Views from the Choir Loft

Church Dedication

Fr. David Friel · November 19, 2011

People dedicate all sorts of things. We dedicate plaques, bricks, car windows, songs, books, performances, etc.

As a Church, too, we dedicate things. Chapels, gardens, vessels, vestments, windows, statues, etc. Today, for instance, we celebrate the Dedication of the Churches of Saints Peter and Paul—two of the most famous, most recognizable basilicas in the world. But what do we celebrate when we celebrate their dedication?

In the Church, every dedication is an invitation. The dedication of a church building is an invitation to God, asking Him to be present in that space. Certainly, God is present in every part of creation. After all, “Where can I go from Your spirit? From Your presence, where can I flee? If I ascend to the heavens, You are there; if I lie down in Sheol, there you are” (Psalm 139:7-8). But God, nevertheless, always appreciates our invitation.

It is a tradition as old as humanity to set aside (that is, to make sacred) certain places. Today’s first reading from the fourth chapter of 1 Maccabees is just one of manifold passages in the Bible in which the dedication of a temple is recounted. Whenever a space is made sacred, God has been invited to dwell there and to manifest Himself. This can be done even in dedicating ourselves—inviting Him to abide in our own “Temple of the Holy Spirit” (1 Cor 6:19).

The most sacred place in the world is the place where man encounters God. May every church building be such a place for us!

About Fr. David Friel

Ordained in 2011, Father Friel served for five years as Parochial Vicar at St. Anselm Parish in Northeast Philly. He is currently a doctoral candidate in liturgical theology at The Catholic University of America in Washington, D.C.

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski