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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

I am not worthy

Andrew R. Motyka · January 30, 2013

E’VE ALL HAD THAT MASS: the one that gets away from us, the one that trainwrecks so badly that we’re embarassed that we were the ones in charge of the music. Sure, it probably wasn’t as bad as it seems in our minds, but it sure feels like it was. It happens to every single one of us from time to time. Since I am new in my current position, I hope it doesn’t happen more frequently.

This one just happened to me last week. Our Cathedral was holding a penitential Mass marking the anniversary of Roe v. Wade. I met with the pro-life liaison of the archdiocese, and we in the Office of Worship hammered out a simple liturgy that would work well for the day. The archdiocese celebrates this Mass annually on the same day as the March for Life in Washington, DC, so this year we had to push it back to last Friday. Everything was organized well. We didn’t have a choir; it was just a cantor and me playing the organ. All of the forms were filled out and sent to the Archbishop’s office, all the worship aids were made, and all of our rehearsing was completed.

Then it happened. Right after the Penitential Act was proclaimed by the deacon, there was a great big pause. There I was, up in the loft, thinking, “Oh, some poor server is dropping the ball here. He should be bringing the Missal to the Archbishop for the Collect. Where is he?” Then the Archbishop started reciting the Gloria. I looked around, panicked. I didn’t have a setting of the Gloria up in the loft, and what in the world was he doing reciting the Gloria on a Friday in Ordinary Time, at a Mass of penance?

That certainty lasted until the First Reading, which was not the same as the reading we had put in the worship aid. It was Saul’s conversion on the way to Damascus. It’s not the reading we had chosen from previous years, but it seems like a pretty good oh no, today is the Feast of the Conversion of St. Paul! There really should have been a Gloria!

The rest of the Mass was pretty much like that. We got through it, but an error like that (everyone stumbling through a recited Gloria that they do not really know yet, and the text isn’t in the worship aid), can set the tone for an entire liturgy. When we wrapped up the recessional hymn, I was considering just skipping my prepared postlude, because who was I kidding? I knew how embarrassing that was, and I really just wanted to go hide in the stairwell until the cathedral was empty.

This is the part where I’m supposed to talk about what an edifying experience the Mass was anyway, how Jesus was still re-presented in His sacrifice on the altar. This is where we all remember how miraculous the Mass is every time, even when celebrated poorly. He was, and it is, but I am not going to pretend that this was an edifying experience. It was humiliating. The Archbishop, the MC, the woman who works with me in the Office of Worship, and I were probably the only people of a crowd of 700 that knew what had gone wrong, but it was embarrassing nonetheless. I should also mention that, not only am I new to the position, but the Archbishop was also only recently appointed and we’re all trying to make good impressions.

It is key to remember, though, that no amount of preparation, liturgical excellence, or flawless execution could ever actually make us worthy to partake in the Sacrifice of the Mass. We are only made worthy by virtue of our Baptism, and by God’s grace. If that Mass had gone off perfectly, if I had not stumbled through some of the organ parts, if I had actually been prepared to celebrate the proper liturgical day, it would not have made me more worthy to receive Him. All of our efforts to please God are like that of my daughters bringing me flowers picked from the backyard. Sometimes those flowers are ugly, but those dandelions are beautiful to me because they were given to me by my children. God does not need our worship, but it is precious to him because we are precious to him.

This is not to say we shouldn’t try. Of course, we should prepare all we can to make our worship of God the most dignified and excellent offering we have. Remember that the greater dignity we try to present, though, the more jarring the effect when we have egg on our faces, which will happen someday. No matter how much you prepare, at some point something will slip through the cracks, and one day you will have the Trainwreck Mass.

These are the days when liturgy truly is the “work of the people.” More specifically these are the days when liturgy is work. We stagger through it and just hope to reach the finish line without leaving out anything critical. We forget about the Gloria (or at least I do), we put the last piece behind us, and pick up the next as a new offering to God.

And play the darn postlude.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF • “Cantus Mariales” (192 pages)
    Andrea Leal has posted an absolutely pristine scan of CANTUS MARIALES (192 pages) which can be downloaded as a PDF file. To access this treasure, navigate to the frabjous article Andrea posted Monday. The file is being offered completely free of charge. The beginning pages of the book have something not to be missed: viz. a letter from Pope Saint Pius X to Dom Pothier, in which the pope calls Abbat Pothier “a man versed above all others in the science of liturgy, and to whom the cause of Gregorian chant is greatly indebted.”
    —Jeff Ostrowski

Quick Thoughts

    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski
    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski

Random Quote

“As late as 1834, British society had many restrictions on any person not adhering to the Anglican church. For example, Roman Catholics could not attend a university, serve on a city council, be a member of Parliament, serve in the armed forces, or even serve on a jury.”

— Regarding the Church of Henry VIII

Recent Posts

  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)
  • Grotesque Pairing • “Passion Chorale”
  • PDF Download • “Ubi Caritas” (SATB)
  • PDF • “Cantus Mariales” (192 pages)

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