Sacred Music, 113.1, Spring 1986; The Journal of the Church Music Association of America

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Volume 113, Number 1

(Spring) 1986



Fra Angelico. The Annunciation.

SACRED MUSICVolume 113, Number 1, Spring 1986

FROM THE EDITORS

VIII International Chu rch Music Congress 3

Th e Virgin in Ar t 5

ALLOC UTION OF POPE JOHN PAUL II 6

THEOLOGICAL PROBLEMS OF CHURCH MUSIC

Joseph Cardinal Ratzinger 8

SYNTHESIS OF THE SECOND INTERNATIONAL

CONGRESS OF GREGORIAN CHANTjean Foyer 17

THREE SERVANTS OF THE LORD: SCHMIT, GAJARD AND HABERL

Virginia A. Schubert 25

REVIEWS 30

NEWS 31

CONTRIBUTORS 32

EDITORIAL NOTE S 32





FROM THE EDITORS

VIII International Church Music CongressWhat better place for a church music congress than Rome? With the great basilicas

and churches open for Masses and concerts, with cardinals and archbishops presentin great numbers, with the Holy Father himself very much in evidence and even

present at one of the scheduled functions of the congress, there is not hin g mor e th at

one could even dream of having. Even the ten days of cold rain that November

produced in Rome did not dampen the enthusiasm that everyone had for coming to

Rome for an international church music congress, the first one in the Eternal City

since the Holy Year of 1950, when the first international congress was called.

The program was filled. Among the great choirs that sang were the Regensburg

cathedral ' s famous Domspatzen, the Cappella Oenipontana from Innsbruck, the

Cappella Carolina from the Cathedral of Aachen, the Palestrina Motet Choir from

Tegernsee in Bavaria, the Cappella Traiectina from Utrecht in The Netherlands, the

Salzburg Cathedral Boys Choir, the Choir of the Cathedral of Augsburg and the

Choir of Saint Augustine from Muri-Gries near Bolzano, Italy. There were organ

recitals, concerts of medieval music, baroque, classical and modern compositions.

And finally, there was a pilgrimage to the Benedictine monastery at Montecassino

where solemn Mass was celebrated with three choirs participating in a concelebrated

Latin Mass in the gloriously restored abbey church. For a full week of activity

nothing more could possibly have been added.

Highlight in the lectures was the address of Cardinal Ratzinger, published in

Volume 112, No. 4, of Sacred Music. Abbot Jean Prou of Solesmes delivered a

notable paper. Among the others who spoke were Josef Kuckertz, Bonifacio Barof-fio, O.S.B. , and Gabrie l Steinschulte . Monsignor Johannes Overath , president of the

Consociatio Internationalis Musicae Sacrae and rector of the Pontifical Institute of

Sacred Music, presided.Incorporated into the congress program was the blessing of the new home of the

Pontifical Institute of Sacred Music by the Holy Father, Pope John Paul II. The old

abbey of S. Girolamo, where the Benedictines had worked on a revision of the Latin

text of the Vulgate Bible, was vacated by the monks at the completion of their work.

It has now become the papal music school. A new pipe organ and a refurbished

chapel were blessed by the Holy Father, who delivered an address, printed elsewhere

in this issue of Sacred Music. After choral selections by visiting choirs, the Holy

Father greeted all those present ind ividually despite the cold rain falling in the atriu m

of the abbey. The occasion was historic for the music school founded by Pope Pius X

nearly seventy-five years ago.

The theme of this VIII International Church Music Congress was announced as thepastoral use of Gregorian chant, particularly for congregational singing. As part of

the celebration of the European Year of Music, the congress wished to give recogni-

tion to chant as the fundament of all European musical development as well as its

role today as the song proper to the Roman Church. The theme was chant and the

pastoral ministry. Indeed, the Abbot of Solesmes spoke on "Gregorian Chant and the

Sanctification of the Faithful," and Fr. Bonifacio Baroffio addressed the subject of

"Chants for the Congregation in the Gregorian Repertory." Every Mass had its share

of Gregorian pieces, usually the proper sung by a choir from The Netherlands. The

Ward Method was given an entire day to demonstrate its principles under the direc-

t ion of Theodore Marier with groups from France and Holland providing demon-

stra t ions.

