Summorum Pontificum: the Seventh Anniversary

It was seven years ago today that His Holiness Pope Benedict XVI issued his Motu Proprio Summorum Pontificum and the accompanying letter, liberalising the Old Mass, variously known as the Traditional Latin Mass, the Tridentine Mass, the Old Rite, Vetus Ordo, the Old Mass and which has also since become known as the Extraordinary Form of the Roman Rite.

We give thanks to Almighty God for this gift, and the courage of Benedict XVI in issuing the Motu Proprio. He has suffered as a result: His Holiness has told us as much.

We also give thanks for everything that has happened since which has seen the promotion of God-centred, transcendent worship in the form of the Traditional Mass and the promotion of a more reverent celebration of the Ordinary Form.

It is natural, given this is the anniversary of Summorum Pontificum, to consider what, if any, advances there have been in the celebration of the older form and its effects on the newer form of the Mass. 

Every day, we see reports of the growth in celebrations of the Extraordinary Form all over the world, its attraction to the young who are experiencing it for the first time, the uptake of newly ordained priests and other clergy who are learning to celebrate it. As Benedict XVI foresaw, the older form is having a positive influence on the promotion of reverent celebration of the Novus Ordo too.  This is all positive.  And the progress is there. But it is gradual, slow, often painstaking work.  Nothing is happening in a hurry.  It’s also on a limited scale. We are not talking about millions and millions of Catholics.

And, of course, things are not great everywhere and at all times.  Whilst there are many stories of very supportive bishops and others would are positively in favour, there remain stories of situations around the world that suggest open hostility to the older forms and to reverent worship more generally.  In other places still, it’s a studied indifference as if Summorum Pontificum never existed, with nothing done to raise its profile and nothing done to bring this to the lay faithfuls’ awareness. As some have quipped, faced with Summorum Pontificum some bishops are implementing Quattuor Abhinc Annos.

And, since Benedict XVI’s abdication and the election of Pope Francis, the mood also seems to be different.  Whereas there was a feeling of full steam ahead during the pontificate of Benedict XVI, the election of Pope Francis has seemingly slowed things down.  So much so, that some have declared the death of the Reform of the Reform (which we will deal with another time).

It seems uncontroversial to conclude that whilst Pope Francis respects the liturgical vision of the Pope Emeritus, His Holiness does not prioritise it particularly.  In the early days of his Pontificate, His Holiness eschewed certain externals which suggested he had other priorities and he then dispensed with liturgical law on particular occasions presumably with the intention of making a “greater” point.  Did that however suggest a position directly against the liturgical vision of the Pope Emeritus?  Well, taken as a whole and with the benefit of more than a year of this pontificate, it doesn’t seem so, and there is enough in his public statements and actions to suggest this.  However, this doesn’t stop some seeking proof of a rejection of the Pope Emeritus’ vision in these actions, and in particular in the events affecting the Franciscans of the Immaculate and, ultimately, the stalled negotiations with the Society of St Pius X.  It also does not stop the incessant interpreting in some quarters of every move and countermove of ecclesiastical authorities on these issues.  Whilst all these are realities, and they affect the lives of real people, there is a risk that too much focus on it unduly distracts from the work of promoting and celebrating worthily our divine liturgy; a work that never stops.

Even if we accept that Pope Francis’ priorities are elsewhere, does this change anything for those seeking greater reverence, transcendence and, where it is desired, greater availability of the Traditional Mass?  Is the need for transcendent worship really dependent on who sits on the Throne of Peter as the Servant of the Servants of God? Whilst it’s self-evidently a great help that the Successor of St Peter openly and consistently champions it and is an exemplar all the time, isn’t it also independent of all that?  Rather, we think it goes to the “legitimate aspirations” which Pope Saint John-Paul II and Pope Benedict XVI have recognised as being present with all the faithful who find the older forms of spiritual  use to them. It is consistent with Catholic Tradition and the tradition of our closest brothers in the faith, the Orthodox Churches.  And it’s consistent in our belief in the Real Presence and its implications for our lives here and hereafter, regardless of the form of the liturgy we as individual Catholics are drawn to are which is available to us.  A liturgy with only serves to celebrate ourselves rather than being centred on God, serves no-one, least of all ourselves.

