Sacred Music, 111.1, Spring 1984; The Journal of the Church Music Association of America

8/14/2019 Sacred Music, 111.1, Spring 1984; The Journal of the Church Music Association of America

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SACRED MUSIC Volume 111, Num ber 1(Spring) 1984anonis fllw


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SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874,a nd Th e Catholic Choirmaster, published by the Society of St. Gregory ofAmerica since 1915. Published quarterly by the Church Music Association ofAmerica. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota55103.Editorial Board: Rev. Msgr. Richard J. Schuler, Editor

Rev. Ralph S. March, S.O. Cist.Rev.John BuchananHarold HughesdonWilliam P. MahrtVirginia A. SchubertCal StepanRev. Richard M. HoganMary Ellen StrappJudy LabonNews: Rev. Msgr. Richard J. Schuler548 Lafond Avenue, Saint Paul, Minnesota 55103

Music for Review: Paul Salam unovich, 10828 Va lley Spring Lane, N. H ollyw ood, Calif. 91602Rev. Ralph S. March, S.O. Cist., Eintrachstrasse 166, D-5000 Koln 1,West Germany

Membership, Circulationand Advertising:

CHURCH MUSICASSOCIATIONOF AMERICAOfficers and Board of DirectorsPresidentVice-PresidentGeneral SecretaryTreasurerDirectors

Paul Manz, 7204 Schey Drive, Edina, Minnesota 55435

548 Lafond Avenue, Saint Paul, Minnesota 55103

Monsignor Richard J. SchulerGerhard TrackVirginia A. SchubertEarl D. HoganMrs . Richard K. BiggsRev. Ralph S. March, S.O. Cist.Mrs . Donald G. VellekWilliam P. MahrtRev. Robert A. SkerisMembership in the CMAA includes a subscription to SACRED MUSIC.Voting membership, $12.50 annually; subscription membership, $10.00annually; student membership, $5.00 annually. Single copies, $3.00. Sendmembership applications and change of address to SACRED MUSIC, 548Lafond Avenue, St. Paul, Minnesota 55103. Make all checks payable toChurch Music Association of America.Second class postage paid at St. Paul, Minnesota.Library of Congress catalog card number: 62-6712/MNSacred Music is indexed in the Catholic Periodical and Literature Index and inMusic index.Front Cove r: Stiftsbibliothek G ottw eig Codex 8(221), f.292vCopyright Church Music Association of America, 1984ISSN: 0036-2255474960


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FROM THE EDITORSWhat We Profess

Sacred Music is a journal dedicated to fostering the liturgy and music of the RomanCa tholic Church in accord w ith the authentic decrees ema na ting from the proper ec-clesiastical authorities.The policy of Sacred Music ca nnot be described by the w ords cons erva tive or liberal.Ra ther it is Catholic Roma n Ca tholic boun d to the directions given by the Chu rch.Nor can it be called traditionalist or progressivist, since it upholds the directives of theSecond Vatican Council ordering that the traditions of the past are to be maintained andfostered at the sa me time that new directions a nd styles a re encouraged. N or is i t com-mitted to the old and not to the new , or the new a nd not the old in music.In primacy of place alw ays w e put the Gregorian cha nt as i t has been ordered by thecouncil and re-issued in the latest Roma n cha nt books . Likew ise, according to the direc-tion of the council, w e value and f oster the polyphonic develop men ts in music throughthe thousand years that the Roman Missa cantata has been the focus of great musicalcomposition, both in the a cappella tradition and w ith organ a nd orchestral accompani-ment. We heartily encourage the singing of our congregations as the council demands,but w e just as energetically prom ote the activities of choirs as the council also o rdered.Finally, as men and w omen of our ow n century, w e w elcome the great privilege ex-tended by the Vatican Council for the use of the vernacular languages in the liturgya longside the Latin, and so w e encoura ge the compos ition of true liturgical music in ourow n da y in both Latin and the vernacular. We s ee no necessary conflict betw een Latinand English, betw een the congregation a nd the choir, betw een new an d old music; therecannot be, since the council has provided for both.

Know ledge of w hat the Church w ishes and has decreed, both in the council and inthe documents that ha ve follow ed its close, is of the utmost imp ortanc e to both com-posers and performers, to musicians and to the clergy. So much of the unhappy state ofliturgy a nd sa cred music in our day has come from a misundersta nding of w ha t theChurch in her authentic documents has ordered. Too much erroneous opinion, pro-paganda and even manipulation have been evident, bringing about a condition far dif- FROM THE EDITORS


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ferent from that intended by the council fathers in their liturgical and musical reforms.Sacred Music w ill continue to publish a nd to repeat the a uthentic w ishes of the Church,since the regulation of the liturgy (and mus ic is an integral pa rt of liturgy) belongs to theHoly See and to the bishops according to their role. No one else, not even a priest, canchange liturgical roles or introduce innovations according to his ow n w hims.But beyond the positive directions of the Church for the proper implementation of

her liturgy, there remains a lw ays the area of a rt w here the competent musician can ex-ercise his trained judgment and express his artistic opinions. While the Church gives usrules pertaining to the liturgical action, the determining of fittingness, style and beautybelongs to the realm of the artist, truly talented, inspired and properly trained.Pope Paul VI ma de a very useful distinction on April 15, 1971, w hen he a ddress ed athous a nd Religious w ho ha d participated in a convention of the Italian Society of Sa intCaecilia in Rome. The Holy Father insisted that only "sacred music may be used inGod's temple, but not all music that might be termed "s a cred" is fitting a nd w orthy ofthat temple. Thus, w hile nothing profane must be brought into the service of theliturgy, just as truly nothing lacking in true art may be used either. (Cf. Sacred Music,Vol. 98 , No. 2, Summer 1971, p. 3-5.)To lea rn the decrees of the Church in ma tters of sa cred music is not sufficient. Educa-tion in a rt w hethe r it be in music, a rchitecture, pa inting or ceremonia l is alsonecessary. For the composer, talent alone is not sufficient; he must also have inspirationrooted in faith and a sound training of his talents. When any one of these qualities ismissing, true art is not forthcoming. So also the performer, in proportion to his role,must possess talent, training and inspiration.A quarterly journal can never attempt to supply these requirements for true musi-cianship. It can only ho pe to direct and encoura ge the church musician w ho mustposses s his talents from his Creator, his training from a good s chool of m usic, a nd his in-spiration in faith from God's grace given him through Catholic living. But throughreading these pages, information on w ha t is being accomplished through out theCatholic w orld, directions from proper a uthorities, new s of books and compositions can

serve as a n aid to all associated w ith the celebration of the sacred liturgy. R.J.S.Music Publishers

T h r e e e l em en t s a r e n ece s s a r y f o r t h e s u cce s s of t h e r e fo r m s in ch u r ch m u s i c en v i s io n -ed b y th e Va t i c a n Co u n c i l . T h e r e m u s t b e co m p o s e r s , p u b l i s h e r s a n d p e r f o r m er s .

I n t h e la s t c en tu r y w h en th e Ca ec il i a n m o v em en t w a s f l o ur i s h in g in t h e Ge r m a n -speak ing coun tr ie s , and a s i t sp read to the Uni ted Sta te s , the succes s o f i t s r e fo rmsdepended to a l a rge degree on the coopera t ion and in i t i a t ive o f the g rea t pub l i sh ingh o u s e s o f E u r o p e a n d th i s co u n t r y . T h e n a m es of He r d e r , Pu s t e t , Sch w a n n , An to nBohm and Scho t t come ea s i ly to mind in Germany , and Benziger , J . F i scher , McLaughl in& Re i ll y , Pu s t e t , He r d e r , Ne m m er s a n d o th e r s w h o w e r e e s t a b l i s h ed in t h e Un i t edS t a t e s . T h e i r s w a s a n a p o s to l a t e , b a s ed o n lo v e o f t h e Ch u r ch a n d a d e s i r e t o f o s t e r g o o dar t and t rue l i tu rgy a s d i rec ted by the Church . Pub l ica t ion o f church mus ic never madea ny one o f them r ich . Th e f ac t w a s th a t mos t of thes e f irms subs id ized the ir ed i t ions o fch u r ch m u s i c w i th m o n ey e a r n ed o n o th e r p u bl i c a t i o n s : c a t e ch i s m s , B ib l es , d ev o t io n a lw o r k s . Bu t i t w a s t h r o u g h s u ch d ed ic a t i o n th a t t h e d ir ec tiv e s of t h e Motu proprio of PopeP ius X w e r e im p lem en ted .

Co m p o s e r s n eed p u b l i s h e r s . Ch o i r s a n d co n g r eg a t io n s n eed p u b l i s h e r s . T h e co n n ec -t i o n b e tw een th e co m p o s e r a n d th e s i ng e r is th e p u bl i s h e r . He m u s t en co u r a g e th e co m -p o s e r b y a ccep t in g hi s w o r k w h en i t is w o r th y . He m u s t s u p p ly th e s i n g e rs w i th

FROM THE EDITORS w ork s but on ly w ha t is w or t hy . So mu ch of the succes s o f the re fo rm s re s t s d irec t ly


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on the publisher. Therein is the element that will control the requirements of theChurch for true liturgical music: it must be sacred and it must be true art.

Unfortunately, since the close of the Second Vatican Council, the quality of the musicpublished in this country has been for the most part incredibly bad, lacking the elementsrequired: sacredness and art. And a great deal of the responsibility for this must restwith the publishers who have allowed these things to be printed and to reach the singersin our congregations and in our choirs. One is tempted to ask the motivation of thepublishers who have promoted the banalities that one can find in any church and inmost choirlofts. One is tempted to ask what kind of profits this activity has made. Oneis tempted to compare the activities of the earlier houses that subsidized the churchmusic reforms with the houses today that seem to use the needs of the Church as ameans for profit.

In an electrical installation there is always a fuse, a point that can serve to promote theflow of power or interrupt it. The publishing house is that fuse. By promoting the good,it can be the means of achieving the required reforms; by pulling the fuse on the presentflood of inferiority and banality, the secular and the unfitting, the junk and the tawdry,a publishing house can connect the worthy composer with the singing Church and bringabout what the council has asked. But it may mean some sacrifice and commitment.R.J.S.