Ce rtai nly one can no t com plai n tha t Gr ego rian chan t wa s no t in evidenc e at the FROM THE EDITORS



congress either in lecture or in the liturgy or in concert. But one did not get theimpression that the great developments in Gregorian scholarship during the pasttwenty years were in evidence. In most parts of the world Gregorian chant is all butdead, but since its practical demise along with the Latin language at the introductionof the vernacular into the liturgy, great discoveries have been made in Gregorianresearch, resulting in significant changes in the singing of the ancient melodies. Onecould have expected presentations on these developments and demonstrations oftheir application for choirs and congregations. Instead, the congress featured theWard Method, surely nothing new to most musicians present, and perhaps now asystem that new discoveries will relegate to history as a popular and effective peda-gogy of chant according to the theories of Dom Mocquereau in the early part of thetwentieth century. Other international meetings devoted to Gregorian chant, such asthe May congress in Paris, surely excited the participants to realize the living andpractical nature of chant as a pastoral tool in today's liturgical reform. If the reformsintended by the fathers of the Second Vatican Council are to be implemented, and ifit is to have the primacy of place ordered in the constitution on the sacred liturgy,then Gregorian chant must be utilized by both choir and congregation. This chant

must be sung according to the best scholarship. We must learn what the monks ofSolesmes have discovered in the twenty years since the council. The work of DomCardine in semiology is significant. One could have expected the VIII InternationalChurch Music Congress to have presented more than just one system.

There were many new faces in Rome for the congress, many young peop le from allparts of the world, attracted to the meeting to learn, but also to meet their counter-parts from other countries and continents. The possibilities for such friendly ex-change were greatly limited. Rome is, of course, a large city, and housing wasscattered. But some greater opportunity for the exchange of ideas and the meeting ofnew friends should have been provided. The Augustinianum had a fine hall forlectures with its simultaneous translation facilities, but no real center where the

congress participants could regularly gather socially was provided. Some break-down into language groups might have been useful, at least to learn who was presentfrom nations with the same vernacular and therefore with many of the same prob-lems of using Gregorian chant as a pastoral tool for sanctifying the faithful.

The week following the congress saw Rome filled with cardinals and bishops forthe extraordinary synod called by the Holy Father to consider the implementation ofthe decrees of the Second Vatican Council. Journalists and interested people floodedthe city, including a great number of Americans. The liturgical reform was amongthe many subjects considered by the synod members. That an international churchmusic congress concerned with the very same liturgical problems had met the pre-ceeding week in the same city did not impinge on the interventions of the fathers ofthe synod. And yet, the answer to the liturgical reforms, ordered by the counciltwenty years before, lies in the use of Gregorian chant so that it truly will haveprimacy of place and be a means of sanctifying the faithful. It is unfortunate that theVIII International Church Music Congress and the Extraordinary Synod of 1985 didnot come into closer contact than merely those of time and place.

R.J.S.

FROM THE EDITORS

4



The Virgin in ArtIn a chap ter o f The Education of Henry Adam s ca l led "The Virg in and the Dy-

n am o , " Ad am s d esc r ib e s h i s ex p e r i en ce in t h e Ga l l e r y o f M ach in es a t t h e Pa r i s

Exposi t ion o f 1900 . For a long t ime he s tood before the dynamo, fasc ina ted , ye t

u n ab le t o u n d e r s t an d th e r e l a t i o n sh ip b e tween th e en g in e h o u se an d th e p i l e o f co a l

o u t s id e an d th e f u n c t io n in g m ach in e a t wh ich h e was g az in g . Fo r Ad am s i t was

in co m p r eh en s ib l e , ev en o ccu l t . E v en th o u g h th e d y n am o was a l r ead y a f am i l i a r

ob jec t , he re f lec ted tha t e lec t r ic i ty requ i red a fiat as d id f a i t h . Ad am s b eg an to t h in k

of the dy na m o as a mo ra l fo rce , a sym bol o f in f in i ty and co mp are d i t s po we r to tha t

o f t h e Cr o ss f o r Ch r i s t i an s . He saw th e sam e r e l a t i o n sh ip b e tween s t eam an d e l ec t r i c

cu r r en t a s b e tween th e Cr o ss an d th e ca th ed r a l .

