OME CONSIDER the 1980s the ‘darkest’ time for sacred music. On the one hand, the Second Vatican Council had solemnly required that Gregorian Chant be given—under ordinary circumstances—first place (“principem locum”) in liturgical ceremonies while also endorsing sacred polyphony and the pipe organ. But in the 1980s, most parishes in the USA considered all three of those things to be forbidden! The only exceptions were the SANCTUS and AGNUS from the Requiem Mass, which were occasionally tolerated in some parishes.
New Hope • Absolutely nobody in those days could have predicted the Renaissance that would occur in the early 2000s. Consider the following two examples. RICHARD J. CLARK serves as archdiocesan director of music for one of the USA’s oldest and most important dioceses. He is also organist and choirmaster at HOLY CROSS CATHEDRAL, and his young son—who recently sang for the pope—is a virtuoso on the pipe organ. In the following interview, he speaks with DR. MYRNA KEOUGH (more on her in a moment):
Here’s the direct URL link.
Dr. Myrna Keough is mother to five children. She earned two doctorates, and her husband also earned two doctorates. Born in Canada but raised in Germany, Dr. Keough is Associate Professor of Sacred Music and Coordinator of Liturgy at Mount Angel Seminary, a Benedictine seminary in Mount Angel, Oregon. She enjoys sitting on the board of a local Catholic school, raising a family, and serving weekly in the music ministry at two local parishes. She also serves on the board of Oregon Catholic Press (“OCP”).
Conclusion • With people like Dr. Keough and Maestro Clark in high positions, authentic sacred music stands more than a fighting chance. It was dealt a serious blow in the 1970s and 80s, but—in truth—could have said with Sir Andrew Barton:
I am hurt, but I am not slain;
I’ll lay me down and bleed awhile,
And then I’ll rise and fight again.