About the PicturesSi tua ted on a hi l l h igh above the va l l e y of the D a n u b e , the A b b e y of G o t t w e i g c o m -

m a n d s a v i e w for mile s over the p l a i n th a t s t r e t c hes t ow a r d Hun ga ry . F rom t hi s l a s t s pu rof the A l p s , one can see for miles f rom the b e a u t i f u l p r o m e n a d e of the m o n a s t e r yt o w a r d the city of Kre m s w h i c h l ie s to the n o r t h on the r ive r .

G o t tw e i g was f o u n d e d by B i s h o p A l t m a n n of P a s s a u in 1083 as an A u g u s t i n i a nm o n a s t e r y and g i ve n to the Benedic t ine s in 1094. It is one of the f i ne s t b a roquebui ld ings in e x i s t e nc e , h a v i ng be e n r e s t o re d a f t e r a f ire in 1718. O n l y a p a r t of theorig ina l de s ign of Luka s von H i l d e b r a n d t was comple ted , inc luding the f a m o u sKaiserstiege or e m p e r o r 's s t a i r w a y , d e c o r a t e d w i t h s t a t u e s , v a s e s and l a n t e rn s . Them o n a s t e r y c h u r c h has a b a r o q u e w e s t f a c a d e w i t h two u n c o m p l e t e d t o w e r s . The choi ris goth ic f rom 14 31 , but a l t e r e d in the s i x t e e n t h c e n t u ry . It is one of the g r e a t a b b e y s ofA u s t r i a , a l a n d w i t h m a n y f a m o u s and a nc i e n t m ona s t e r i e s .

Our p i c t u re s for V o l u m e 111 ha ve be e n s e l e c t e d f rom a c ho i rbook d a t i ng f rom thef i f t eenth century , one of the t r e a s u re s of the l ibra ry at G o t t w e i g . It is a graduate, of the fif-t e e n t h c e n t u ry w i t h the c ha r a c t e r i s t i c Ge rm a n Hufnagelschrift ( s hoe na i l no t a t ion ) , w h i c hca n be identi f ied by the h e a v y s t e m s on the n e u m s r e s e m b l in g the na i l s u sed in m a k i n gs h o e s . The m a n u s c r i p t has m a ny be a u t i f u l i l l um i na t i on s de c o r a t i ng the p a g e s ande spec i a l ly the ini t ia l le t ters of the chant t ex t s . We have se lec ted p ic ture s of the Bles sedV i r g i n M a r y for the c ove r s and c h o s e n a b l u e p a p e r w i t h b lu e ink for th i s i s sue .The Hi l l Mona s t ic Mic ro f i lm Libra ry at S a i n t J ohn ' s Abbe y in Col legevi l le , Min-n e s o t a , has a r r a n g e d for the use of t he s e m a n u s c r i p t i l lum i na t i on s , t a k i ng t he m f rom thegrea t co l lec t ion of f i lms tha t have been made f rom mona s t ic l ibra r ie s in E u r o p e andAf r i c a . Th i s g re a t r e s e a rc h l i b r a ry c on t a i n s t hou s a nd s of m a nus c r i p t s in a va r i e t y off ie lds , including music . For a de s c r i p t i on of the collect ion, see an art ic le by the di rec torof the l ibra ry , Dr. J u li a n P l a n t e , w h i c h was pub l i s he d in Sacred Music (Vol . 105, No. 3,Fa l l 1978, p. 711).

W e are gra te fu l to the A b b e y of G S t tw e i g and to S a i n t J ohn ' s Abbe y and its HillMic ro f i lm Libra ry for the pe rm i s s i on to use t he s e t r e a s u re s and to Dr. P l a n t e and hiss t a f f for their help in s e lec t ing them.

V . A . S . FROM THE EDITORS


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HERMANN SCHROEDER:AN OCTOGENARIANIt ha s becom e a lmos t t radi t iona l tha t w hen t h e n a m e of Herma nn Schroede r i s men-

t ioned, th e speaker automat ica l ly adds tha t "O f course , he i s a typical Rhinelander."And more prec i se ly, o n e w i t h t h e dist inct ive shading of the Mosel river val ley.Eighty yea rs have pa ssed s ince Schroeder wa s born o n March 26, 1904, in Bernkas te l ,s on of the senior post office secretary, Johann Friedrich Schroeder (1869-1949) a n dFrancisca Engel (1874-1959). T h e musical i ty found in the Schroeder family seems tohave come from both grandfa thers . For example , th e maternal grandfather, Peter Engel(1821-1884) , w a s a b a k e r a n d vintner in Bernkastel a s w e l l a s a pillar of the church choira nd a t rus tee of Saint Michael ' s pari sh. It is t h rough the Engel side of the family that adistant rela t ionship to Beethoven's ancestors (via Hans Peter Schetter, born in T r a b e n o nthe Mose l , a nd h is w i f e Eva Jonas) c a n be t raced.

The musical talent revealed itself in the grandchi ldren: in Hermann's creat ive gi ft s a sw e l l a s i n the more scholarly leanings of the late Felix Schroeder, a n editor a n dmusicologi s t of r e n o w n a n d a chamber music a n d Hausmusik player too. The spiri t of theSchroeder fami ly cont r ibuted t o a hea l thy synthesi s of inheri ted a n d experienced ba s icprinciples plus a great receptivi ty f o r cont empora ry deve l opment s . A s compose r a n d a sperformer , Hermann Schroeder ha s demonst ra ted thi s combina t ion of f i rm founda t ionand exuberant vi t a l i ty .

Young Hermann rece ived his f i rst piano lessons from t h e loca l grammar schoolteacher, a n d o n Sunda ys he got hi s f i rst insights into orga n pla ying w he n h e w a sa l l o w e d to peer over th e organist ' s shoulder, "unti l f inal ly t h e f ir s t a t t empt s w ere suc-cessful even though m y feet barely reached th e peda l boa rd . Dur i ng th e Grea t Wa r , Ibicycled t o the various vi l lages in the neighborhood prac t ica l ly every Sunday a sorgani s t , a n d o n w e e k d a y s I must have pl ayed hundreds of Requiem M a s s e s f o r t h e w a rcasual t ies, often enough t w o Masses be fore going off to school , " th e composer recal l s.The s t ages of Hermann Schroeder ' s academic development proceeded f rom Trier viaInnsbruck t o C ol ogne . In Trier, h e w a s a boarding s tudent a t t he famous Friedrich-Wi l he l m Gymna s i um a n d a n ac t ive member of the ca thedra l choir . Thes e s tudent yea rspreceding gradua t ion i n 1923 w i t n e s s e d his f i rst t imid a t tempts a t composi t ion. From1923 t o 19 26 he s tudied phi losophy a n d theology a t t he C a ni s i a num in Innsbruck,w h e r e one o f h i s c l a ssma tes w a s th e Hungar i an Benjamin Ra jeczky, today a f a mousCistercian priest-musicologist . B ut Schroeder decided that his voca t ion w a s t o b e a pro-fessional musician a nd no t a cleric, a nd s o in t he fall of 1926, h e t r ans fe rred t o the s t a t econse rva t o ry a t C ol ogne , w he re h e majored in composi t ion under Heinrich Lemacherand Wal te r Braunfe l s , a n d conduc ti ng w i t h He rma nn Abend ro t h a n d orga n w i t h Ha nsBachem. In 1930, he pa s sed his f inal examinat ions in school music a t Berlin w ith highhonors , pre sent ing severa l composi t ions w hich la te r ap pea red in print b u t w hi ch even inmanuscr ipt form a t t rac ted much favorable a t tent ion f rom th e exa mi ne r s .

Afte r gradua t ion came th e yea r s of pract ical experience a n d a r t is t i c developm ent . Ifw e t a k e th e a rea of organ concerts a s a n example , ment ion m a y be m a d e of Schroeder'sma ny broa dc a s t s ove r t h e Cologne s t a t ion, his tours a s a ccompa ni s t a n d organ soloistw i t h T h e o d o r B. Rehmann' s Aachen ca thedra l choi r , to Sw itzerland , Ita ly, Belgium,nor t he rn Ge rma ny a n d other places, a s w e l l a s t he concerts h e played during t he s um -mer sea sons a t t he f amous Bavar i an pi lgr image church In der Wies near Ste ingaden. T h ec row ni ng po in t of this activity a s organi s t cam e w i th Schroeder 's ap pointm ent a sca thedra l organi s t a t Trier in 1938 . But he a l so unfolded a w i d e p a n o r a m a of artistic a c-tivities a s choir conductor a n d a s orchestra director. Teaching continued t o be the ma i nact ivi ty of the young music i an, in Aachen, Cologne a n d Trier. SCHROEDER


