IS WORDS STUNG ME. Twenty years ago, while studying musicology in graduate school, my primary professor invited me to a party. This took place after a lecture by a distinguished professor, who attended the party. I was arguing with a fellow student over where Domenico Scarlatti (d. 1757) was born—specifically, whether he was born in Italy or Spain. The professor inserted himself into our conversation, saying: “You’re both being foolish; all you need to do is go find an encyclopedia and look it up. This is not a hard question.” At that time, his words stung me. Looking back all these years later, he did have a point. I guess it stung me because the professor was basically saying: “Stop being lazy; do something about it.”
Evil Priests (1 of 3) • Sometimes I hear of priests who are assigned to a parish and immediately demolish the choral program. In its place, they institute a program centering on goofy, Broadway-inspired, secular tunes. The musician who informs me of this often declares: “That priest is evil.” I can understand why they would feel that way. After all, the Second Vatican Council solemnly declared: “The Church’s treasury of sacred music [THESAURUS MUSICAE SACRAE] is to be preserved and fostered with great care.” That same document also said: “The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art.” (As someone who loves the Gothic cathedrals, it’s amazing that Vatican II said sacred music was even greater than architecture and painting and sculpture!) Vatican II also said: “In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church’s ceremonies and powerfully lifts up man’s mind to God and to higher things.”
Evil Priests (2 of 3) • So I can understand why a musician would say something like that. How can priests and bishops flagrantly contradict Vatican II, yet claim to be implementing it? In the olden days, Jesuits had such strong obedience that they were said to obey “like a corpse.” One thing that gave the Father Antoine Daniel, S.J., great courage to face martyrdom was the fact that he was there because his superior sent him there. Therefore, his suffering and death were through obedience. Indeed, those who read about the Jesuit martyrs of North America will see one overarching theme in their lives: obedience. The Second Vatican Council said the THESAURUS MUSICAE SACRAE must be “preserved and fostered with great care.” How is it possible that (for example) so many Jesuit priests act as if the THESAURUS MUSICAE SACRAE is to be denigrated, disparaged, and outlawed? Moreover, we see many Jesuits today who openly contradict the holy teachings of the Catholic Church. Why aren’t they reprimanded? I know not. Furthermore, I’ve discovered that it’s unhealthy to dwell on such questions. As Father Robert Skeris said over and over: “In the final analysis, the Christian should have but one sentiment: Lord, do with me what Thou wilt.”
Evil Priests (3 of 3) • Earlier, I spoke of a college professor whose words stung me. I have something to say which (I hope) doesn’t “sting” any readers. On the one hand, I don’t condone disobedience by priests who destroy wonderful sacred music programs. On the other hand, are we certain that we ourselves don’t contribute to this? Think of it this way: if your family were being held hostage by terrorists, you would let nothing stop you from getting them back safely. Do we have that same mentality when it comes to church music? In other words, do we look for ways to eliminate obstacles? Do we use our ingenuity to solve problems as if our life depended on it? Church musicians tend to be very sensitive people—which I totally understand!—but each morning in prayer we should ask God for fortitude. I think you’ll agree that we musicians can sometimes be “our own worst enemy.”
Make Your Point, Jeff! • For example, is the music we perform done well? Or is it sloppy? Do we make sure to include pieces that are bright (“happy”), or does every single piece we sing sound somber and gloomy? I would suggest that a priest would have difficulty destroying a music program filled with vibrant and happy singers who sing bright melodies at the beginning and end of Mass. By the way, I’m sure someone will write me an email accusing me of condemning church music which is more somber (“serious”). But I never said such a thing. I’m just suggesting there can also be some bright (“happy”) tunes in addition to the more solemn or somber music.
Bright And Happy • Our choir is off during the month of July, but we do have a small group of young ladies who sing at some of the Masses (until the full choir returns). Would you like to hear a ‘live’ recording of this little group from last Sunday? Do you agree this is a very bright song?
To access this hymn’s media in the Brébeuf Portal, click here.
Lingua Latina • For choirmasters forbidden to use the vernacular, the Brébeuf Catholic Hymnal also contains the original Latin for the same piece:
A Good One! • I’m quite taken by this piece, which is called “Ach Wie Kurz.” Perhaps one of our readers who speaks German could tell me what that means. My knowledge of German is deplorable. I get confused, because many hymn tunes have multiple names. For example, a very beautiful melody found in the Brébeuf Catholic Hymnal is called “Jesu Leiden Pein Und Tod,” which came—unless I’m very much mistaken—from Bach’s SAINT JOHN PASSION. But other books call that same melody: “Jesu Kreuz Leiden Und Pein.” Furthermore, I have also seen some books which call it: “Er Nahm Alles Wohl in Acht.” I studied German in college and somehow got an “A.” But what little I knew was forgotten long ago, meaning all those titles seem like a bunch of gobbledygook to me. In any event, I love “Ach Wie Kurz” (whatever it means) and when our full choir returns, we will be singing it a lot. We will sing it without the pipe organ—with Soprano, Alto, Tenor, and Bass parts. The Brébeuf Hymnal weds it to several different melodies, including a magnificent translation by Monsignor Knox:
To access this hymn’s media in the Brébeuf Portal, click here.
Singers’ Favorite • I mentioned that our big choir is off during July. Here’s another ‘live’ recording made by the small group of women who sang last Sunday. They love to sing this melody. Do you agree it sounds “bright” or happy?
To access this hymn’s media in the Brébeuf Portal, click here.
Conclusion • My colleague, Corrinne May, told me I don’t do a very good job of ending my articles. Let me, therefore, try to bring things to a satisfactory conclusion. I understand the temptation to think a priest who dismantles a good choral program is “evil.” I wish I knew the answer to why so many priests and bishops ignore the explicit mandates of the second Vatican Ecumenical Council. However, perhaps we should examine ourselves as well. Do our musical programs contain bright and happy pieces, or are they made up entirely of pieces, which are “sad” or “gloomy” or “melancholic” or “somber” or “serious?” Notice that I’m not against somber music. Indeed, you’ll see this for yourself by listening to the live recording (Mp3) of a small group of women singing Gregorian KYRIE II last Sunday.