And so, in giving thanks to Almighty God for Summorum Pontificum, and in remembering our beloved Pope Emeritus on this day, let us also pray for Our Holy Father, Pope Francis in his arduous task of governing the Church and for the continuing progress throughout the world of the worthy celebration of the Mass in all forms and all its rites so that God may be glorified, His people grow in love and mercy and His people – us – be saved. 

Latin Mass Text: comparing the Novus Ordo with the Traditional Latin Mass text

The call by some Lutherans to restore Latin to the Lutheran liturgy reminded us of the request we often encounter: what exactly is the text of the Novus Ordo in Latin when compared to the Traditional Latin Mass.

To that end, we suggest a visit here for a comparison between the texts of the Novus Ordo and the Traditional Latin Mass.

This comparison reminds us that the production of the Novus Ordo was not a mere translation of the old Mass into the vernacular. The text was a re-writing of the Mass.

You will note the Novus Ordo translation is the ICEL version.

Restore Latin to the Mass. The Lutheran mass, that is.

Really, who would have thought it.

Perhaps, just perhaps, these guys are on to something in this piece on the restoration of Latin to the liturgy of Lutherans.  

If we take every reference to "Lutheran" and substitute for it "Catholic"...

Via The Chant Cafe, we have this news of even more efforts to inculturate the singing of the propers:

An Experiment in Sacred Music Resource Production: Let’s Lay an Egg!


Posted on September 7, 2010 by Adam Bartlett

The following article was first posted at the Chant Cafe blog, and will appear in a forthcoming issue of the journal ‘Sacred Music‘, published by the Church Music Association of America.

If you haven’t yet read Msgr. Andrew Wadsorth’s recent address on sacred music entitled “Towards the Future: Singing the Mass”, you must. The statements made here by the Executive Director of ICEL are full of unrealized potential that could change the world of Catholic liturgical music as we know it.

In this essay I would like to shine a light on some of that potential and to invite you to help make it a reality; perhaps our combined efforts can help change the landscape of Catholic liturgical music publishing as we know it.

Among the items in Wadsworth’s talk was a call to church musicians to sing the liturgical texts that are proper to the Mass, namely the proper processional antiphons which contain a portion of the substantial unity of the Roman Rite, a “textual unity”, as he puts it. In assessing our current state of affairs, where there is virtually no singing of these proper antiphons, he reveals the existence of a very interesting and starkly contrasting state of affairs:

On the one hand, we have the familiar commercial publishers, about whom Wadsworth states that “…musical repertoire has for practical purposes largely been controlled by the publishers of liturgical music… this is unavoidable, for a whole variety of pragmatic reasons…”

He also says that “This is something of a ‘chicken and egg’ situation. Praxis has governed the development of our resources of liturgical music and for the most part, composers and publishers have neglected the provision or adaptation of musical settings of these proper texts.”

In sharp contrast, Msgr. Wadsworth notes that “a brief trawl of the internet produces a surprisingly wide variety of styles of settings of the proper texts which range from simple chants that can be sung without accompaniment to choral settings for mixed voices.”

How interesting is this dichotomy? Did you catch it?

On the one hand we have the major commercial liturgical music publishers who have “neglected the provision or adaptation of musical settings of [the] proper texts” because of a “chicken and egg” situation, and who control the music repertoire in Catholic parishes for “unavoidable” and “practical reasons”. In other words, parish musicians sing what the publishers publish, and in turn publishers print and distribute what seems to be wanted in parishes.

And on the other hand we have “a surprisingly wide variety of styles of settings of the proper texts” that are made available by “a brief trawl of the internet”.

To put it more directly: On the one hand we seem to have an “unavoidable” situation where the distribution of liturgical music resources necessarily depends on the vision of large corporations and the whims of the commercial market, regulated by purchase and sale and other external factors, while on the other hand we have a 21st century technology in the internet that has enabled the wide distribution and promotion of old and new musical settings of the propers, and that has completely sidestepped–has not been subject to–these seemingly “unavoidable” forces that shackle the commercial publishing industry.

This dichotomy between two different means of creation and distribution of liturgical music resources represents a paradigm shifting phenomenon that is happening now in the Church and in the world. At one time the distribution of music resources depended solely on the resources of the old information economy: the production and processing of paper, the speed and volume of the printing press, the sale of paper, and the post office. These are all technologies that are generally between 200 and 500 years old.