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In 1941, Schroeder w as inducted into military service and a ssigned w ith other profes-sional musicians to the musico-artistic direction of Radio Belgrad. Here he conductedboth the radio symphony orchestra and the Belgrad opera, performing for broadcast agreat many w orks from the standa rd orchestra, opera and oratorio repertories.W ith the end of the w a r Schroeder returned to Bernkas tel an d continued his artisticcareer, first of all as orga nist a t the Basilica of S t. Paulinus in Trier, and a s of Ea ster 1946at the Cologne conserva tory, w here he w as na med full professor in 1948 and depu tydirector from 1957 to 19 61 . In a ddition, he taught m usic theor y a t the Univers ity ofBonn from 1946 to 1973 and lectured in music theory at the University of Colognefrom 1956 until 196 1. He w as principal conductor of the Cologn e Bach Society from1947 to 1961, for a t ime director of the Cologne municipal male chorus, and thema drigal choir of the state conserva tory. It w as primarily w ith this las t group, ma de upof vocal music majors a t the conservatory, tha t Schroeder ma de a na me for himself a s aconductor of a cappella choral music of the past and above al l of the present. His manyconcerts , broadcasts and recordings set new standa rds in terms of s tyle and interpreta-tion.In 1961 a s erious illness cu rtailed ma ny of Schroeder's a rtistic activities, especially hispractical w ork as performer and co nductor. He w as forced to give up direction of theBach Society, his deputy directorship of the conservatory and his lecturer's post at theUniversi ty of Cologne. His courses a t the Universi ty of Bonn w ere reduced to aminimum, and s o, instead of a ppea ring so frequently as organist and conductor, he nowturned m ore and more to composit ion, but w ithout aba ndoning completely his l inksw ith music practice.Herm an n Schroeder's w ork l is t presently embraces almost s ix hundred composit ions,including more tha n s ixty Ma sses (in Latin, German and English) and over o ne hundredmotets a nd religious s ongs. Although the Mass in honor of Saint Cecilia, commissioned forand premiered at the Fifth International C hurch M usic Congress in St. John's Ca thedralin Milw au kee on Augus t 15, 1966, is familiar to the ma ny Americans w ho at tended thecongress, it is probably his Missa Gregoriana (1957) w hich w ill be remembered as one ofthe most successful and influential Mass compositions of its time, since it so felicitouslycombines important elements of church music tradit ion w ith the musical language ofour ow n da y in a fa shion w hich is illuminated b y the liturgical principle cum populo activo.It is therefore no surprise that the list of Schroeder's honors is impressive: 1942, theArts Prize of the city of Dresden; 1952, the Robert Schumann Prize of the city ofDuess eldorf; 1956, the Arts Prize of the sta te of Rheinland-Pfalz; 1972 , knight com-mander of the papal Order of St. Gregory; 1974, honora ry doctora te from the Universi-ty of Bonn; 1975, Cross of Merit first class from the German federal government; 1976,th e Merite europeen from the European parl iament.Ever since the "new beginning " fos tered so energetically by the International S ocietyfor the Renew al of Ca tholic Church Mus ic (I.G.K.) over fifty yea rs ago, Herm a nnSchroeder ha s contributed a grea t deal to the re-orientation w hich took place in contem-por a ry Catholic church music, for he w as a ble to blend stylistic techniques from th ethesaurus musicae sacrae w ith contempo rary l inear polyphony a nd thus help to overcometh e romantic post-Caecilian church music style.As a creatively gifted person, Schroeder has consistently demonstrated the ability "ina w orld of dou bt, of sa dness and of w idespread m oral cris is to edify his fellow ma n andto help him in his often painful search for the True, the Good and the Beautiful inother w ords, to assis t him on his pa th to God through Christian w itness in the area of ar-tistic creation," in the w ords of Po pe John Paul II. There can be little dou bt tha tSchroeder's life and w ork ha ve been produ ctive, in the sens e of the Holy Fa ther'srema rk, precisely beca use he has fulfilled the tw o pre-conditions of such Christianw i t n e s s i n l i t u r g i c a l a r t : h e i s a genuine artist a n d a believing Catholic. Ad multos annosl

SCHROEDER REV ERE ND RO BE RT A . SKERIS


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SPANISH BISHOPS COMMISSIONON THE LITURGY(The follow ing tw o documents w ere issued by the bishops of Spain, September 22, 1983,offering pastors some criteria for regulations of concerts in church and for photography dur-

ing w orship services. They w ere published in Notitiae, 208, November 1983, p. 727-730.Joseph Hirsch made the translation from Spanish.)C O N C E R T S I N C H U R C H

The u t i l i z a t ion o f churche s for concer t s , no t only for s ac red and re l ig ious mus ic , buta l so for cl a s s ica l mus ic in genera l and ev en popu la r m us ic , is a phen om en on w hich i s oc -curr ing w i th inc re a s ing f req uency. T he re a s ons for th i s a re usua l ly the l ack o f o the r ade -qua te publ ic f a c i li ti e s , e spec i a l ly in sma l l tow ns , the type o f mus ic w hich i s to be pe r-formed, and not in f requent ly , the a r t i s t i c appea l and beauty o f the church bui ld ing .

Th e episcopa l commis s ion on the l i turgy w i she s to g ive a t t en t ion to the reques t s tha thave been made to i t , to formula te some va l id c r i t e r i a for u t i l i z a t ion o f church bui ld ingsfor th is purpo se . In orde r to do th is a cons ul t a t ion ha s b een m a de w i th a l l the d ioce se s ,ga the r ing in forma t ion rega rd ing pre sent a t t i tude s in e ach d ioce se on th i s subjec t .

F i r s t o f a l l , i t i s import an t to keep in mind tha t the genera l l eg i s l a t ion o f the Churchrequi re s tha t " in a s a c red p lace only tha t c an be pe rmi t ted w hich fos te r s the exe rc i se andp rom ot i on o f w o r s h i p , p i e t y a nd r e li g ion ; a nd t h a t w h i c h is no t in h a rm ony w i t h t hehol ine s s o f the p l ace is proh ib i ted ." (Cf . new Co de o f Ca non La w , c a non 1210 . ) Nev er-the le s s , the ord ina ry c an pe rmi t , in concre te c a se s , o the r use s w i th the condi t ion tha tt he y no t be i n c on t r a d i c t i on t o t ho s e e nd s a l r e a dy s t a t e d .

Wi th rega rd to the theme o f the concer t s in churche s , in genera l the only norms a rethose o f the ins t ruc t ion o f the Sac red Congrega t ion o f Ri te s , September 3 , 1958 (N. 54 ,55). The c r it e ri a w h i c h f o ll ow a r e b a s e d on tho s e no rm s .1 . Conc er t s w i ll t ake p l ace in churche s only in except iona l c a se s , w he n the re a re no

othe r a ppro pr i a te p l ace s in the loca le and w he n i t is s een tha t a concer t might l e adto the sp i r i tua l bene f i t o f the f a i th fu l. W he re the re a re churche s not ope n for w or-s h i p , t he s e p re f e r a b l y s hou l d be u s e d .

2 . Accordingly , au thor iz a t ion for concer t s in church should be l imi ted to those pre sen-t ing s ac red mus ic and re l ig ious mus ic . The l a t t e r i s unders tood to mean tha t mus icw h i c h b r ing s a b ou t a n a w a k e n i ng o f r e li g iou s s e n t i m e n t i n t he li s t ene r s a ndenl ivens the i r f a i th (N. 54) . Cl a s s ic a l mus ic doe s not a lw a ys sh a re th i s end; w hi leone doe s not have to deny tha t i t c an cont r ibute to a re l ig ious sp i r i t , above a l l i t ex-a l ts a u t he n t i c hum a n a nd e v a nge l ic a l v a l ue s . B u t it w i ll h a ve t o be j udge d w he n t heneed a r i s e s for the pre sent a t ion o f such mus ic .

3 . Th e f o l low i ng r e qu i re m e n t s ough t t o be f o l l owe d i n g i v i ng a u t ho r i z a t i on :a ) Th e B l es s e d S a c r a m e n t w i l l be r e m o ve d a pp rop r i a t e l y ; a nd ne c e s s a ry

reverence mus t be g iven to the a l t a r and to the ambo, not pe rmi t t ing tha t theybe used to hold ins t rument s or mus ic a l s core s .

b ) The o rg a n i z e r s m us t m a ke the c om m i t m e n t a s a ge ne r a l no rm t h a t the c onc er t sw i ll be f ree .

c) Th e mus ic i ans , the s ingers , an d the l i s t ene rs ought to sh ow in the i r pe rs on an din the manner o f dre s s , tha t the i r a t t i tude s and composure corre spond to thehol ine s s o f the s ac red p l ace .

d) I t f a l ls to the ord ina ry to dec ide w he n speci f ic au tho r iz a t ion i s ab le to be g ivenfor the schedul ing o f a concer t ; and the organize rs need to pre sent by an ap-p rop r i a t e t im e , t he d a t e , p la c e , p rog r a m , t he m e o f t he w o rk s a nd t he n a m e s ofthe com pos ers a nd perf orm ers . SPANISH BISHOPS


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PHOTOGRAPHY DURING RELIGIOUS SERVICESThe preserving of a gra phic mome nt out of the trans cendental events of one's life is avalue w hich for ma ny people is undeniable. The celebration of various sacra ments suchas baptism, confirmation, firs t holy communion and matrimony are no exceptions. Thepreoccupation to secure a graphic documen tation, even s ound, enters fully into the nor-mal preparat ions for these events . Therefore, professional photographers and amateursas w ell (friends a nd relat ives) come to church w ith the hope of obtaining as ma nyphotographs as possible. Moreover, the proli ferat ion of cameras and video equipmenthas complicated things even more.

With regard to the legit imacy and proper uses of these means during l i turgicalcelebrations, there is no official docum ent of the Church. The bes t w e can obtain comesfrom the instruction, "On the Eucharist ic Mystery," May 25, 1967, N. 23:Certain prohibitions are necessary so asnot to disrupt the liturgical celebrations, especial-ly the Mass, w ith the custom of taking photographs. Where there is a reas onable cause, thephotographs should be obtained w ith great discretion and according to the norms establish-ed by the local ordinary.

In fact , these norms h av e been established in a great m an y of the Spanish dioceses. Insom e it has not been necessa ry to give them official chara cter and in others the am bit ofapplication is very reduced. Therefore, the episcopal commission on the liturgy,w ithout entering into aspects w hich are beyon d its competency, such as the kind of per-sons and u nder w ha t conditions one can obtain graphics or audio test imonies of theliturgical acts, makes public the follow ing pa stora l criteria so as to harm onize a just in-terest for these documents and for the dignity of the celebration of the Holy Eucharistand the other s acraments :1. In the interior of the church there should not be more than one professionalphotographer or movie or video operator and i f possible let him be at a distancefrom the celebrant. He should try to do his w ork w ith ma ximum discretion a nd

w ithout disturbing the pa rticipa tion of the f aithful.2. It does n ot seem a dmissible to grant the exclusion of certain photogra phers becauseof economic reasons.3. In specific religious acts, a relative of those involved can be authorized to takephotographs a s a remembra nce of the celebra t ion, w orking a lwa ys w i th the discre-t ion and the respect w hich the ceremon y requires.4. There a re momen ts in the celebration w hich require a great degree of at tention andparticipation. Cons equently, thos e t imes s hould be respected: the proclam ation ofthe readings and the homily, and from the preface unti l holy communion.5. The pas tors and rectors of the churches, w ho are responsible for the decorum andhono r w hich is due because of the holiness of the place, should observe theliturgical norms (cf. ca non 562) in carrying ou t their responsibilities. They w ill see

to it that the taking of photogra phs and other films b e done in a ma nner consistentw ith these criteria. It w ould be w ell to instruct the interested pers ons a bout thisbefore the celebration.

