred music' has been broadened to include repertoires that cannot be part of the celebration without violating the spirit and norms of the Liturgy itself."
I hear these words: "Who, me? He can't be talking about the music I play at Mass. That must be OK, because it's from such-and-such a hymnal, or because so many enjoy it, or because so many are participating in it." And there's that catch-word. The be-all and end-all of liturgical judgment: participation. However, what you neglect to include in your reasoning is that achieving a good end does not justify any means of getting there.
The Holy Father is more specific: "With regard to compositions of liturgical music, I make my own the 'general rule' that St Pius X formulated in these words: 'The more closely a composition for church approaches in its movement, inspiration and savour the Gregorian melodic form, the more sacred and liturgical it becomes; and the more out of harmony it is with that supreme model, the less worthy it is of the temple'[Tra le Sollecitudini]. It is not, of course, a question of imitating Gregorian chant but rather of ensuring that new compositions are imbued with the same spirit that inspired and little by little came to shape it."
Now, I hear these words: "Come again? How can that be? You mean all liturgical music must sound like Gregorian chant?" No, but it must clearly be imbued with the same spirit. In other words, all liturgical music must give the listener that other-worldly sense; as that which is so familiar with Gregorian chant, or even sacred polyphony.
And if there is any confusion here, the Holy Father provides another even more objective yard-stick, with which to measure music proposed for use in the liturgy: "St Pius X pointed out - using the term universal - a further prerequisite of music destined for worship: '...while every nation', he noted, 'is permitted to admit into its ecclesiastical compositions those special forms which may be said to constitute its native music, still these forms must be subordinate in such a manner to the general character of sacred music, that nobody of any nation may receive an impression other than good on hearing them'[Address to the Participants in the General Assembly of the Italian Association Santa Cecilia (18 September 1968) ]." (emphasis added)
That means anyone, listening to any liturgical music, from anywhere in the world, must respond favorably. If anyone reacts negatively, the music is profane, and not suitable for liturgy. Got it? If I walk into a Folk Mass, Rock Mass, Piano Mass, or Fill-in-the-Blank Mass, and sense that the music is not sacred, and is preventing me from entering into the heart of the Mystery on the altar, then so it is; regardless how many are enjoying it, and regardless how many are moved to participate because it feels so relevant for them.
Who can say that Gregorian chant does not feel sacred? No one. Even those with no faith recognize the sacred nature of chant. That's why it is the standard by which all other forms are measured.
Putting all these points together, you should get a much clearer picture what liturgical music is supposed to be like. Look at the similarities between Gregorian chant and sacred polyphony, and you'll see what I mean. Sacred music must advance a sense of the sacred. If anyone feels the opposite, then it is not sacred. Period.
If you still don't agree, then see the comments on personal preference in my previous post. If you are going to reject the Holy Father's wise counsels, then at least be honest with yourself and with your congregation. But please, do not put up a front of unity, all the while doing as you wish. It is not becoming.
Bravo.
There are two dynamics working against self-ordained musical "ministers'" (as opposed to musicians) acceptance of musical reform here. One is individual or collective egotism, and the other is the faith in the Hegelian dialectic which promises to perfect all historical human action willy nilly into future earthly salvation, both dynamics sugarcoated by the Aristotelian golden mean. Translation: we'll do whatever we wanna do, but don't worry, man [oops!], it won't be too old-fashioned or too wild, too Catholic or too "Protestant," but most of all, it won't be stuck in the past. Or how about just two words: I'm hip.
First point: The Church always calls us out of our ignorance (even of papal documents!) to a novus habitus mentis in her concern for our salvation. Here is a reading on this point (not failing to touch upon the second point!) that is quite relevant to the anniversary of Tra le sollecitudini; it was, in fact, written at the time of Tra le sollecitudini's twenty-fifth anniversary:
"The protest aroused by Cardinal O'Connell's ban on the 'Beautiful Isle' is interesting, partly because it is typical. Dissenting voices seem to have missed the point of the controversy. In barring the hymn, His Eminence gave an obvious reason. He declared the song to be 'cheap, trashy and vulgar.' From a musical standpoint his action has no challenge to fear. He had no desire of wounding the sensibilities of those to whom the song may have grown dear through old memories and associations.
"Fundamentally, the question is not one of sensibilities or of musical standards. Underlying the whole recurring situation is a matter of dogmatic importance. The song is not merely a song. It is the symbol of a theological system. That system is not the system of the Catholic Church.
"From an artistic standpoint, many negro 'spirituals' are superior to some of the Moody and Sanky hymns. We do not reproach the Evangelizers for not borrowing from their darker brethren. The religious sensibilities of some persons may be moved profoundly by certain snatches from the Verdi operas. It is not to their discredit the Verdi tunes are never heard from their choir lofts. If the spirit of the Moody and Sanky and similar hymns does not correspond with that of Catholic liturgy, who is right: the Cardinal who bars them from Catholic service, or his critics who discourse on [popular] musical standards and sensibilities?
"'Beautiful Isle of Somewhere,' however inferior a representative, is merely one of a type. That plaintive swooping and swooning of the melodic line and the vague sentimentalism of the words -- 'Somewhere the sun is shining, Somewhere the song-birds dwell,' are thoroughly expressive of the 'quiescent' phase of sectarian theology. The spirit of interior illumination, of private judgment, of comfort from the Scriptures alone, and of dogmatic indifference is embodied unmistakably in these hymns, and the finished products radiate its sad, familiar optimism. What an impatient critic might characterize as maudlin is really a religious note -- the note of evangelistic confidence which undrlies practically all Protestant theology. The other phase is the militant evangelism of 'Onward Christian soldiers, marching on [sic] to war.'