Hen r y Ad am s d e f in ed h i s metier of h is to r ian as tha t o f an ar ranger o f sequences o r

s to r ies accord ing to a cause and ef fec t re la t ionsh ip . He had spen t h is l i f e look ing fo r a

necessary sequence fo r the movement o f human h is to ry , and af te r re jec t ing the

sequence o f men , o f soc ie ty , o f t ime and o f thought , he had tu rned to a sequence o f

fo rce fo r h is h is to r ica l o rde r ing . N ow s tan d in g in f ron t o f the dy na m o, he rea l ized

tha t h is h is to r ica l neck was b roken by the new sc ien t i f ic fo rces he saw represen ted inth e Ga l l e r y o f M ach in es . Du r in g th e sam e t r i p Ad am s v i s i t ed th e Ca th ed r a l o f

Amiens , ded ica ted to the Blessed Virg in Mary , and asked what fo rce i t was tha t had

caus ed th is ca th edra l and hu nd red s l ike i t to be const ru c ted a l l over France dur ing the

midd les ages . He knew tha t the Virg in had someth ing to do wi th i t , bu t as an

Am er i can P r o t e s t an t , h e d id n o t u n d e r s t an d h o w th e V i r g in co u ld b e a f o r ce t h a t

caus ed ar t to be c rea ted .

He then began a journey backwards in t ime f rom the year 1900 , a per iod tha t he

charac ter ized as one o f d ivers i ty , to the th i r teen th cen tury , the per iod o f un i ty when

th e V i r g in re ig n ed su p r em e . H i s t a sk was to u n d e r s t an d th a t e a r l ie r p e r io d an d h o w

civ i l iza t ion moved f rom the un i ty o f the midd les ages to the d ivers i ty o f the con tem-

porary wor ld , a wor ld tha t he found to be v io len t and ug ly . The resu l t was h is s tudyof the midd le ages , Mon t St. Michel and Chartres a n d The Education of H enry

Adams, whose las t few chap ters exp la in h is dynamic theory o f h is to ry .

T h i s y ea r we a r e d ed ica t in g Sacred Music to the Blessed Virg in . Our i l lus t ra t ions

wi l l be d rawn f rom the g rea t a r t tha t was c rea ted in her honor th rough the cen tur ies .

As Henry Adams sa id , "Symbol o r energy , the Virg in had ac ted as the g rea tes t fo rce

the western wor ld ever fe l t , and had d rawn man 's ac t iv i t ies to herse l f more s t rong ly

th an an y o th e r p o wer , n a tu r a l o r su p e r n a tu r a l , h ad ev e r d o n e ; t h e h i s to r i an ' s b u s i -

ness was to fo l low the t rack o f energy , to f ind where i t came f rom and where i t wen t

to ; i t s com plex source and sh i f t ing cha nne ls ; i ts va lue s , equ iva l en ts , conv ers ions ."

(The Education of Henry Ada ms, Boston : Houghton Mif f l in Co . , p . 388-389 .) Even

today we fee l her fo rce as we con templa te her represen ta t ion in a r t and as we v is i t her

shr ines , be they medieval ca thedra ls o r p i lg r image s i tes such as Lourdes , Fa t ima or

G u a d a l u p e .

V . A . S .

FROM THE EDITORS

5



ALLOCUTION OF POPE JOHN PAUL II(This text was delivered by the Holy Father at the dedication of the new campus of thePontifical Institute of Sacred Music in Rome, November 21, 1985.)