SPANISH BISHOPS1 0


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JOlStUAlt.l A c u r g r t D r a t t i t p u n f i r a t i c a m\o iu u .i u o sr rhbfia no sjmc

r u 0 a u n b m- # *

- i

KARL GUSTAV FELLERER(1902-1984)The w orld-famous church music expert, Professor Karl Gustav Fellerer, passed aw ayunexpected ly in his na tive Bavaria on Janua ry 7, 1984, at the age of eighty-one. He w asreturning to his hom e in Cologne follow ing a conference s pons ored by the Cons ociatio

Internationa lis Mus icae Sacrae in Innsbruck, w here he had pres ented a n impress ive lec-ture on the importance of sacred music in the total development of European musicalculture. The meeting had been called to begin planning for participation of the CatholicChurch in the European Music Year of 1985.In the standard German music encyclopedia Die Musik in Geschichk un d Gegenwart,Fellerer himself had in a manner so typical of him concentrated the record of his longscholarly career of some sixty years into a total of fourteen half-column lines of type.But the listing of his scientific publica tions fills mo re tha n tw o full-page colum ns in fineprint. This fact alone speaks volumes about Karl Gustav Fellerer as a man and as ascholar.With an a mazing breadth of vision, w hich has unf ortunately become quite rare to-day, Fellerer authored almost six hundred publications covering nearly every area ofmus icology. But even a brief glance at this list reveals that his main interest w as churchmusic in all its forms, including Gregorian chant, polyphony (especially the life andw orks of Pa lestrina), organ music and the congregational hym n.This comes as no surprise w hen w e recall that after gra dua ting from junior college,Fellerer studied church music at Regensb urg, w here in the liturgico-musical reformmovement of Franz Xavier Witt he encountered the spirit of Bishop Johann MichaelSailer, w ho directed his a ttention to the spiritual fo unda tions of liturgical mus ic. This in-fluence remained decisive for Fellerer, as is proven by the number of his publicationsdealing w ith the Regensburg tradition. He studied composition w ith Peter Griesbacherat Regensburg a nd w ith Joseph Haas in Munich. He w as an excellent cellist and a goodpianist, and later in life he once adm itted that he had really w a nted to be a conductor.But this w as not to be. FELLERER

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After taking his diploma in church music, young Fellerer began the study ofmusicology at Munich, w here he received the doctorate at the age of tw enty-threeunder Adolf Sandberger. Then he did post-doctoral studies in Berlin under HermannAbert, Johannes Wolff and Curt Sachs. In 1927, he w ent to the University of M uens teras academic lecturer, and it was there that his famous monograph on Palestrina ap-pea red. At the age of tw enty-eight, as a rea der in musicology a t the university, Fellererassumed the editorship of the Kirchenmusikalisches Jahrbuch. It remained in his hands forforty-six years.

In 1931 , Fellerer w as called to a profess orship at the U niversity of Fribourg inSw itzerland a s successor to the fam ous G regorian research scholar, Peter Wa gner.There he carried on the large-scale w ork begun by W ag ner on the history of the Ma ss ,of w hich Volume I had a lready been published. In 1944, the extensive draft of Volum eII fell victim to a bom bing raid on C ologne, w here he ha d m oved as full professor in1939. In the la s t years of the w ar he w as dra f ted into the a rmy engineers a nd saw dutyin France, w here he played a large part in preserving the famous chant ma nuscripts a ndlibrary at the Abbey of Solesmes.Fellerer 's legenda ry ca pacity for w ork a nd his great organizational ta lents benefitedthe institute for musicology at the University of Cologne. He not only expanded themusic history department but added departments of ethnomusicology and acoustics,transforming the Cologne institute into the largest and m ost mo dern resea rch center inGermany. It is understandable that more than one hundred fifty young scholars tooktheir doctoral degrees under his direction, and of these a respectable number todayholds important pos itions in various branches of mus icology all over the w orld.Du ring the difficult yea rs of s tuden t unres t in the late sixties, Fellerer held the respon-sible positions of fa culty dea n a nd then rector of the U niversity of Cologne a nd throughhis efforts that institution remained relatively calm. He participated actively in manyother local, national and international groups, including the International MusicologicalSociety, the Society for Mus ic Research, the Fellow ship for Mus ic History in theRheinland, the Max Reger Society, the Joseph Haas Society, and the International Socie-ty for Mo za rt Research in Salzburg. For sixteen years he s erved as chairma n of the pro-gram advisory committee of the West German Radio at Cologne.Special mention should be made of the large-scale History of Catholic Church Music ( twovolumes , 1972 and 1976) w hich he edited w ith the cooperation of m ore than fiftyscholars from ma ny na tions. During the las t years of his life, Karl Gustav Fellerer show -ed a very special and concrete interest in the international Institute for Hymnologicaland Ethnomusicological Studies, begun in Cologne in 1977, w hos e research center atMaria Laach he helped to establish and to expand.W hile Profess or Fellerer w as not a brilliant ora tor, he held the interest of his listenersbecause of the richness of his erudition and the profound conviction indeed, en-thusia sm w ith w hich he helped his s tudents to comprehend a musica l phenom enon,and often from a spiritual view point. At the bestow al of an honorary do ctorate fromthe Ca tholic University of Louva in, Karl Gus tav Fellerer w as called "a church mus ic ex-pert of w orld renow n." On tha t occasion in 1958, the w ell-know n Flemish musicologist,Rene" Lenaerts, quite correctly stated that "As long as the preservation and cultivation ofth e thesaurus musicae sacrae, w hich is so closely connected w ith the liturgy (in the correctsense of the term) as w ell as w ith the faith, can rely upon such first-class scholars a ndgenial defenders as Professor Fellerer, then w e have every reason to hope for a remedyto the present confusion."

Karl Gus tav Fellerer has gon e hom e to G od. For all of his s tudents, his colleagues, andhis m any friends w ho a re bound to him b y ties of deep g ratitude, his life's w ork, his ex-am ple and his w ords rema in a precious legacy. R.I.P.F E L L E RE R MONSIGNOR JOHANNES OVERATH

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f ir p u m i s t t u s tu ta m m m r D ID

SECOND THOUGHTS ON THE REFORM:A VIEW FROM ENGLANDWorship, the journal edited by the Benedictines of Collegeville, Minnesota, has forlong held a pos ition a ll its ow n in the English-speaking w orld. It has been "w ith" theliturgical reform but in no blind pa rtisa n spirit. Indeed, in the last ten or s o years , voicesquerying certain aspects of the reform have increasingly been heard in its pages, andmos t strikingly the voice of the anthropologist, V ictor Turner. So much so that w ithgreat honesty an editorial note under the rubric Liturgia semper refonnanda subsequentlya ppea red to this effect: "Victor Turner's article, 'Ritual, Tribal a nd Ca tholic,' (Vol. 50, p.504-526) ... suggests tha t the revision of the rites w as ba sed on altogether inad equa tepastoral research. Many of our readers may find his very positive evaluation of theMass of the 'old liturgy' ... very disturbing." The editorial continues: "Can it be that theprescription of the constitution on the sacred liturgy (34) that 'the rites should bedistinguished by a noble simplicity,' that they should be short, clear, and free from

useless repetitions' runs contrary to basic anthropological findings concerning humanritual behavior?"Nevertheles s, Turner recognized tha t reform w as called for. "Un doubted ly," hew rites, "ma ny of the minutia e (of the previous rite) cam e to ta ke on some thing of theobsessional character ascribed by Freud to all religious ritual and required pruning ifthey w ere not to obstruct the f low of devotional action. Ma ny reforms w ere sorelyneeded. On the other hand, ma stery of m any rules and details has alw ays beennecessa ry if great w orks of a rt and thought a re to be produced ... It ma y w ell be thatpa rt of the po w er of the pre-conciliar Ma ss , as far as the laity w ere concerned, resided inthe skill w ith w hich dedicated profess ional priests ma de ava ilable to the congrega tion,and each individual in it, the creative traditions of many Christian ages..."Revolutions happen from a number of causes, good, bad and indifferent, and the THE REFORM13


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liturgical revolution ha s been no exception. Even w ere it entirely desirable, there can beno going back to the ancien regime. It is not as if the liturgy ha d never before been reform-ed. Wha t w e hav e just w itnessed is the third or fourth reform of the Roma n rite; andafter ea ch previous one there w a s loss as w ell as gain, and not least so in the case of PiusV. Nevertheless, it will be objected, Catholics did not then feel that there had been adras tic break in continuity, w hereas ma ny do feel this now after Va tican II; and w hilenot a few rejoice, ma ny lam ent. So w ha t of the torped o launched b y Victor Turner? Is iton target or not?

If w e look closely, how ever, w e shall see that the revised rite its debits a long w ithits credits is in full continuity w ith w ha t has preceded it, and tha t it is (w ith some ad-ditions) the historic Roman rite in its latest edition. And if the council document hasbeen pa rtly colored by a nthropological theories now discredited, this ca nnot cancel itssolidly traditional bearing. We ha ve also to distinguish w ha t the constitution sa ys or im-plies and the w a y it has too often been interpreted.Indeed, the main grava men w here the appa rent break in continuity is concerned m ustlie w ith the interpretation of w ha t the council fathers intend ed. Here one can only com-ment, "an enemy ha th done this." In any case the rapidity w ith w hich the changes w ereintroduced could only have had a destabilizing effect. But had Latin and the musicas sociated w ith it, both of w hich are aff irmed by the constitution, together w ith thetraditional ceremonies, also substantially m aintained in the missal of Paul VI had thesolemn Latin Mass in the revised rite been universally celebrated from the first, thoughof course by no means exclusively, there w ould ha ve been no such sense of loss andoutrage as many have felt . Indeed, this Mass approximates to the pruned and purif iedyet traditional l i turgy w hich Turner seems to a dvocate. Those celebrating such a Ma ssw ould ha ve been familiar w ith the previous rite and could ha ve ma de the transition har-monious ly and ha ve interpreted the rubrics w ith a proper unders tan ding. For it is aw ea kness of the present rite that the rubrics reduced in numbe r but still there areoften insufficiently precise. One is told, for exam ple, to extend one's arms w henreciting the collect, but there is nothing a bout bringing one's ha nds together for the con-clusion, w hich rounds off the gesture along w ith the prayer. A s mall point in "bodylanguage," but needing to be spelt out.