"That many of these hymns breathe a vigorous spirituality and a rugged beauty, no one will deny. But they are totally foreign to the Catholic system. They deny implicitly the clean-cut dogmatic principles of the Church. They are strangers to the Mass, the sacraments, to the Catholic conception of divine Grace, to the communion of saints, and generally to the heritage of Catholic faith so beautifully symbolized in the Catholic liturgy.
"Catholic ritual is a logical development, the full and perfect product of centuries of devout labor and loving inspiration. It were a shame to mar the exquisite funeral service with 'Beautiful Isle of Somewhere.' Secular songs are simply excluded from Catholic devotions. Protestant hymnology as a symbol of Catholic worship is a contradiction in terms."
The Caecilia (predecessor to Sacred Music), Vol. 54, No. 11 (November 1927), p. 109.
Second point: The papal chirograph is deja vu all over again precisely because we are back in the same muck; pop-opera is now pop-schlock.
Here is one more reading from the bad old days:
"Father Gruender's 'Missa Liturgica, pro schola cantorum et populo' performed with success at St. Peter's Cathedral, under the direction of Rt. Rev. Msgr. J.H. Schlarman
"The 'Missa liturgica pro Schola Cantorum et Populo" written by the well-known composer of Church Music, Rev. H. Gruender, S.J., seems to have brought forth quite a bit of discussion pro and con. That was to be expected. All things that are out of the ordinary [pun unintended, I suppose] do that. Some have criticized this mass as being impossible, impractical, ...
"It may be interesting to those who try to promote liturgical chant, and encouraging to Father Gruender, to know that this 'Missa Liturgica' was rendered very successfully by the choir and congregation in St. Peter's Cathedral, Belleville, Illinois, during the midnight Mass on Christmas Day last year. Nearly every man, woman, and child in the vast edifice sang. To say that the singing of this Mass by some two thousand voices was impressive is expressing it too mildly; it was awe-inspiring; it was storming the gates of heaven with the sacred words of the liturgical text, pronounced in song by the people, spontaneously giving vent to their religious feeling and faith.
"Naturally, a successful presentation of this kind depends upon the thoroughness of the preparatory rehearsals. It must be a spontaneous outburst. Congregational singing is not a new thing at the Cathedral of Belleview, where the sacred litugy of the Church has always been held in high esteem. The week-day High Masses and Requiem High Masses are sung by all the children from the fourth grade up; weekday Low Masses are a succession of liturgical prayers in which all the children take part or alternate. ...
"Personally we think The Caecilia should be congratulated for giving Father Gruender's excellent mass to the public and thereby giving a practical impetus to the liturgical movement.
"(Signed) B.L. Miller, Organist and Choirmaster,
Cathedral, Belleville, Ill."
The Caecilia (predecessor of Sacred Music), Vol. 54, No. 4 (April, 1927), pp. 50-51.
Daniel --
Thank you for those interesting excerpts.
May I ask where you have access to Caecilia? Is it on line somewhere?
Also, while I'm at it, thank you for that translation of excerpts from the Pope's recent chirograph on music whch I came across somewhere on the web (before any official translation was available -- my "Art Song" Italian doesn't stand me in very good stead in trying to understand documents of that sort! The Pope so seldom refers to any gentle nymphs or cruel shepherdesses...)
Geri,
Thanks for your kind words. Keep singing art songs -- and opera, too. Just watch out for the babbini; that drop off the Ponte Vecchio is a doozy. Come to think of it, it is probably safer for all concerned that opera is forbidden up in the loft.
These copies of The_Caecilia are two of five or six from my personal library. I am thinking of asking the president of the CMAA if he would like them for archives or if he might like to put them or parts of them up on the CMAA Web site, musicasacra.com. (Are you paid up on your dues?)
I certainly have thought of scanning in the drawing (Vol. 54, No. 11: November 1927, p. 105) showing incense-like clouds of cherubim singing along with three choristers and the organist in the loft, with three banners from Psalm 150 and the Trisagion above: LAUDATE DOMINUM in TYMPANO et CHORO; LAUDATE EUM in CHORDIS et ORGANO: SANCTUS, SANCTUS, SANCTUS. Now there is some didactic imagery! (Unsigned, of course, and most probably unremunerated.)
Daniel, if your itchy clicker finger ever gets the better of you, I'd love to post that graphic here, for the enjoyment of all.
I am indeed paid up -- but I have yet to receive the first issue of my subscription, I'm a new member.
Until recently, I had thought, since the retirement of my old choir director, that I was was almost alone in the world (a world where "On Eagle's Wings" has earned the appellation, "A Catholic classic.")
I am pleased to know there are people from whom I can learn still fighting the good fight, and that maybe, just maybe, the liturgy is on the road to recovery.
Here is a new book that may be of interest:
Fascicolo 1 Gennaio - Marzo
Tra le Sollecitudini Sacrosanctum Concilium 1903-1963-2003
2004, Centro Liturgico Vincenziano
US$ 14.26
SUMMARIUM:
Braga, C., Una concelebrazione mai realizzata, pp. 3-10
Giampietro, N., Il recupero della Domenica nella Memoria sulla Riforma Liturgia e nella Sacrosanctum Concilium, pp. 11-27
Johnson, C., An Episode in the Struggle for Reform of the Gregorian Chant and for Religious Liberty, pp. 29-61
Ward, A., Sacrosanctum Concilium at the Fulcrum of Developing Experience on the Vernacular, pp. 63-108
Ioannes Paulus PP. II, Chirografo sulla musica sacra, pp. 109-117
Ioannes Paulus PP. II, Lettera Apostolica Spiritus et Sponsa, pp. 118-125
Recensiones, pp. 126-128