It is with pleasure that I accepted the invitation to preside at the blessing of the

new organ and the dedication of the new quarters of this Pontifical Institute of

Sacred Music, which my venerable predecessor, St. Pius X, had founded in thePalazzo Apollinare and which today has been transferred to this friendly abbey of S.

Girolamo in Urbe.

I thank almighty God above all for having rendered possible the move to this

location so much more appropriate to the purpose of the institute, since it provides

better opportunities for musical studies and exercises. My thoughts of gratitude go to

Cardinal William Baum and to Monsignor Johannes Overath, respectively the grand

chancellor and the rector of the institute, for the impressive words with which they

have introduced this ceremony. I also wish to express my sincere thanks to all those

who have been the instruments of Divine Providence in the remodelling of the

buildings, in particular to the members of the Saint Gregory Society who have

generously supported the work accomplished.

To all of you, teachers, students and friends of music present at this solemngathering , I extend my cordial greetings with the wish that you b e able to grow from

day to day in the love of God, "singing and making melody in your hearts to the

Lord" (Eph. 5:19).

Today, on the vigil of the feast of Saint Cecilia, during the European Music Year, it

is necessary in these surroundings to speak about the vocation and the formation of

all those primarily concerned with the liturgy and its music. The conciliar constitu-

tion on the sacred liturgy emphasizes the dignity and the importance of music within

the liturgical action. This dignity demands of the church musician a true and propervocation. And in the generosity of his response the musician will also find the

strength to confront the difficult task which the study of this subject involves.

But since it is a matter of sacred music, whose roots are found in the liturgy,artistic gifts of the highest order are called for. The creation of works of sacred music

demands a continuous effort in order to be able to express the Divine through the

rich gamut of sounds, insofar as this is possible for human beings.

On the basis of its own interior dynamism, this calling or vocation tends to

becom e adora tion— an experience which is possible when "singing in the liturgy" a nd

is born of an authentic sentire cum ecclesia. This continuous union with God is

joined with artistic talent in a happy synthesis in which both elements enrich each

other. It is here that one must seek the inexhaustible source of sacred art. The liturgy,

experienced with the complete participation of the whole person, must accordingly

be the primary preoccupation during the training of all those who desire to become

church musicians.M ay the Pontifical In stitute of Sacred M usic in Rom e, located so near the Ch air of

Peter, feel itself involved in the apostolic mission by concretizing those programs of

ecclesiastical renewal which the last council has long since desired.

In addition to the traditional basic subjects such as Gregorian chant, organ and

classical polyphony—and these are realms of art which have become real apologies

for the faith and thus the very sap of life which from the beginning has nourish ed the

artistic and spiritual development of European musical culture—it is also necessary

to recognize the rich gift which the entire Church receives from a loving and factual

knowledge of the treasures of the oriental churches, of their liturgy and music.

Hence the council also calls for renewed attention to various cultural factors. The

introduction of the vernacular tongues into the Roman liturgy demands full regard

POPE JOHN PAUL II for local hym nological traditions. Th e new cultural sensibility and (even prior to it) a



truly Catholic ecclesiastical view call for an opening of hearts and minds to the

musical realities of non-European cultures.

It is urgently necessary to proceed according to the wise principle of conservare et

promovere, preserve and promote. Make an effort, therefore, during your training

and your practical exercises, to find the synthesis between liturgy and music, be-

tween liturgical studies and musical practice, between scientific research and pastoral

tasks. For a long time, realities which by nature complement each other, such asliturgy and music, have been the object of parallel studies and atten tion, with out

that unifying vision which alone makes possible an adequate appreciation of either

of them.

It is your task to deepen courageously each aspect of liturgical life until you

achieve that proper balance which enables us to give a true response to all that the

Church and the world expect from musicians in the service of the liturgy.