It is around this model that our systems of copyright, intellectual property, licensing, commercial distribution, etc. evolved. Large quantities of paper and high-volume printing presses are scarce and specialized goods that can be acquired, operated, and maintained only at a considerable cost; the publishers must buy the paper, must hire production staff, they must buy printing presses, paper cutters, pay for shipment costs, pay the electric bills, and on and on. The cost for the production of printed sheet music is quite high. It goes without saying that this paper must be sold to consumers in order for publishers to cover their production costs and in order to build and sustain a successful business. This doesn’t even get into the effort that is required to expand and protect markets; the commercial publisher’s existence depends on this activity.

But we are seeing a new phenomenon today. A single individual who has a laptop can produce musical scores in his spare time using free software, from his sofa in his living room, and post it freely on a website that he accesses or even owns and manages for free. The situation that this person finds himself in allows him to assess the needs of the Church without any influencing factors such as commercial considerations, the whims of the financial market, client base, or anything. This person, in his spare time, as an activity of leisure, can produce musical resources, without the bias of any imposing influence, and instantly “publish” it freely on the internet and make it available and accessible to a virtually global market, all with absolutely no cost or risk whatsoever.

There was perhaps a time where such DIY activity didn’t hold much stock in the “real world” of liturgical music distribution, but, the real world is sitting up and taking notice now. In fact, the Executive Director of ICEL has taken notice and has called prominent public attention to the fact that the best place to find settings of the proper antiphons of the Mass–musical settings of texts that form a part of the substantial unity of the Roman Rite–is the open, free, common-source marketplace of the internet, in the forum of the self-publisher who can produce resources that the Church is asking for without having to play any “chicken and egg” games, or without having to be subject to the demands of the commercial market.

How extraordinary is this? The CMAA should be proud and people like Jeffrey Tucker, and many others who have contributed to this work should be thanked profusely for their tireless efforts in making musical settings of the texts of the Roman Rite freely available to the world.[HEAR! HEAR!]  Who knows–if these resources had not been developed and had not been made available online in the past few years would we be eternally resigned to the cycle of destruction that is found in the world of Catholic music publishing? Would we be suppressed by the “unavoidable” and “practical reasons” that have kept Catholics from having available to them a variety of musical settings of the texts of the Mass? Would there be no hope that things could improve and that we could some day finally arrive at Vatican II’s vision of a sung liturgy?

The good news is that the pioneers have charted a new and exciting path in these past few years and because of this the world of Catholic liturgical music will never be the same.

I think that it is time to raise the stakes. I would like to invite you, any and all of you, to participate in an experiment in the production of Catholic liturgical music resources.

As Catholics we have long understood the axiom “the whole is greater than the sum of its parts”. We hear this in the First Letter of Paul to the Corinthians: “Now the body is not a single part, but many. If a foot should say, ‘Because I am not a hand I do not belong to the body,’ it does not for this reason belong any less to the body. Or if an ear should say, ‘Because I am not an eye I do not belong to the body,’ it does not for this reason belong any less to the body.” (1Cor 12: 14-16) What good is a foot alone? Or a hand? Or an ear? Alone these parts of the body can do very little, but when acting as a part of the whole body, the potential is infinite.

Many of us musicians have made small contributions to the world of online liturgical music resources, while for many of us our efforts have remained locked within the walls of our isolated community, or left sitting on our hard drives. Largely the online publishing effort has been the enterprise of a handful of driven individuals who have assembled very nice projects according to their individual gifts of time and talent. Many of these projects have been limited, though, in scope perhaps because of needed skills, knowledge, and of course time. Many of these projects have still found great success, but they would be more successful if more skills or manpower were available. I believe that if the many gifts that are found in the sacred music community were shared, though, working together as one body, the result would be as good, if not better than that which the commercial publishers offer.

I would like to invite you, even if you don’t feel that you have much to give, even if your contribution is small, to participate in this experiment. This will be an organized effort, the author of this essay is the acting organizer, and the source for community collaboration is the worldwide web. (For more information, or to join in the effort please contact us).

The project is being called “Toward the Singing of Propers” and an immediate result might end up in a book of simple English antiphons and psalms for use in average parish settings by average parish musicians. Another result will be an open database of liturgical texts and source material for the development of future and various projects that deal with the propers. The fruits of everyone’s labor will remain in the Creative Commons and in the open forum so that others can benefit from your work as they take on similar projects of their own.

