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Views from the Choir Loft

A priest who sings both energizes the liturgy and fosters interior prayer.

Richard J. Clark · April 4, 2014

RIESTS AND DEACONS who sing energize the liturgy deeply in two ways: 1 • They encourage external participation, which fosters unity. 2 • Their singing cultivates interior prayer. While the latter is often acknowledged for its elevation of solemnity (hence the Principle of Progressive Solemnity) the former is often overlooked.

I thought some happy and modern music is the best way to energize the crowd? Well, that is the quick and easy way to do it. (Yes, there are excellent modern works that are energetic and sacred.) But does the music in question plant lasting roots? Energizing the “crowd” – wait – I mean the congregation – the faithful who are assembled to celebrate the sacred mysteries – can be done in such a way that leads us to the true living water and not to a “quick buzz” in which we will be thirsty again.

Today I will share with you two stories, both born out of an awkward juxtaposition of inappropriate surroundings but thankfully edified by the grace of God!

STORY 1:

WAS PRIVILEGED TO HEAR Maestro David Hughes tell a story about directing his children’s schola at World Youth Day in Madrid in 2011. (Those of you who know Mr. Hughes know that his musical brilliance is matched by his extraordinary wit.) He struck the truth regarding proper time and place and the intuitive sense of mystery and awe possessed by the youth of the world.

Mr. Hughes described a stadium of fifteen thousand of people listening to “house” music pumped in at decibels louder than O’Hare International Airport. The Great Schola Master began to demonstrate one of the selections by rapping (with appropriate hand motions) “THERE’S NO PARTY LIKE A CATHOLIC PARTY, ‘CAUSE A CATHOLIC PARTY HAPPENS ALL THE TIME…” You haven’t truly lived until you’ve heard David Hughes do rap and hip hop.

*(Addendum from David Hughes: “I think the urtext of the rap in question is: ‘Ain’t no party like a Catholic party, ’cause a Catholic party don’t stop. {grunt}’ which would be more palatably rendered: ‘There is no party like unto a Catholic party, because the aforementioned is boundless with respect to time and space. {polite clearing of throat}’” )

But….once the mass began, the children began singing the Gregorian Introit, and fifteen thousand young people immediately stilled to complete silence while the English and Latin texts lit up the JumboTron. Silence was not submission, but an energy and aura of entering the loving embrace of Christ’s love in the Eucharist – the Sacred Mysteries.

STORY 2:

OME OF YOU KNOW my wife recently had a baby and we are deeply blessed with our third child. Needless to say, things are a bit hectic around our household. Furthermore, between Boston College and St. Cecilia Parish, I am responsible for about a dozen or more sung liturgies per week.

So, Monday is usually a relatively slow day. I was moving furniture and painting a desk for my oldest daughter. As my schedule became rather compressed, I had little time to clean up before a noon mass at Boston College. I think there was paint in my hair. I know there was on my pants. I was a mess. No big deal, I can hide most of my appearance in the back and Fr. Cyril Opeil, a physics professor who studies “condensed-matter experimental physics, single crystal uranium, martensite alloys, ferroelectric materials and thermoelectrics” according to his website, would not be too worried about a slightly disheveled organist. What could possibly go wrong?

So as I walked in, who was the celebrant? Apparently, the good Jesuits at this veritable institution of higher learning neglected to tell me something. It was none other than my co-blogger, Andrew Motyka’s boss Archbishop Joseph William Tobin C.Ss.R of Indianapolis. He had been invited by Boston College to speak on “Church as Communion” as part of BC’s “Our Episcopal Visitor” series.

WAS MORTIFIED because I had to confer with him in the sacristy on a few liturgical items. I learned quickly he is a wonderful proponent of sacred music. He asked if I would be attending the Sacred Music Colloquium Andrew Motyka was hosting in Indianapolis. Then we spoke of Andrew’s creative brilliance, and we had a good laugh over the paint in my hair. There was no danger of me making a good first impression. He can tell you the truth of my appearance. I did not lead by example that day.

Then the simple Monday mass of the Third Week in Lent began with the sung sign of the cross. It continued with other sung dialogues. Whether with his deep baritone voice or his gentler head voice, the bishop’s singing clearly energized the mass. His singing rubbed off on everyone. The psalms and hymns were sung with greater robustness. Everyone certainly felt the energy in this liturgy without and within. Furthermore, Bishop Tobin clearly knew his ICEL chants, which the congregation also sang very well. Everyone left understanding, consciously or not, the value of singing the mass as opposed to simply singing their favorite songs at mass.

And what is this “value”? Is it correctness? Arrogance? Piety? The people gathered that day will tell you it was energizing, unifying, holy, and reverent. The simple act of singing the mass accomplished two things I mention above:

1 • External participation, which fostered unity.
2 • Heightened interior prayer.

Especially now as we continue through Lent, we need to look at our interior prayer life to see where we can become better people. In addition, we need the support of our brothers and sisters – and God – to do it.

For your study and enjoyment, here are recordings and practice videos of the St. Cecilia Office of Divine Worship Schola singing the ICEL Chants at St. Cecilia Church in Boston. This also includes Fr. Gaspar singing the priest’s parts of the recording the ICEL Chants as well as the Exsultet.

Fr. Jonathan Gaspar is also the Director of the Office of Divine Worship for the Archdiocese of Boston. Additionally, he is an organist, singer, and a great advocate of Gregorian Chant. In 2011, he formed the Office of Divine Worship Saint Cecilia Schola in which we collaborated on recording the ICEL Chants of the Roman Missal, Third Edition. Listen and watch here to Fr. Gaspar’s practice video of the Easter Proclamation.

(Photo courtesy of PilotCatholicNews.com)

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

Filed Under: Articles Tagged With: ICEL Chants, Singing the Mass Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

In the place of liturgy as the fruit of development came fabricated liturgy. We abandoned the organic, living process of growth and development over centuries, and replaced it—as in a manufacturing process—with a fabrication, a banal on-the-spot product.

— ‘Pope Benedict XVI, describing the postconciliar liturgical reforms’

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