Views from the Choir Loft

Pope Francis Celebrates Mass “Ad Orientem”

Jeff Ostrowski · November 2, 2013

Pope Francis “ad orientem” EVERAL YEARS AGO, someone did the world a beautiful favor by creating a Facebook “fan” page for Msgr. Guido Marini, who entered the national spotlight when he became Papal M.C. during the pontificate of Benedict XVI. Msgr. Marini is one of the “cooler heads” carefully evaluating the post-Conciliar liturgical reforms and observing that some went beyond what the Council fathers wanted.

Those who follow his FB page were recently shown pictures of Pope Francis offering Mass according to the traditional arrangment: ad orientem (a.k.a. “versus apsidem”). In the past, we’ve spoken about ad orientem many times, for example, here, here, here, and here. (By the way, I very much doubt that Msgr. Marini personally maintains this “fan” page, although he’s probably aware of its existence.)

Pope Francis celebrating in this manner was a bit of a surprise, since members of his generation aren’t usually accustomed to ad orientem. On the other hand, it’s possible that Cardinal Bergoglio was serving on the Congregation for Divine Worship when it issued a famous ruling (25 September 2000) saying Mass should not be offered versus populum (“facing the people”) if a High Altar be present. [Can anyone confirm the dates Cardinal Bergoglio served on that Committee?] I would suggest that, while his ad orientem celebration is encouraging, it does not merit the frenzy observed in certain circles.

Finally, I would like to point out that the correct spelling is ad orientem — not “ad orientam.” This can be a deadly trap, since we have words in English like “orientation” and “orientate.”

About Jeff Ostrowski

A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.

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