What help do we need? Well, the first task is to organize a database of all of the liturgical texts. This involves the data input of a complete set of antiphon translations, and also of the Latin antiphons for proper and simple textual comparison. All of the metadata for these texts needs to be entered and organized: biblical text source, incipit name, mode, psalm verse designations. Psalm verses for the antiphons have to be assembled and notated in the database. The psalm verses themselves need to be extracted and arranged in the database. Various editions of the psalms need to be compiled and prepared for liturgical singing. We need people to help typeset musical antiphons. We need proof readers, both textual and musical. There are many things to be done and surely many further needs that will arise as the project progresses and develops.

The great thing about “open source” projects is that anyone can contribute to them with whatever time they have to give. I find it absolutely amazing that a computer operating system like Linux (a community developed and completely open source software) can rival the best commercial operating systems that money can buy. I have no doubt that an organized effort around sacred music resources can produce the same result.

I believe that in Msgr. Wadsworth’s address we have been commissioned to return the antiphonal propers back to their rightful place in Catholic liturgy and to work outside the conventional confines in order to do so.

We are able to give freely of ourselves, of our gifts, of our time, to the Church because Christ first gave of himself to us, and He continues to pour out the gift of himself freely to us in every single Eucharistic liturgy. Everything that happens in the liturgy is a response to Christ’s sacrifice of himself to the Father in the Holy Spirit. Our only able response as Catholics after receiving this gift is to make a gift of ourselves back to God in our worship and in the making of our own lives a sacrifice.

It is because of this eternal gift that we receive in the liturgy that we “live and move and have our being.” (Acts 17: 28) It is in response to this gift that we are able to give freely of our time and our gifts for the glory of God, the sanctification of the faithful, and for the good of the Church.

I hope that you will participate in this experiment in liturgical music resource production. Your contribution may seem small, but when united with others working toward a common goal your impact will be great. Future generations of Catholics may thank you.

Adam Bartlett holds a BA Music, Arizona State University, MA Liturgy (in progress) Liturgical Institute of St. Mary of the Lake University, Mundelein, IL, is Director of Music and Liturgy, St. Joan of Arc Catholic Church in Phoenix, AZ, is the founder of ‘sacredmusicproject.com’, and a blogger at ‘chantcafe.com’

The Extraordinary Form of the Roman Rite and the Ordinary Form of the Roman Rite, in continuity with Tradition: not difficult after all.

If it can be done in a field...

Photo and the following, courtesy New Liturgical Movement:

Some of our readers in Michigan were inspired by the pilgrimage of Chartres and determined one year ago to start up their own small pilgrimage. We reported on this last year, and this year, they have continued their efforts with the "Pilgrimage for Christian Culture". The walking pilgrimage, which took place from August 13th to 14th, left from Camp De Sales, Brooklyn, Michigan and proceeded to Queen of the Miraculous Medal Parish, Jackson, Michigan -- 27 miles in total.

Liturgically, I would note that this pilgrimage includes Masses in both forms of the Roman liturgy -- a very "Benedictine" pursuit indeed -- as well as the Divine Office (chanted according to the Mundelein Psalter).

The organizers report:

We believe that ordinary lay Catholics can and should work together to transform our culture.

On Friday, August 13th, following a Mass celebrated by Fr. Mathias Thelen in the Sacred Heart Chapel at Camp De Sales in Brooklyn, MI, a group of young adults received the pilgrimage blessing from him and set out on a 27-mile pilgrimage route to Queen of the Miraculous Medal, Jackson. The pilgrims sang, prayed for Christian Culture and greeted onlookers as they traveled the pilgrim road.

In the course of the two days of the pilgrimage, a total of 31 young adults from around the state joined in the walk or (actually) participated in the pilgrimage's liturgies, which also included the sung Liturgy of the Hours (chanted according to the tones in The Mundelein Psalter), an Extraordinary Form Mass celebrated by Fr. Paul Ward, the chaplain of the Trailblazers WYD pilgrimage group out of the Archdiocese of Detroit, and the Vigil Mass of the Assumption at Queen of the Miraculous Medal, celebrated by Fr. Tim MacDonald. 8 of the pilgrims came from St. Thomas parish, the home of Generation Christ; 7 came from other Ann Arbor parishes; 8 from the Archdiocese of Detroit; and the rest from Saginaw, Lansing, Flint and the greater Jackson area.