Then there has been the vernacular translation, turned out in a hurry and on ques-tionable principles an d now needing a tho rough revision. It is, how ever, to their credittha t ICEL are prepa red to d o this. Not only, how ever, in its use of langua ge but no lessin the w a y it is celebrated s hould the vernacula r liturgy be in the right sens e traditional:ordered, reverent, sacral. In this indeed it should be virtually indistinguishable fromw ha t is expected of a La tin Ma ss . A special sensitiveness to voice control is called for,w ith a due concern for th e virtues of quietness an d silence (w here this is indicated). Ofcourse, in a vernacula r Ma ss music w ill tend to be a problem unless Latin for the or-dina ry pa rts is relied on, as w hy s hould it not be in due m eas ure? To resp ond to the in-spired music of the past is no more "nostalgic" in the liturgy than in the concert hall-w hile to confine the faithful to a diet of the insta ntly repea tab le and foreverunmemorable is to underestimate their capacity and their need for more nourishingfare.

In the cause of dignity and reverence, furthermore, parish churches and a fortioricathedra ls should rejoice in a w ell-trained bod y of altar servers (Cons titution on theSacred Liturgy, 29), a prescription liable to be h onored in the breach. "You English," anItalian monsignor once remarked, "are a ceremonious race and your li turgy shouldreflect this." It should d o so even mo re for the profounde r reas on tha t the huma n race isceremonious.What has been termed the "communitarian experience" has tended to loom largerTHE REFORM tha n its pla ce in the sc heme of things w a rra nts . Thus the priests gath ered in their na-14


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t iona l confe rence a t Bi rmingha m in 1972 voted tha t " the l iturgy is me a nt to c re a te com-muni ty ." In a re s t r ic ted sense and a s a by-produc t i t may do th i s , bu t th i s i s not i t s pur-pose . "A ma jor s tumbl ing-block in the deve lopment o f soc io logic a l -an thropologic a ltheo ry ," w r i te s Vic tor Tu rner , "ha s been the a lmos t to t a l ident i f i ca t ion o f the soc i a l w i ththe soc i a l - s t ruc tura l . Even ' in form a l ' re l a t ions a re cons ide red ' s t ruc tura l . ' M a ny o f th emare , o f course , but no t a ll , an d the se inc lude the mos t re leva nt one s . " Th e com-m un i t a r i a n s yn d ro m e i n l e s s e n i ng t he Go dw a rd o r i e n t a t i on of t he Ma s s c a nno t bu t a l s ode va l ue t he r i t u a l e l e m e n t .

It is in Am e r i c a , h ow e ve r , t h a t w ha t is a m il d p re po s s e s s i on i n Eng l a nd c a n h a v e ape rv e rs e theologic a l root . In an a r t i c le en t i t led "Ri tua l and Soc i a l Dr a ma ," w hich ap-pe a re d i n Worship (Ma y 1977 ) , Urba n T . Ho l m e s e xp l a i n s t h a t i n t he ne w ou t l ook " ah igh va lue" i s p l aced "upon l i f e with God in a beloved community." Ho w e ve r , " the r e l a t ionbe t w e e n G od a n d m a n is no l onge r" w ha t it w a s f o rm e r l y c onc e i ve d t o be . "R a t he r , t hi si s the re l a t ionsh ip . God i s the idea l subjec t or self, w h o n e e d s r el a t io n s h i p w i t h o t h e rsubjec t s to be himself." One can only f e a r , the re fore , the amount o f t ru th in Dr .Ho lm es ' conc lus ion tha t " the re is an ident if i ab le th em e emergin g in the depths , a s w e l la s a t t he s u r f a c e , o f t he e x is t e n t ia l o rde r o f R o m a n C a t ho l ic , Ang l i c a n , a n d pe rh a p s e ve nLu t he r a n a nd R e f o rm e d Am e r i c a n C hr i s t ia n s , w h i c h is c on s i s t e n t w i t h tho s e r i tu a l ex -p re s s i on s o f t he ir c om m uni t i e s t h a t a r e d r a w n t oge t he r a t the s e t i m e s . " F rom s uc h a"d r a w i ng - t oge t he r " m us t w e no t, t he re f o re , p r a y t o be de l i ve re d , a n d m e a n w h i l e r ei n -force w ha t is d i s t inc t ive in our h i s tor ic l i turgy? For w ha t hap pens tod a y in Am eric at e n ds to h a p p e n el s e w h e r e t o m o r r o w .

To t u rn t o m a t t e r s c onc e rn i ng t he a l t a r . Lou is B ouye r s e e m s t o h a ve s how n t h a tc e l e b r a t i on versus populum w as not in f a c t the prac t ice of the e a r ly Churc h , nor , a s isgenera l ly supposed , i s i t an in tegra l pa r t o f the revi sed r i t e . There i s noth ing about i t inthe cons t i tu t ion , a nd the ins t ruc t ion o f 1964 doe s n ot "w i sh i t, bu t only i t s pos s ib i l i ty ,"a s J ungm a nn no t e s . (C f. Commentary on the Documents of Vatican I I, ed. Vorgr imle r , Vol . I ,p. 84, fn .) In h i s v iew , th is type o f ce lebra t ion " is connec ted w i th the spec ia l em pha s i son t he b a nque t c h a r a c t e r o f t he Euc ha r is t , a nd , m ore ge ne r a l l y , w i t h t he ne w l y a w a k e n -e d c om m uni t y c on s c i ou s ne s s , " t hough p a r a dox i c a l l y f o r t he p i one e r Do m L . B e a udu i n i tw a s t he s a c r if i ce t h a t t he ne w t ype o f a l t a r w a s t o e m pha s i z e . O f c ou r s e , a p a r t f roms a c r if i ce t he b a nq ue t c a n h a ve no m e a n i ng . As f o r c om m uni t y c on s c i ou s ne s s s u f f ic e i t t os a y t h a t in a u t he n t i c C hr is t i a n w o r s h i p g roup dyna m i c s m us t be c on t ro ll e d by t he ex -i genc ie s of w o rd a nd r it e a n d s hou l d a l w a y s e xp re s s r e ve re nc e .

C a t ho l i c w o r s h i p , m ore ov e r , m us t be t rue to t he s pe c ia l g ra c e w h i c h it s h a re s w i t hthe Ea s t : the grace o f adora t ion , o f contempla t ion . Nor a re the re pos i t ive grounds in thecons t i tu t ion for rede f in ing the ro le o f pr ie s t a s animator. To the be s t o f h i s ab i l i ty indeedhe s hou l d know how t o s pe a k , t o ho l d himself, to s ing (even in La t in) ; but w he n hep re s i de s he doe s s o a s he h a s a l w a y s done . To quo t e J ungm a n n a g a i n : "Ac c o rd i ng t o t hee xp l a n a t i on i n e a s t e rn a nd w e s t e rn t r a d i t i on , t he m e a n i ng o f t he c e l e b r a t i on of t heEucha r i s t i s to be found foremos t in the ob-latio, pros-phora, t h a t is the ' c a r ry i ng t ow a rd s , 't he m o ve m e n t l e d on by t he c e l e b r a n t t ow a rd s God . "

The p r i e s t , how e ve r , is no t on ly leitourgos bu t p re a c he r ; a nd t he m os t s t r i k i ng e l e m e n tin the re form of the l iturgy an d w he re in pa r t i cu l a r the ve rna cul a r is re leva nt isthe s t res s l a id on the l i turgy of the w ord . Ye t w ha t an a lmos t to t a l f a i lure th i s ha s so f a rbe e n . I t w a s g ood t o p rov i de a g re a t e r s e l e c t ion o f s c r i p t u re r e a d i ng s , ye t one c a nno tc re a te a s c r ip tura l ly cu l t iva ted people (or c le rgy) overnight ; and inc ident a l ly more thangoo d w i ll is requi red for the of f i ce o f lec tor . Th e sor t of re sp ons e tha t w a s s ough t forde pe nd s on a c om m u ni t y w ho s e m e m b e r s a l r e a dy p r a c t i ce s c r i p t u re r e a d i ng a nd de vo -t i on . As i t is , m a ny o f t ho s e w ho po s s e s s m i s s a l s bu t a r e no t a nd c a nno t be d a i l y Ma s s -goers w i l l re ad th e sc r ip ture le s sons pr iva te ly , but i t w i ll t ake t ime for the regul a rrea din g of the Bible i tse l f to be co m e a ha bi t . For s om e, per ha ps for mo st , i t w i l l ne ver be THE REFORM

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s o. For one reason or another they are not the reading sort . Devotions rather thanscripture-reading is w ha t suits them, and the sw eeping-aw ay s o generally of these devo-tions can have helped nobody. While i t i s the nature of Protestantism to destroy folkreligion, it is the genius of Catholicism to harness it.Apa rt from the revival of devotions, how ever, the rem edy lies not in retreat but inadvance, and firs t of al l in the grasping of the true nature of the Word proclaimed. In-

deed , the real point of th e liturgy of the W ord , w hich lies in prea ching a nd not just inreading (and st ill less in chorusing the respons orial psalm), app ears to hav e been missed.It is not so much in the reading of the gospel of the day that Christ ' s presence is madekno w n though of course this has i ts truth as in the preaching of the gospel, the goodnew s. This is the true and the full prodamatio. Has the standard of preaching improvedsince the reform came in? Rather has i t too often been presumed that the more devoidof doctrinal content a sermon is , the nearer i t comes to the ideal of the "homily." Weneed a fter al l the Protestant empha sis but no t its over-emphasis . W e ha ve to as similatethe high Protestant doctrine of the preached Wo rd. Allow ing for the predom inan t rolew hich instruction a t times must play, w e should hav e from the pulpit a proclama tion ofthat very m ys tery w hich the Mass s ets forth in it sa cramental ena ctment. In its essencethe sermon is a sacramentum audibile (i f the expression may be permitted). "The realpresence of Christ crucified is w ha t ma kes preaching;" so spoke the Protestant P.T. For-syth; and the Benedictine Viaggini goes a long w a y to meet him w hen he w rites: "Itseems . .. tha t in the sacra mental econ omy , unders tood in the broa d s ense, it is possibleto spea k of the proclama tion of the W ord of God as something intermedia te betw eenthe seven sacraments proper and the sacramentals of s imple ecclesiast ical inst i tution."An d aga in: "The Word, too, in its ow n w a y, is sacramentum or mysterium. But let theclergy not lose heart for as Forsyth a lso declares: "In true preaching, as in a true sacra-ment, mo re is done than s aid. An d mu ch is w ell done that is poorly sa id."DERYCK HANSHELL, S.J.

