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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

The Real Enemy: Mediocrity

Aurelio Porfiri · March 17, 2015

154 B16 T IS NOT INFREQUENT to read or hear, in church debates, about fights between conservative and progressive Catholics. Especially the last two pontificates—Benedict XVI and Francis—have polarized much of the Catholic world; as if we must select one side or the other to feel part of “society.” Of course liturgy and liturgical music have known similar situations, intensified after Benedict’s promulgation of the Motu Proprio Summorum Pontificum on 7 July 2007. The “liturgical wars” (to use the Anglo-Saxon term) became more and more violent, and the recent 50th anniversary of the first vernacular Mass by Pope Paul VI in the roman church of Ognissanti has once again brought the “liturgical problem” to the forefront.

Our liturgies—are they more effective and spiritually appealing in recent decades? I would say a clear “no.” The liturgy supposes a rite, and the rite assists passage from the DAILY LIFE DIMENSION to another dimension: the dimension of God. Anthropology has said a lot about rites of passage, especially in the studies of Arnold Van Gennep (1873-1957) and Victor Turner (1920-1983). In Italy, Aldo Natale Terrin and Roberto Tagliaferri—taking inspiration from Van Gennep and Turner—have presented to the liturgical community the problem of the rite and the importance of the limen (“threshold”). Having considered all the important contributions brought by these scholars on the topic of liturgy, we come to realize that the real problem is not between progressive and conservative Catholics, but between the attention to the dynamics of the liturgy and mediocrity.

MEDIOCRITY IS THE REAL ENEMY of liturgy and of liturgical music. In every diocese wherein we contribute, we must ask: where is the balance here? On the side of attention to the needs of the rite? Or is everything dominated by mediocrity? But what is mediocrity?

Mediocrity is the “virtue” of those who choose the medius; staying in a sort of limbo between good and evil. I mean, they are not bad…but not even good. They don’t access the limen; they prefer to stay on our side of the limen—a more comfortable position that does not disturb the dull existence they’re leading.

How many liturgies in our dioceses are the result of mediocrities? The causes are legion. For instance, we don’t have the courage to tell people they’re incompetent, so the liturgy pays for our lack of courage. When everyone—without any study or serious analysis of the liturgy and its needs—can decide how the rite should be performed or which songs should be sung you have mediocrity arising as the sun in the east. Experts may be dangerous, too; but you can imagine how dangerous are the ones who talk without any serious consideration of the liturgical discipline.

The situation, then, is dramatic. Some people are using the liturgy not to seek Christ, but for reassurance. They want to be confirmed on their (already accepted) medius state, continuing to use religion as a tool to feel better and avoid looking inside themselves. They refuse to accept that religion—and especially the meeting with Christ—is not a cup of tea every day at 5:00pm 1 but falling from a horse and accepting the blindness of sin and torment of “otherness.” Real liturgy is for daring hearts, not for uninspired mediocrities. If you don’t accept that in order to find yourselves you must lose yourselves, you will simply lose what you think you have found.



NOTES FROM THIS ARTICLE:

1   That is a rite, too, and in some cultures may have a very deep meaning.

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

Filed Under: Articles Tagged With: Reform of the Reform, Renewal of the Renewal Last Updated: January 1, 2020

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About Aurelio Porfiri

Renowned as composer, conductor, theorist, author, pedagogue, and organist, Aurelio Porfiri has served the Church on multiple continents at the highest levels. Born and raised in Italy, he currently serves as Director of Choral Activities and Composer in Residence for Santa Rosa de Lima School (Macao, China).

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President’s Corner

    PDF • “Music List” (Sunday, 11 January)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Baptism of the Lord (SUNDAY, 11 January 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon—to say nothing of the antiphon itself—are breathtaking. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the monumental feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski
    Simplified Accompaniment (Epiphany Hymn)
    About a month ago, I created a simplified keyboard accompaniment for “Come, Thou Long-Expected Jesus”—the famous ADVENT hymn—using a melody called CROSS OF JESUS. It was soon downloaded more than 1,000 times. As of this morning, you can download a simplified keyboard accompaniment for the belovèd Epiphany hymn “Bethlehem! Of noblest cities” (O Sola Magnarum Urbium) by clicking on this link (PDF file). Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult, which explains why choirmasters appreciate these simplified keyboard accompaniments.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

The ratio of voices in modern choirs is usually wrong. Basses should be numerically greatest, then altos, then tenors, then sopranos. One good soprano can carry a high “A” against 30 lower voices.

— Roger Wagner

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