The focus of the pilgrimage was Christian Culture - praying that God would inspire the pilgrims as to how they might best win the culture for Christ as well as making concrete efforts towards cultural contributions (in the form of the sung Liturgy of the Hours) and intercultural understanding (in the form of learning and praying the Rosary in Latin and Spanish, in addition to English).

The Myths of Church Music: an article from America

Courtesy of New Liturgical Movement, here is an American article by Father Christopher Smith published April 23, 2009, The Catholic Miscellany, entitled: "What are the Eight Myths About Church Music?: Dispelling eight myths about church music".  We reproduce it in whole (with our emphases):

Myth 1. When it comes to music, there's no debating taste

Many people think that the choice of music for Mass is just up to the pastor and his musicians. Some parishes have more traditional music, others more contemporary. Many parishes have a little bit of everything under the sun.

Most Catholics know that there are laws which govern church structure and worship, but many are not aware that the popes often have set down rules for what music is admissible in church worship.

In 1967 the Vatican issued Musicam Sacram as the musical legislation binding in the Catholic Church since the Second Vatican Council.

Music for the Mass is not arbitrary. Certain texts are designed by their very nature to be sung, such as the Alleluia. Others, although they may be recited, lend themselves to congregational or choral singing, such as the responses and the ordinary texts of the Mass like the gloria.

The church does not issue blacklists stating that certain songs are prohibited, but she does offer general principles in her liturgical documents. While the treasury of sacred music is broad indeed, what is sung at Mass must be consistent not with the tastes of liturgy planners, but with the celebration itself. Bishops and pastors may rule that certain selections are inappropriate based on their content, associations, or irrelevance. Music at Mass is not based on what we like, but on what is appropriate for the celebration.

Myth 2. Music at Mass is just a nice addition; it's not like it's necessary or anything.

Vatican II’s Constitution on the Sacred Liturgy calls sacred music an integral part of the liturgy. It is not an embellishment unrelated to the rites. The verb “to sing” is one of the most frequently used words in the Bible. Christian liturgy in ancient times was always sung.

In the Eastern Churches today the entire eucharistic liturgy is sung. “Saying” Mass became popular around the Middle Ages when private Masses multiplied, such that a distinction was made even ceremonially between a Low Mass with no music or hymns and a Sung Mass where the actual texts of the Mass were set to music.

Vatican II provides for the principle of progressive solemnity. Depending on various situations, more or less of the Mass may be accompanied by music. A cathedral on Easter Sunday should be different than a private Mass on a weekday. But the church’s preference is always for sung liturgy. He who sings prays twice [He who sings WELL, actually], said St. Augustine, and the church’s prayer has inspired some of the most beautiful art and music in history.
Myth 3. Choirs are only there to support congregational singing.

In the early church, the faithful sang much of the Mass. There were, however, certain melodies and texts that developed over time that some found difficult to sing.
Choirs, or scholae cantorum, were developed with trained singers who not only supported congregational singing, but also performed some pieces on their own. Europe saw the development of famous choir schools and Catholic education has always included the teaching of music in its curricula. The advent of part-singing made choirs even more necessary to the Mass.
Choirs can be beneficial in leading the faithful in song, but they also can have their own role apart from the congregation. Active participation does not mean that everyone has to do the same things at the same time; it implies an interior participation by listening and contemplation as much as engaging in following the Mass and observing ritual gestures.

Paid professional cantors and choirs have been a part of the Catholic musical tradition for many centuries and continue to inspire Christians in their worship beyond what is accessible to the ordinary pew-singer. Vatican II explicitly urges the development of such choirs and musical education in schools.

Myth 4. We are supposed to sing four hymns at Mass.

Catholics in the United States have become used to singing a hymn at the entrance, at the offertory, during Communion and at the recessional at Sunday Mass. This “four-hymn sandwich” actually harkens back to pre-Vatican II days in which congregations who could not pull off Latin music were allowed to sing English hymns at Low Masses.

When English was allowed in the Mass and the rite of Mass changed, many parishes continued this practice, albeit often with different music. While hymns are allowed at Mass, they are not actually what the church asks for during those times.

The missal, the large book from which the priest reads the prayers at Mass, provides short scriptural sentences called antiphons for the entrance and communion. In the church’s legislation on sacred music, these antiphons have pride of place for singing in the Mass. The antiphons are intimately connected with the other prayers of each Sunday’s Mass. The church allows for substitutions with other appropriate songs, but they should be modeled in character after those antiphons.