THE REFORM16


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REVIEWSO r ganHymn Harmonizations for Organ by John Ferguson. Lud-w ig Music Publishing Co., Cleveland, O hio. $9.95.This set of h ymn harmonizations is published follow-ing the favorable response to Ten Hymn Harmonizationsw ritten by John Ferguson som e yea rs a go. Included inthis collection a re introductions and settings of ten w ell-know n hym n tunes. Am ong them are "Joy to theWorld," "Joyful, Joyful We Adore Thee," "Angels WeHa ve Heard on High," "Now Tha nk We All Ou r God ,"and "Jesus Christ Is Risen Today." The introductions arebrief flourishes on phrases of the hymn tunes. In addi-tion to introducing the hymn, they w ould w ork nicelyas interludes betw een stanzas.The hymn settings are homophonic harmonizationsof a single verse and refrain of each hymn. In general,one setting is provided for each. In all cases bu t one, thehymn tune is presented clearly in its original form,although it may occur in the soprano, the inner voices,or the pedal. This arrangement makes possible the useof these settings in place of a hymn verse for congrega-tional singing.

Both the introductions and the settings are easy toplay; they require no more skill than is necessary toplay hymns. The arrangements are festive, interestingand fun. Organists seeking sources of hymnembellishments should find this collection to be avaluable addition to the literature.Te n Preludes on Hymn Tunes b y L eo S o w e r b y . H . W . G r a yPublications. $7.50.Orga n w orks by Leo Sowerby have for years been astaple of the church music repertoire, and this album isno exception. It contains ten substantial (three to sevenminutes) preludes w hich together provide enoughvariety to serve almost every liturgical need. Thefam iliar, rom an tic style of Sow erby is typified in thesepieces. They are not technically demanding, but thereading and coordina tion w ill require considerablepractice time for most organists. Registrations, finger-ings, dynamics, and phrase markings are provided inthe score.Contemporary Masterworks for Organ. H.W . Gr a y P ub l i c a -tions. $9.95.This interesting collection of organ music presentsw orks by some of the great masters of the tw entiethcentury; Copland, Krenek, Milhaud, Virgil Thompson,Sessions names not f requently ass ociated w ith organliterature. These pieces a re longer in duration than mostcollected w orks three to five m inutes in length and they are moderately difficult. Unless a congrega-

tion is disposed to accept and appreciate strongdissonance and a tonality, these pieces w ould not besuitable for service use. They do, how ever, presentunusual and exciting departures from the standardrecital repertoire.

Three Preludes and Fugues, Op. 3 6 b y M a r c e l D u p r e . H . W .Gray Publications. $7.50.The popularity and appeal of the Opus 7 preludesand fugues of Marcel Dupre have caused these com-positions to be overlooked. Like the Opus 7 w orks,they are technically demanding and difficult. They cer-tainly represent some of the "meaty" recital repertoire,and a t the very least, w ould prov ide exciting postludema terial. The chroma tic, a lmost linear s tyle of Dupre'sw riting is evident in these pieces. Written much laterthan the Opus 7 preludes and fugues, one can recognizea conciseness in form and more ha rmonic experimenta-tion. The score provides fingerings and pedal markings,registrations, dynamics, and musical analyses of thefugues. Although not often played, these piecesdeserve recognition from audiences and from organistsw illing to take up the challenge of perf orma nce.Variations on Slane for violin and organ by Jan Bender.Augsburg Publishing House. $4.50.Six brief, delightful variations for violin and organfollow a statem ent of this much loved Irish hym n tune.The variations follow the harmonic arra ngement of thehymn , w hile successive variations hav e increasing sub-divisions of the beat, much like the style of the Frenchnoels. Aside from any difficulties that might arise fromplaying sixteenth note runs, both the organ and theviolin parts are easy. The pedal is used only occasional-ly, and the omission of a few doubled notes w ouldenable performance on manuals alone. The violin partis included w ith the score.Introduction an d Variations on an old French Carol by Jenni ferBate. Novello & Co. $4.50."Let All Morta l Flesh K eep Silent" w ould berecognized by most listeners as the old French carol onw hich this piece is based. Five va riations f ollow a briefintroduction in w hich the entire hym n tune is sta ted. Ingeneral, the variations are w ritten in free form w ithconsiderable dissonance. Running passages for eachhand in the third variation and double pedals in thefourth variation present technical challenges for theperformer.This piece fully exploits tw entieth-century idioms inits tonal and formal freedom. As a result, recital perfor-ma nce w ould be perhaps a m ore appropriate settingthan church performa nce. How ever, the nature of thetheme, and the combination of the theme w ith theGregorian chant Victunae Paschali laudes in the first varia-tion, might suggest special programming or seasonaluse of this interesting composition. 17


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Wedding Music, Book 111 compiled, edited and arrangedby David N. Johnson. Augsburg Publishing House.$6.50.Thirteen pieces comprise this collection of w eddingmusic. Works of various styles and by various com-posers are represented, providing material for proces-sionals, recessionals, and preludes. All of the pieces arebrief, and none of them is difficult. Of the thirteen, on-ly four are scored for pedal.The interest of this a lbum lies in its versa tility; it con-tains both traditional and unusual w edding pieces. Fur-thermore, instrumental parts for obbligato C or B-flatinstruments a re provided. For those organists in searchof easy, functional w eddin g music, this collectiondeserves consideration. MARY GORMLEY

MagazinesBOLLETTINO CECILIANO. Anno 78 , No. 10, Oc-tober 1983.The Italian A ss ociation of St. Cecilia is rejoicing overits recent convention in Rome. A comparison of thenumber of participants a t the 1983 event with the con-vention of ten years ago show s an increase from 5,000to 20,000. This year's convention w as held in connec-tion w ith the Holy Fa ther's jubilee celebration of hisepiscopal consecration, and the choirs assembled for theconvention sang for the Mass in St. Peter's Square. Thisissue of the magazine carries the Holy Father's homilyat that M as s. (See Sacred Music, Vol. 110, No. 4, p. 7-8.)A chronicle of the meeting and a list of all the par-ticipating choirs a nd their directors including the SistineChoir ma ke up the remainder of the issue along w ith acomm entary on the organizing of the great event w rit-ten by the secretary.

R.J.S.BOLLETTINO CECILIANO. Anno 78 , No. 12,December 1984.A new edition of the missal in Italian has beenpublished. An article by Sante Zaccaria describes andcomments on the revised text, stating that it is an at-tempt to improve the language and the musical con-tents. A brief history of the musical efforts of the Ser-vite order in Italy is offered by Pellegrino Santucci. Afinal review of the great September congress in Romeand other new s of the various dioceses complete thisissue. R.J.S.BOLLETTINO CECILIANO. Anno 79 , No. 1, January1984.The four Marian antiphons and their musical settingsare the subject of an article by Pellegrino Santucci:

Alma Redemptoris mater, Ave Regina Coelorum, Regina Coelilaetare, and Salve Regina. Ma rio Lupi recounts the abs enceof Gregorian chant in so many parishes, and he con-cludes that the dema nds of the Vatican Council are notbeing implemented because there is a lack of forma tionof students in the Gregorian melodies, w hich are "themusic proper to the R oma n liturgy." Perhaps the Italianseminaries are as remiss as the American ones in doingas the fathers of the council demanded, that theyshould instruct the candidates for the priesthood in thetheory and practice of chant. E. Papinutti comments onthe various musical program s connected w ith the HolyYear, including some pointed remarks about the sing-ing of the bishops a nd celebrants w ho a re musically un-trained and w ho are unable to accomplish a dequatelythe sung parts of their role. In contrast he mentions theObla tes of the Virgin Mary, w ho are w ell-trained andw ho have experienced a great number of vocations tothe priesthood at their seminary at San Vittorino nearRome. The musical settings for the priest in the newedition of the Italian missal are printed; they seemslightly more demanding than those at present in theEnglish version of the missal. An interesting listing ofvarious journals dedicated to sacred music throughoutthe w orld concludes this issue. R.J.S.BOLLETTINO CECILIANO. Anno 79, No. 2,February 1984.Luciano Migliavacca presents the first installment ofhis study on music as a liturgical sign; music is the ex-pression of religion an d it is the expression of the sacredand the expression of the faith. An article considers thehistory of the Tuscan school of organists w ith abibliography of recent w orks on the subject. A cleverlyw ritten a rticle recounts an incident in an Italiancathedral on Christmas morning. The candles arelighted; the incense is smoking; the choir is singing. Thedeacon, a seminarian in his last year of preparation,comes to the lectern to announce the gospel. He beginsDominum vobiscum. Apparently the training in Latin isequalled only by the training in music; and seeminglythe Italian seminaries are as ba d a s the Am erican! An in-teresting solution to the seminary problem is offered byBarosco Natale Luigi, director of seminaries for theItalian Association of St. Cecilia. He has an extensive ar-ticle directed to seminarians and the need for theirprepara tion in music for an effective presenta tion of theliturgy.

R.J.S.NOVA REVISTA DE MUSICA SACRA. Vol. 10,S er i e s 2 , Nos . 27 , 28 . 1983 . Trimester periodical of theSacred Music Comm ission of Braga, P ortugal.This double issue is dedicated to the memory of Dr.Ma nuel Faria, the priest w hose musical w ork w as so im-portan t in Portugal. He w as a ctive as composer, editor

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and perform er. This issue gives a lengthy a ccount of hislife and a catalog of his w orks both in Latin and in thevernacular. O ne of his last compositions, Missa em honrade 5. Jorge, w ith Portuges e text is printed in its entirety,arranged for mixed voices and organ. R.J.S.N OV A REVISTA DE M USIC A SACRA. Vol. 11,Serie s 2 , No. 29 . 1984. Trimester periodical of the SacredMusic Commission of Braga, Portugal.Braga is one of the oldest episcopal sees of the Iberianpeninsula; it is a primatial see. Many monuments ofgreat historical value are in the city, not least the organw hich has been restored and renovated a ccording to thearticle in this issue. The full text of Pope John Paul's re-cent homily addressed to the tw enty thousand s ingersof the Italian Society of St. Cecilia, assembled in SaintPeter's Square for the Holy Father's jubilee of ordina-tion, is printed (see Sacred Musii, Vol. 110, No. 4, p.7-8). Unison settings of vernacular texts make up thebulk of the journal.