As the Pontifical I nstitu te, o n the eve of its seventy-fifth anniv ersary , begins a new

phase in its life, it is earnestly to be desired that these new quarters become as it were

a crossroads at which the various forms of artistic expression, whose conscious

purpose is the glorification of God and the edification of men, can encounter each

other in liturgical life.In this respect, special importance accrues to the gift of this new organ dedicated to

the Blessed Mother, who in her Magnificat canticle exalted the humble who are

capable of perceiving in their hearts the ineffable wonders of the Lord. With Mary,

Mother of the Church and true Harp of the Holy Ghost, each one of us is invited to

penetrate into the very heart of God Himself. This is why I desire to quote for you

the words of Saint Ambrose: "Let Mary's soul be in every individual, that he may

praise the Lord; let Mary's spirit be in every individual, that he may rejoice in the

Lord" (Exp. Ev. sec. Lucam 2:26).

The study of church music would be a waste of time if it were not nourished by a

churchly life marked by faith: a faith which renews itself through contact with the

religious and artistic legacy of the past, but which confronts the cultural and artistic

experiences of the present in the knowledge that fidelity to the God of history

involves both as premise and as consequence an absolute fidelity to man—man who

has always yearned to sing of beauty and to sing of Him Who is the Creator of

beauty.

But church music should also promote fraternal charity. It should help form the

community by promoting the fusion of voices and of hearts and by uniting souls in

one great yearning of praise to God, Creator of the universe and Father of all. This is

why the last council recommends that "religious singing by the people is to be

skillfully fostered, so that in devotions and sacred exercises, as also during liturgical

services, the voices of the faithful may ring out according to the norms and require-

ments of the rubrics" (Sacrosanctum concilium, No. 118). Those responsible for the

promotion of sacred music are obliged to aid and support the participation of thefaithful in the liturgy by appreciative regard for the ancient musical patrimony of the

Church as well as by the search for new forms, taking care that these be capable of

expressing the sacred and touching the religious sensibilit ies of contemporary man.

May the chant which forms part of your studies thus become a distinctive sign of

your Christian life and of your identification with the Church, as Saint Augustine

adm onishe d the Christians of his day: "Sing with your voices, sing with y our h earts,

sing with your upright lives" (Sermo 34:6).

With these thoughts I wish for you that your academic activity will derive a new

impetus from today's ceremony, and that you will be able to achieve good results in

your personal efforts toward such a noble cause as sacred music, whose purpose is

the glo ry of Go d an d the be au teo us sp len do r of divi ne w or sh ip . POPE JOHN PAUL II



THEOLOGICAL PROBLEMS OF CHURCHMUSIC

(First presented in January 1977 at the State Conservatory of Music in Stuttgart, West

Germany, this essay is taken from Crux et Cithara, a Festschrift published on the

occasion of the seventieth birthday of Monsignor Johannes Overath, edited by FatherRobert A. Skeris (Altoting: Verlag Alfred Coppenrath, 1983.)

The critical situation of church music today is part of the general crisis of theChurch which has developed since Vatican II. We do not primarily intend to discussthe artistic crisis which is affecting church music along with all other forms of art atpresent. We shall rather discuss the crisis conditioned by the situation of theology, inother words the properly ecclesiastical and theological crisis of church music, whichactually seems to have fallen between two widely differing theological millstoneswhich apparently agree only in grinding musica sacra down to dust.

On the one side stands the puritanic functionalism of a liturgy conceived in purelypragmatic terms: the liturgical event, it is claimed, should be made non-cultic and

reduced to its very simple point of origin, a community meal. Everyone knows thatthe Second Vatican Council described the position of the individual in the liturgywith the phrase participatio actuosa, active participation. This concept, in itselfquite meaningful, has not seldom led to the opinion that the ideal goal of liturgicalrenewal is the uniform activity of all present in the liturgy. Accordingly, we havewitnessed the reduction of specially prominent tasks, and in particular, festivechurch m usic was widely considered a sign of an inappropriate "cultic" view wh ichappeared incompatible with general activity. In this view, church music can continueto exist only in the form of congregational singing, which in turn is not to be judgedin terms of its artistic value but only on the basis of its functionality, i.e., its"community-building" and activating function. The lengths to which the renuncia-tion of musical quality can go, are illustrated by the statement of a leading Germanliturgist. After the council, he declared, none of the traditional church music couldsatisfy the liturgical norms now in force: everything would have to be created anew.Plainly, in this view liturgical music is not regarded as art, but as a mere commodity.