Hymns are not a part of the Roman eucharistic liturgy; they belong more properly to the Liturgy of the Hours. The church prefers the antiphons drawn from the Bible to hymns composed by people.

Myth 5. Vatican II abolished Latin in the Mass.

Vatican II’s Constitution on the Sacred Liturgy states, “The use of the Latin language is to be preserved.” The council fathers commanded the use of Latin while allowing for some use of the vernacular.

The same document also calls for the faithful to be able to sing parts of the Mass together in Latin. Latin gives the church a universal language.

In an increasingly mobile culture of globalization, Catholics able to follow the Mass in Latin and in their own tongue can actively participate in their church anywhere in the world. The use of Latin also frees us from being too narrow-minded and too centered on our own nation or culture; it connects us with our history and paves the way for our future.

The point of Latin [one of: along with its own sacrality and beauty, which many, including Pope Paul VI recognised explicity whilst introducing the Novus Ordo] is not to make the rites impossible to understand; it is to make real the universality of the church.

One can often see people at international Masses who can all make the Latin responses and sing some things together in Latin. A powerful experience of the church’s unity is when we all sing with one voice the same words that Catholics have always sung at Mass.

Myth 6. The church does not have her own hymnal.

The Graduale Romanum is the official hymnal for the Roman rite. It contains Latin chants for the entrance, the Psalm and Gospel acclamation, the offertory and Communion, which are collectively called the Propers of the Mass, for every Mass of the year.

They also provide Latin chants for Lord have mercy, glory to God, the creed, holy holy holy and Lamb of God, collectively called the Ordinary of the Mass. Music at Mass should always refer to these texts.

What is called Gregorian chant is the music proper to the Roman rite and is the church’s own composition. Much of the music sung since ancient times was gathered by Pope St. Gregory the Great in the sixth century, and the church has amplified the texts from time to time.
The monks of Solesmes have done several critical editions of this hymnal, including one which can be used for the reformed liturgy. Pastors and musicians may provide for other music at Mass, and even develop other hymnals, but Gregorian chant has, as Vatican II tells us, pride of place in the liturgy. The Graduale Romanum is an indispensable tool for the church musician.

Myth 7. Chant is too hard for people today to sing.

There are two principal obstacles to chant today. Many people are no longer fluent enough in Latin to understand or even pronounce it properly, and even most musicians are unfamiliar with its notation.

Just as it takes practice and education to play an instrument well, it takes time and patience to learn the language and the markings of chant. There are resources for musicians to learn the chant properly, and teaching choirs and congregations chant may take time, but it will yield amazing results.

Many people sing things that are actually more difficult. Consistent effort will break down barriers and open up new possibilities for people to sing.

When Msgr. Martin Hellriegel became pastor of Holy Cross in St. Louis in the 1950s, nobody in his parish had ever heard chant. He started teaching the school children, and the adults were inspired to learn. Within a few years, his people knew several chant Masses and could sing out of the church’s official hymnal, the Graduale Roman­um.

Dedication and perseverance gave the people confidence that they could sing Gregorian chant and many people today still know from memory the music they learned in the parish.

Myth 8. Music is supposed to make me feel good at Mass.[This is the biggie]

Music, especially at Mass, can be very powerful. The point of sacred music, though, is not to make us feel good. Sacred music accompanies the church’s rites to bring us beyond our own emotions and experiences to a transcendent experience of the divine.

The haunting beauty of the church’s traditional funeral music, for example, stresses the mystery of death and the hope of the resurrection. It is far superior to singing a loved one’s favorite radio tune as a memorial.

Because the Mass is an unbloody re-presentation of the one sacrifice of Calvary, music which is theatrical and which inspires us to the worldly or to the irreligious is inappropriate to the dignity of the liturgy.
The solemnity of the church’s music need not be boring or saddening, however. Sacred music can be a powerful tool in helping us see beyond ourselves to heaven.

All liturgy is essentially a revelation of God to us. If the music at Mass reveals more about what we like and what makes us happy, it is doing us a disservice. If it brings us to true prayer and helps us contemplate the beauty of God’s holiness and love, it can reveal God to us in amazing ways.