R.J.S.UNA VOCE (France). No. 115. March-April 1984.Statistics based on parish records as published in the1983 edition of the official Vatican yearbook indicatethat 85 % of the French are Catholic. How ever, pollstaken in France by Catholic publications show thatabout 80% of the population considers itself Catholic.Both numbers have remained fairly constant over thelast few years . The a uthor questions the position of theFrench Church w hich considers the figure arrived atthrough polls to be more accurate than baptismalrecords. It is as if baptism does not qualify someone tocall himself Catholic. It is also interesting to note thatthe French hierarchy has declared France to be mis-sionary territory for the past forty years.There is food for thought in an anecdote that formsthe substance of another article. It seems that theAlbigensian Crusade was almost begun again last sum-mer during a Mass at the famous pink fortifiedcathedral of Albi. The occasion w as a special Mas s saidin Languedoc during a traditional festival. The Massw as a ttended by participants in the costume of theirvarious regions and summer tourists also. It was a smallgroup of thes e tourists w ho ob jected to the fact that aKyrie from the Gregorian Mass of the Angels was fol low-ed by readings in Gascon, Languedoc and Provencaland w ith the homily in Provencal. It w as all "Latin'' tothem a nd it w as intolerable! The several protestorsw ere asked to refrain from their noisy comments dur-ing Mass, but after Mass they entered into a violentdiscussion w ith the participants. Wha t began as verbalabuse ended in an actual physical altercation! The pro-testors w ere not persuaded by the arguments that theycould have attended another Mass, that this specialMas s w as duly a dvertised as being in Provencal, that

the majority of those participating understand this locallanguage, that even the Blessed Virgin Mary spoke alocal dialect w hen s he appeared to Bernadette atLourdes. For them this M ass w as in "Latin" and after all,Christ did not speak Latin. He spoke a language thateveryone understood, Armenian. Never mind that theymeant Aram aic . The author w onders w hat is a t the rootof this violent hatred for Latin as the language of theliturgy. It must be more than the language.This issue also contains a study of the role ofreligious art in our churches. Interesting examples aregiven of how an iconographic representation changesthroughout the centuries to reflect the doctrinal em-phasis of va rious eras. Thus the tree of Jesse w indow s a tSt. Denis and Chartres represent a tree w ith Jesse at thebase and at the top the adult Christ surrounded by thegifts of the Holy Spirit, w hile in the fifteenth andsixteenth-century version of this same motif, depictedelsew here, the crow n of the tree is formed by a

representation of the Virgin M ary and the Christ Child.This later version corresponds to the emphasis placed atthis time on the Immaculate Conception and thedevelopment of the Marian offices approved by thepapa l bulls of Sixtus IV. Such artistic studies lead on e tohypothesize on w ha t might be said w hen contem-porary church art is analyzed.Reports taken from the French press include an anec-dote found in a new book presenting the cor-respondence betw een tw o French scholars and formermilitant Communists w ho have now returned to theChurch, Alain Besangon and Jean Plumyere (Comspon-

dance Pans-Stanford published by Julliard). Besan-con, a specialist in Russian civilization, w rites from theHoover Institute at Stanford University that, at theNew ma n Cha pel in Palo Alto, he found a Mass in Latinw ith an exceptional choir singing in Gregorian chantand Renaissance polyphony. We send our congratula-tions to its director, William P. Mahrt, member of theeditorial board of Sacred Music for his fine w ork and forhaving been mentioned in this publication.Notice is given that the annual pilgrimage to Char-tres w ill take p lace from June 9 to 11 . It w ill leave fromthe square in front of No tre Da me in Paris at 6 A.M . onJune 9, and the closing ceremony w ill be at Chartres on

Monday, June 11, at 3:30 P.M. Last year three thou-sand pilgrims participated in the event.V.A.S.

CAECILIA. Society of St. Cecilia of the Diocese ofStrasbourg. No. 1-2. January-February 1984.This issue includes an article on the rite of aspersionw hich used to be a regular part of the Sunday highMas s, accompa nied by the singing of Asperges me or Vidiaquam. The author remarks that although these chantsare to be found in the hymnal of the diocese of Alsace,the rite is seldom used today, a truly regrettable loss inhis view point. He defends his position by reminding

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the reader of the sacramental na ture of w ater and thepenitential character of this rite. His final point is thatadvocating the Asperges me is not a nostalgic searchingfor the past, because it is part of the Mass as set out inthe Roman Missal of Vatican II.The magazine contains the usual departments in-cluding a discussion of music theory a nd suggestions formusic to be used at Mass for the seasonal feasts. Thereare also examples of music in French, German andLatin, including the Agnus Dei of the Missa nona in sol bythe eighteenth-century composer, G.B. Casali.A s econd major a rticle presents an eloquent apologiafor the place of the pipe organ in church. The currenttrend to replace the pipe organ w ith electronic organs,pianos, guitars or other instruments is especially tragicin Alsa ce, an a rea of France w here every church, eventhe smallest, traditionally had a pipe organ. The authordecries the tendency not to repair historic organs, toreplace them w ith electronic instruments a nd to buy

electronic organs for new churches. How ever, he doesnote that this trend, w hich began as long ago as 1920, isbeginning to turn a round becaus e of a new interest inpipe organs throughout Europe. While the author findsthe electronic organ fully adequate for home or apart-ment, he asserts that its sound is artificial in a largespace and unpleasa nt w hen played in any w ay exceptas a soft accompaniment for singing.V.A.S.

CAECILIA. Society of St. Cecilia of the Diocese ofStrasbourg. No. 3-4. March-April 1984.The article in this issue of most interest to Americanreaders gives the history of the French federation of theLittle Singers of the Wooden Cross (Pueri Cantores).Founded in 1906 by tw o Parisian students as a popular,traveling choir dedicated to presenting good qualitymusic to the largest possible audience, it wa s m erged in1924 w ith a choir directed by Mons ignor Maillet, w hobecame the new director of the combined groups. Itcontinued to grow so that, for exam ple, in 1947 its an-nual congress in Paris brought together three thousandsingers. There w ere 160 groups in France tha t year. The22nd International Congress of Pueri Cantores w ill beheld in Paris from July 2-7, 1985, and it is expected that

ten thousand singers w ill be in attenda nce from all overthe w orld. Cu rrently in France there are 109 choirsw ith the total of 5,800 members. The role played bythese choirs in the Church has been consistently re-affirmed by the Vatican, and the Little Singers, in turn,have maintained their commitment to the ideals oftheir founders. V.A.S.COMMUNAUTES ET LITURGIES. January-February1984.The editorial board of this Belgian liturgical journalannoun ces a yea r dedicated to liturgical initiation w ith

an article review ing w ha t has happened in the Churchduring the pas t tw enty years and describing w hat yetneeds to be done. During 1984, the journal w ill bededicated to the study of a liturgical renew al w hich w illmake the Christian liturgy an area of reconciliation oflost values and contemporary aspirations, of the youngand the old, of Catholics and all other Christiandenominat ions . V.A.S.ChoralGreat is H e the Lord Eternal by J. Morgan Nicholas. Ar. byBryan Davies. TTBB, organ. Roberton Publications(agent: Theodore Presser Co., Bryn Ma w r, Penn-sylvania 19010). $.55.Both English and Welsh w ords are given for thissolid, male-choir setting. Interestingly, the sol-fa is alsosupplied for each voice, making the teaching of thispiece easy for those w hose s ight-reading of notes isw eak but w hose know ledge of the dia tonic sca le isgood. An orga n part supports the voices but has its ow ninterest.Messe Solennelle by McNeil Robinson. SATB, sopranosolo, French horn, organ. Theodore Presser Co. $1.95.No t an eas y w ork, this setting of the Latin text of theordinary of the Ma ss presents some rhythmic as w ell asrange problems for the ordinary choral group. Thetessitura both for the choir sopranos and for the soloistis high. The orga n pa rt is independent a nd difficult. Thepractice of inserting rests w ithin the singing of in-dividual w ords of the Latin, separa ting the syllables of aw ord by pauses , seems somew hat s t range. The Credo isnot set. When mastered, this revision of the original1976 w ork could be quite effective.Psalm Nineteen by T. Charles Lee. SATB, organ. H.W.Gray Publications, Melville, N.Y. 11747. $.75.The text is "The heav'ns declare Thy glory, Lord,"the w ork of Isaac Wa tts and not the authentic psalmtext. The w riting is traditional four-part, ha rmonictechnique, although the treble and bas s voices a re oftenin octaves . For organists w ho do not like sharps, this ismostly in the key of B!Where Wast Thou? by Herbert How ells. SATB, baritonesolo, organ. Novello (agent: Theodore Presser Co.).$3.50.A renew ed interest in the music of H ow ells hasbrought out this new edition. Written in 1948 for theWorld Harvest Festival, it requires sophisticated choraland instrumental forces. The text is an amalgam ofseveral Old Tes tament s ources hav ing reference to crea-tion and the Creator. The 36 pages of the octavo scoremake the composition a concert rather than a liturgicalselection.

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Worship by Eric Shave. SATB, organ. Novello (agent:Theodo re Presser Co.). $1.10.The text is by Albert F. Bayly and is for general use.The w riting is traditional w ith few problems and a fairamount of unison. The organ part is solid and suppor-tive of the choir.

From East to West by Joseph Roff. SATB, organ. Music70, 170 N.E. 33rd St., Fort Lauderdale, Florida 33334.$.85.The melody is identified to be of Mongolian origin;the text, the Latin of Sedulius, A solis ortus cardine. Most-ly unison, there a re a few four-part s ections. The pieceis easy and the vocal and choral requirements are notdemanding.

Brass EnsembleMarche et Canzone by Henry Purcell. 2 trumpets, 2 trom-bones, tuba and timpani ad. lib. Alphonse Leduc (agent:Theodore Presser Co.). $8.75.Written in 1695 for the funeral of Queen Mary, thiscan w ell be used for any solemn occasion. Toda y brassinstruments are frequently employed for special feasts,and often choirmasters are searching for useful proces-sional or recessional music. This is not difficult and liesw ithin the competency of a good high school bandensemble.

R.J.S.

O for a Heart to Praise My God by R ober t W et z l e r .Unison or 2-part, organ. A.M.S.I., Minneapolis, Min-nesota 55408. $.60.The text is by C. Wesley and might be useful for apenance service. The melody line is easy and w ithoutany problems. A second part is optional but effective. Itis either solo literature or unison chorus.

