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“What earlier generations held as sacred, remains sacred and great for us too…” Pope Benedict XVI (7 July 2007)

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Views from the Choir Loft

The Heresy of Formlessness

Gwyneth Holston · February 3, 2014


GWYN_Mass

IKE MANY OTHER visual artists I know, I both despise and fear writing. That is why I am ecstatic when I find a writer who articulates what I cannot. Last week I read Martin Mosebach’s book The Heresy of Formlessness (Ignatius 2006). It is a stunning portrayal of the beauty, poetry, and mystery of the Extraordinary Form of the mass. He not only delves into the roots of the Roman liturgy, but also into its fruits in Western civilization. I was won over irrevocably when I read an entire page and a half devoted to my favorite artist, Enguerrand Quarton. It was intriguing to read about the mass from the perspective of an artist rather than from the perspective of a theologian. At one point, Mr. Mosebach examines Oscar Wilde’s notion of Christ being the greatest artist of all – a tantalizing subject on which much could be written.

Why isn’t the beauty of the Extraordinary Form obvious? How is it that there exist so many holy people, educated individuals, and aesthetically sensitive men and women who do not find the traditional mass appealing? After decades of grappling with this question, I am convinced that there is no simple answer.

Anyone who has ever chosen to attend a beautiful liturgy in an ugly church over a meager liturgy in a beautiful church should read this book.

Dr. Peter Kwasniewski has mentioned Mr. Mosebach before in previous posts here and here.

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 Gwyneth Holston

Gwyneth Holston is a sacred artist who works to provide and promote good quality Catholic art. Her website is gwynethholston.com. Read more.

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Quick Thoughts

For the Upcoming Choir Season!

Last week, I posted an SATB choral setting of the SANCTUS in a ‘contemporary’ style. You might want to consider this piece for two reasons: (1) It’s extremely brief; (2) Free rehearsal videos are available for each individual part. The piece is by Father Lhoumeau.

—Jeff Ostrowski
PDF Download • “Sunday Vespers” (22 pages)

When an organist accompanies Vespers, there is no time to think. It’s one thing after another: Bam – Bam – Bam. And that’s what makes Vespers difficult to accompany; there’s hardly even time to check the key signature for each piece! Therefore, although it’s far from perfect, I’m releasing this 22-page booklet:

PDF Download • SUNDAY VESPERS ACCOMPANIMENT

As time goes on, I will explain why I believe this booklet is important, my hopes for it, and why I selected the official edition, directly from the Vesperale Romanum. In spite of its imperfections, creating this (draft) booklet required much more effort than I had anticipated.

—Jeff Ostrowski
11 July 2022 • FEEDBACK

Someone who heard the CCW plainsong recordings with NOH accompaniment says: “For years I have travelled the continents and crossed the oceans of Gregorian chant in search of a composition and interpretation as sublime as this. The text and the melody are interwoven in a game of mirrors with the interpreters, the singer and the instrumentalist, so as to confer delicacy on the jubilation. The organ is soft, humble. This is what we hear from the singer. These artists have come together to produce beauty. In 1903, Pope Pius X, by motu proprio, restored Gregorian chant in the Latin Church. In his words: Sacred music must possess, to an eminent degree, the qualities proper to the liturgy, and notably the sanctity and delicacy of form, whence another characteristic spontaneously results, universality. I stress: the holiness and delicacy of forms result in universality, time and place. That is to say, sometimes the beauty of human hands gently caresses the face of the Eternal.”

—Jeff Ostrowski

Random Quote

“I would hope there is a place [at Mass] for the avant-garde in the same way I think there has to be a place—and we have to be careful with this—a place for Jazz and a place for Evangelical and all of that. […] On theological grounds, I do think we need interaction with the culture at the level of high art or at the level of more commercial pop culture.”

— Fr. Anthony Ruff (22 June 2016)

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