ORE THAN TWENTY years ago, something happened that changed my life. An opportunity arose for me to study privately with a wonderful priest who—among other things—had served as director of the PONTIFICAL INSTITUTE OF SACRED MUSIC in Rome. At that time of my life, I had only been outside the Midwest once before (when I visited New York for a few days). I went downstairs and described this opportunity to my father. Without a moment’s hesitation, my father immediately said just one word: “Go!” Moreover, he generously provided all the funds necessary to make this journey.
Obsessive Odyssey • At that time, I had already been obsessed with sacred music since high school, but meeting this priest solidified my “church music vocation.” Now is not the time to describe his influence on my life. Nor is it the time for me to discuss the various “church music heroes” this priest worked with during his career: Flor Peeters (d. 1986), Abbat Urbanus Bomm (d. 1982), Josef Cardinal Ratzinger (d. 2022), Dr. Theodore Marier (d. 2001), Monsignor Francis P. Schmitt (d. 1994), Jean Langlais (d. 1991), Monsignor Johannes Overath (d. 2002), Dr. Karl Gustav Fellerer (d. 1984), Gustaaf Frans Nees (d. 1965), Roger Wagner (d. 1992), Monsignor Higinio Anglés (d. 1969), and so forth. Suffice it to say that over the next twenty years I learned a tremendous amount from this priest, who was admired across the globe for his expertise in linguistics, sacred music, and theology.
‘Creature’ Says No? • I once wrote to this priest, describing something about the Catholic Faith that didn’t make sense to me. I think my precise words were: “Such-and-such doesn’t seem fitting.” His email response was succinct: “In the eyes of the creature?” What he was trying to make clear to me was basically this: “Jeff, Divine Revelation does not depend on what you deem to be fitting, what you deem correct, or how you would have chosen to do things.” If we step back and consider his response, he was spot on. The Catholic Faith does not require each person—no matter his training or background—to “ratify” her holy teachings. We are creatures, God is Creator. Period.
Parallel To Sacred Music • I realize our culture rejects the notion that humans are fallible. As Americans, we’re “bred from birth” to think of ourselves as little gods who already know everything and require no correction. Since the 1960s, this belief has contaminated the general view towards sacred music. All of us have constantly been told that church music must meet the “lowest common denominator” test. We are told that it must require no effort whatsoever. We are told that everyone—irrespective of training—deserves to pass judgement on the music at Mass.
Let’s Be Honest • But does this make sense? Surely not! Most Catholics—if they are honest—instinctively know that a choirmaster should be someone who has studied music. In other words, sensible Catholics will ultimately reject the “lowest common denominator” argument (when push comes to shove). But this will require that we stand up—when certain ideologues are spouting nonsense—and forcefully defend the traditional view. Once upon a time, Americans were taught that hard work is required to master something we value. Our country (and church) must once more adopt this view.
Exceedingly Intricate • Bearing in mind what I have said, it should come as no surprise that I’m fine with singing complicated pieces at the Holy Mass (in moderation). Indeed, this is the musical tradition of the Church. According to Vatican II: “The musical tradition of the universal Church is a treasure of inestimable value” which must be “preserved and fostered with great care.” During this year’s SACRED MUSIC SYMPOSIUM, Mæstro Richard J. Clark, choirmaster of Boston’s Cathedral of the Holy Cross, will conduct a piece by Father Cristóbal de Morales (d. 1553) which is—without question—exceedingly intricate.
Brief Description • This five-voice GLORIA is from Morales’ Missa Ave Maris Stella, published in 1544AD. A few months ago, I posted Part 1 of 2. Today, I release Part 2 of 2. Incredibly, in addition to using the plainsong CANTUS FIRMUS (“Ave maris stella”), Father Morales creates a perfect canon between Alto & Tenor, while simultaneously introducing a billion points of imitation:
M Rehearsal videos for each individual voice await you at #41798.
What’s A Canon? • Even some professional musicians don’t understand what a “canon” is. Two major Catholic publishing companies (which shall remain nameless) sell books containing what they call: easy canons for small choirs. The problem is, what they claim to be “canons” are not canons at all. Perhaps unwittingly, these companies are committing fraud. Real canons follow strict rules—and that’s why a true canon is the hardest composition any composer can attempt. (We had to write some at the conservatory, and it was tricky. They must be written backwards.) If you don’t know what a canon is, please watch this video:
M Direct URL link to video: https://ccwatershed.org/41790/
Conclusion • My colleague, Corrinne May, told me I do a poor job of ending my articles. She said I should include some sort of “conclusion”—and she’s right. Therefore, I will now attempt to summarize what I have said above:
(1) We must eradicate the “lowest common denominator” attitude which has infected the Catholic Church (vis-à-vis music) since the 1960s.
(2) Someone hired to lead the music at Mass should possess expertise; i.e. they should have studied sacred music. This is only natural. It’s nothing to be ashamed of.
(3) Since the purpose of sacred music is “the glory of God and the edification of the faithful,” there’s nothing wrong with singing a piece of music which—taken from the treasury of sacred music, which Vatican II said must be “preserved and fostered with great care”—is complicated or intricate. There is no law which says “anything more difficult than a campfire sing-along tune is forbidden at Mass.” (Indeed, the tradition of the Church is the opposite.) Nor is there any law which says the Sistine Chapel ceiling should be erased and replaced with crayon drawings by someone who’s never studied painting.
(4) It is important to remember that—in spite of what certain foolish people claim—there will never be music at Mass “in which everyone can participate.” The fact is, some people are tone-deaf. [For the record, some people also have disabilities which make it impossible for them to speak, or to sing in tune, or to hear sounds properly.] Perhaps someone will object: “Jeff, how can you say that not everyone can sing at Mass? After all, anyone who’s tone-deaf can grunt along.” But grunting along is not the same as singing. I know this may sound harsh, but it’s time we admit the truth. There is no such thing as “a song everybody can sing.”
(5) The GLORIA we are singing at this year’s Symposium comes from “Missa Ave Maris Stella” by Father Cristóbal de Morales. It is an example of an intricate piece of music. [Indeed, I am not aware of any more complicated piece!] We provided rehearsal videos for each individual voice at #46215 and #41798—but most readers will not click on those links, which makes me sad.