Father Smith is the parochial vicar at St. Francis by the Sea Church on Hilton Head Island and a member of the Church Music Association of America. He has directed chant scholas both in Italy and the United States.

Article by
Father Christopher Smith
Published April 23, 2009, The Catholic Miscellany, Used with Permission, June 1, 2009

The Nativity of Our Lord - Solemn Proclamation - sing it at Christmas Mass

The New Liturgical Movement have posted a revised English version [http://www.newliturgicalmovement.org/2009/12/christmas-proclamation-better-english.html] of the Christmas Proclamation, and commenters have posted a link to the more simple version prepared by the great Father Samuel Weber.[http://www.archstl.org/worship/images/stories/sacred_music/christmas/xmas_vig_proc.pdf]

 

Laetabundus - the Christmas Sequence

Courtesy of Richard Rice and New Liturgical Movement - chant the Christmas Sequence: Laetabundus

Pope Benedict XVI chooses to celebrate Mass Ad Orientem (on a freestanding altar)

In another example to the whole Church, the Holy Father has recently chosen to celebrate Mass (in the Ordinary Form) ad orientem in the Pauline Chapel of the Apostolic Palace.  Importantly, in the newly restored Chapel the altar is detached from the wall - is free-standing - allowing for Mass to be celebrated facing the people or facing liturgical East.  Accordingly, the Holy Father's choice is significant.

See New Liturgical Movement for more.

Credo VII? Yep, it's new to us too, but here it is. Sing it.

How to do the Offertory Chants?

This is one way: the more complicated, but authentic.

This exceedingly rare book appeared in 1935 to provide the complete offertory verses for the Offertory chant in the Roman Rite of Mass.

Note that these are not Psalm tones but thoroughly composed chants that add a beautiful dimension to the chant at this point in Mass.

It is a much-valued addition to the CMAA's liturgical library, applicable to the Ordinary and Extraordinary forms.

Buy it here and/or download it for free from here [http://musicasacra.com/books/offertoriale1935.pdf]

Promoting Reverence, the Sacred and Beauty in Catholic Liturgy

Masses are celebrated on the last Sunday of each month.

Next Mass: The fourth of these monthly Masses will be celebrated on Sunday, 24 June 2007 at 6pm.

Solemn Mass in the Modern Roman Rite (Novus Ordo) “ad orientem”, in Latin with Gregorian Chant at St Brigid's Catholic Church, Fitzroy North, Victoria.

What: A new initiative has been launched to offer Mass celebrated in a way that more closely follows the teachings of the Second Vatican Council in its document Sacrosanctum Concilium.

Solemn Mass in the Modern Roman Rite (the Novus Ordo) will be celebrated in Latin, with Gregorian chant and in an "ad orientem" posture for the Liturgy of the Eucharist: where Priest and Congregation together face liturgical east toward the Tabernacle.

Why: Many people think that the Second Vatican Council mandated the removal of Latin and Gregorian chant in the Mass and required the Priest to face the people when saying Mass. However, the Second Vatican Council's Constitution on the Sacred Liturgy (Sacrosanctum Concilium) mandated none of these things. It actually required that Latin and Gregorian Chant remain an essential part of the Mass and envisaged no change to the venerable tradition of the Priest and Congregation together facing the Tabernacle (“Liturgical East” or "ad orientem").

This initiative of the Parish of St Brigid’s in conjunction with the Glorificamus Society seeks to answer the call of Cardinal Ratzinger, now His Holiness Pope Benedict XVI, for a return to a greater sense of reverence, mystery, beauty and sacredness in the celebration of Holy Mass, by recovering these traditions of Latin, Gregorian chant and ad orientem posture.

When: The first of these monthly Solemn Masses was offered on Sunday, 25 March 2007 at 6pm. The fourth Mass will be celebrated on Sunday, 24 June 2007 at 6pm.

Where: St Brigid's Catholic Church, 378 Nicholson Street, Fitzroy North (Melways Map 2C Ref A4). All are most welcome to attend.

Mass booklets with full Latin/English translations will be available for those without their own Novus Ordo missals.

For more information: This initiative is supported by the Glorificamus Society for the renewal of Catholic Liturgy. Contact us at glorificamus@gmail.com for more information. You can keep up to date with Mass times and this initiative on this website.

You are invited to let as many people as you can know about this initiaive. We look forward to welcoming you, your family and friends to these Masses.