Praise Rondo by Jan Antholz. Unison or 2-part, organ.A.M.S.I., Minneapolis, Minnesota 55408. $.80.The text is a general one draw n from Psalms 146 and147. The "ron do" is a recurring theme w ith a variety oforgan accompa niments benea th it. Easy, w ith an op-tional use of a second part for the finale, this piecepresents no problems.

O Lord, Almighty by B enedetto Ma rcello, ar. by Ba rbaraOw en. SAB, organ. Boston Music Co., 116 BoylstonSt., Boston, Massachusetts 02116.This setting of Psalm 8 w ould m ake a good reces-sional anthem. The use of three parts may solve theproblem of a dearth of male voices. The idiom is that ofthe early 18th century w ith clear harm onic feeling andeasy voice-leading. It is published in the Sacred ChoralLibrary series along w ith other classical compos ers.

In Thee , O Jesus, I put my Faith and Trust. Sing Ye that Lovethe Lord. O Holy Jesus, Blessed Redeemer. O Bless the Lord,My Soul! Praise the Lord, H is Glories Show. By G.F .Ha ndel, ar. by Joseph Low e. SAB, orga n. Belw in-MillsPublishing Corp., Melville, N.Y. 11747. $.75 ea.The texts are not the original ones used by Handel.The three-part arrangements call for only one malevoice. Any one can be an effective piece, easy to learn,and probably quite popular w ith the singers and con-gregation because of the 18th century idiom.

R.J.S.

Books17 8 Chorale Harmonizations of Joh. Seh. B ach. A ComparativeEdition for Study by Donald Martino. Dantalian, Inc. 11Pembroke St., New ton, Ma ssa chusetts 02158. $10 eachtw o-volume set, prepaid.Fifty-seven chorale melodies are given from tw o toten harmonizations each, all transpos ed to the sam e keyand presented on the same page in perfect verticalalignment. Each set of entries thus constitutes averitable table of chord choice, harmonic-linearelaboration and also variation technique. All themelodies have the German texts underlaid. The secondvolume contains the source of each chorale, its originalkey, instrumentation and an English translation forsinging. Reference is mad e to other w orks b y Bach inw hich the melody can be found.The teaching of harmonic and contrapuntal tech-nique today is generally based on the examination ofthe w orks of the style under cons ideration. AllenMcHos e fostered this procedure w ith his w ork atEastman School of Music. By examining the chorales ofBach one learned the harmonic-contrapuntal techniqueof the 18th century. Such a tool as this new study nowprovides was not available to McHose's students. It hasbeen made very easy.For organists w ho frequently accompa ny the singingof chorales, this could be a most interesting opportunityto vary the harmonizations, not just from one perfor-mance to the next, but even w ithin the sa me playing ofthe several verses on the same occasion.This w ork s urely belongs in music schools. It is alsoof great value to the church musician. Great credit isdue the editor, Donald Ma rtino, w hose nam e verymodestly appears only once in the tw o volumes, andthen w ell-hidden at the end of the preface! It is not evenon the title page.

R.J.S.2 1


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NEWSVatican Radio observed the seventy anniversary ofthe founding of the Pontifical Institute of Sacred Musicin Rome w ith tw elve broadcas ts w hich included presen-tations of Gregorian chant, classical polyphony, recitals

by organists and other instrumentalists , a long w ith aninterview w ith Pop e John XXIII, recorded d uring the fif-tieth jubilee of the school. The series w as u nder thedirection of Ald o Bartocci. At the Church of the Holy Childhood in Saint Paul,Minnesota, music for Easter Sunday included the ThirdMass in A (Coronation Mass) by Luigi Cherubini. OnMa y 13, 1984, the schola cantorum s ang Cesar Franck's

Solemn Mass in A. Members of the Minnesota Orches traassisted the choir on both occasions. Father JohnBuchana n is pas tor, and Bruce Larsen is choirma ster. The a bbey boy choir, together w ith a brass quintetand a brass ensemble, presented a program of music byGiovanni Gabrieli, J.S. Bach, Henry Purcell, SamuelScheidt, Arthur Frackenpohl and Lili Boulanger at Con-ception Abbey Basilica, Conception, Missouri, April 1,1984. The event w as pa rt of the Carnival of the Artssponsored by Conception Seminary College. FatherBede Parry, OSB, directed the choir, and ElizabethRounds w as organist. The brass instrumentalists w erefrom Northw est Missouri State University. The na tional congress of the American Federation ofPueri Cantores will be held in Washington, D.C., June19-21, 1984. Choirs from all parts of the United Statesw ill take part, along w ith a delegation from France. Aprogram of concerts and Mas ses w ill occupy the con-gress participants a long w ith sight-seeing of the nation'scapital city. Mons ignor Charles N . Meter is president ofthe federation, and Bishop Thomas Lyons ofWa shington is episcopal modera tor. William Jenner presented an organ recital at theChurch of Saint Rose of Lima, Chelsea, Massachusetts,May 20, 1984. His program included J.S. Bach's

Praeludiwn and Fughetta in d, Fantasia in C, Fugue in C a n dselections from the Orgelbuchlein. Works by CharlesM a r i e W i d o r w e r e hi s Symphony II, Praeludium circularea nd Salve Regina. From Charles Arnould Tournemire'sL'Orgue mystique selections from the office for the 17thSunday after Pentecost w ere played. The ScholaAmicorum first sang the chant piece on w hich theorgan compositions w ere based. Mem bers of the groupw ere Charles Dona hue, Michael G. Ferry, RichardKitch, Francis Kulash, Constance Mitchell and ColemanTerrell.

Saint Michael's College, Winooski, Vermont, hasscheduled a church music w orksho p, July 9-11, 1984.Members of the staff are William Tortolano, Rev.David Gallagher and Thomas Strickland. Instruction in

Gregorian chant, participation in sung liturgies andtours of new and historical organs in the area a replanned for the event. The Royal School of Church Music has scheduled atraining course for choirmasters to be held at Concep-tion Abbey, Conception, Missouri, July 5-S, 1984.

Practical instruction in conducting, rehearsal techni-ques, performance and accompaniment techniques isplanned. Members of the faculty include Robert Ken-nedy, James Livengood and John Schaefer. Informationma y be obtained by w riting Royal School of C hurchMusic, Box 369, Litchfield, Connecticut 06759. The Second International Romantic Organ MusicSymposium w ill be held in Milw auk ee, Wisconsin,August 12-17, 1984. Sponsored by the Milw au keechapter of the American Guild of Orga nists in coopera-tion w ith Ma rquette U niversity, the event w ill in-vestigate the music of the French romantic organ

school: J.N. Lemmens, C M . Widor, A . Guilma nt, C.Loret, L. Niedeermeyer, C. Saint-Saens and E. Gigout.Ten orga ns w ill be used for the distinguished faculty ofsome tw enty artists . Information ma y be obtained fromMrs . Earl Wagner, 5235 S. 44th St., Milw auk ee,Wisconsin 53220. The Kettering Organ Concerts at the Seventh-dayAdventist Church in Kettering, Ohio, have presentedthe follow ing artists: Richard Benedum , Julane Rodgers,Thoma s Miles, Devon G. Hollingsw orth, MorrisTaylor, John Winter, Mary Preston and Thomas Mur-

ray a s w ell as the Vocal Arts Ensemble under the direc-tion of Elmer Thomas during the series that began inSeptember 1983 and concluded on May 13, 1984. TheCas ava nt organ of 92 ranks , built in 1971, w as used forthe recitals. Saint Augustine Cathedral, Kalamazoo, Michigan,has established the Father John C. Seiner Music Guildto provide for sacred music of high artistic integrity andto honor Father Seiner, w ho for ma ny years w as presi-dent of the Society of Saint Gregory of America and

edi tor of The Catholic Choirmaster, f o r e r unner o f SacredMusic. The guild is undertaking to raise $100,000 overa three year period to support the singers of thecathedral choir together w ith a schola ca ntorumdevoted to the preservation of Gregorian cha nt, and theproviding of organists and professional instrumentalistsfor service in the cathedral. It is hoped that an examplew ill be set for other churches a nd cities in Michigan.Father Seiner, now chapla in for the Sisters of Sa intJoseph, Naza reth, Michigan, w as formerly a ssociatedw ith the Catholic University in Was hington and SaintMary's Seminary in Baltimore, Maryland. For furtherinformation, w rite to Reverend Stephen C. Wetmore,542 W. Michigan Avenue, Kalamazoo, Michigan49007.

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Olaf C. Christiansen, director of the St. Olaf Choir ofNorthfield, Minnesota, died Thursday, April 12, 1984,at the age of 83. He had been associated w ith SaintOlaf's College for 27 years, succeeding his father, F.Melius Christiansen. He w as as sociated w ith theOberlin Cons ervatory and did gradua te w ork at UnionSeminary. He held honorary degrees from PacificLutheran and Allegheny Colleges. More than 125published w orks are am ong his achievements. HThe Cathedral of the Holy Rosary in Regina, Saskat-chew an, C ana da, has restored the practice of s ingingevening song (vespers) on the first Sunday of eachmonth. Reverend Leonard Sullivan, director of the ar-

chdiocesan liturgy commission, presided at the officefor the fourth Sunday of Lent. Harold Gallagher w asorganist. On the third Sunday of Easter an organ recitalby Mr. Gallagher preceded vespers.

New s has come of the death of Pierre Cochereau,organist of the Cathedral of Notre Dame in Paris. Hedied suddenly a fter a concert at the age of fifty-nineyears. His Sunday a fternoon concerts at Notre Dam e at-tracted huge crow ds to the cathedra l, including greatnumbers of young people. Paris is impoverished by hispas sing; France is impoverish ed, a nd so are w e all. R.I.P.R.J.S.

CONTRIBUTORS EDITORIAL NOTESSubscriptions

Monsignor Johannes Overath is pre s ident o f th e Pon-tifical Institute of Sacred Music in Rome and presidentof the Consociatio Internationalis Musicae Sacrae, thepapal federation of church music associations. A priestof the Archdiocese of Cologne, he is a w ell-know nmusicologist.

Reverend Robert A. Skeris is a priest of the Archdioceseof Milw au kee at present living in Germa ny a nd servingas curator of the research center for hymnology,ethnomusico

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