This is the point at which the first millstone (which we have termed puritanicalfunctionalism) makes contact with the second millstone, which I should like to callthe functionalism of accomm odation. It has been repeatedly characterized as curiousand indeed contradictory, that parallel to the disbanding of church choirs and orches-tras, new ensembles often appeared, to perform "religious" jazz. In terms of theimpression created, these ensembles were surely no less elitist than the old churchchoirs. They w ere not subjected to the same criticism as the choirs, however. W her-ever such a transfer was enforced with passionate exclusivity, there was discernible

an attitude in which all church music, indeed all previous western culture was notregarded as belonging to the present and hence could not be a part of contemporarypractice, such as liturgy can and must be. Instead, traditional culture is pushed asideinto a more or less museum-like state of preservation in the concert hall. T his attituderesembles the first one in its exclusively functional way of thinking, which comesinto play here not merely as a theory of the liturgy but rather with an importancewhich is quite basic: the contemporary world is conceived so completely in terms ofthe functional that the link with history is broken , and history itself can on ly retainany value at all as a function, namely as an object in a museum. Thus history iscompletely relegated to the past, and loses all its vital power to shape life today.

These reflections make it clear that in the crisis described above, we are facing a

PROBLEMS difficult and deeply rooted phenom enon which cannot be dealt with throu gh mere



polemics . We need to re f lec t upon the roo ts o f th is a t t i tude , in o rder to be ab le to

o v e r co m e it f r o m wi t h in . A few of t h e co m p l i ca t ed r o o t s f r o m wh ich co n tem p o r a r y

p r o b lem s h av e sp r u n g , h av e b eco m e c l ea r f r o m wh a t h a s a l r ead y b een sa id . An d

wh en we a t t em p t t o a r r an g e an d co m p le t e o u r i n s ig h t s , we f in d th a t we m ay we l l s ay

th a t t h e p r o b lem h as f o u r l ev e l s .

I . T h e p a n o r a m a o f p r o b l e m s .

1. Th e fi rs t and re la t ive ly harm less , super f ic ia l leve l i s loca ted in the anc ie n t

d i l em m a o f t h e p r ag m a t i sm o f p a r i sh p r i e s t s v e r su s a r t ' s c l a im to ab so lu t e d o m in io n .

T h i s d i l em m a h as a lway s ex i s t ed , an d w i l l a lway s d o so . Wh e th e r we th in k o f S t .

J e r o m e ' s o u tb u r s t s ag a in s t t h e v an i ty o f a r t i s t s , o r r e ca l l t h e a r ch b i sh o p o f Sa l zb u r g

w h o p r e s c r ib ed to M o za r t t h e g r ea te s t p e r m iss ib l e l en g th of h is l i t u rg i ca l co m p o s i -

t i o n s , the f r ic t ion be tw een tw o d i f fe ren t c la ims is a lw ays iden t ica l . He re , one mu st

t ry to see where each s ide i s r igh t in o rder to f ind the common ground upon which

th ey can m ee t . L i tu r g y is so m e th in g d o n e in co m m o n , h en ce in t e ll i g ib i l i ty an d th e

ab i l i ty to be execu ted o r per fo rm ed are essen t ia l req u i re me nts . In a cer ta in sense , a r t

i s e l i t i st ac t iv i ty , and th us res is t s sub je c t ion to a se t o f req u i re me nts w hic h are no t h er

ow n. To tha t ex ten t the re is a conf l ict ro o te d in the very na tu re o f th ings , bu t the

conf l ic t can be f ru i t fu l because the mat te r i t se l f po in ts toward an inner un i ty whichof cours e mu st a lwa ys be sou ght anew , nam ely the fac t tha t l i tu rgy is no t me re ly

so m e th in g d o n e in co m m o n , b u t i s b y i ts v e r y n a tu r e " f ea s t. " Wh en ex ag g e r a t ed

meal- theor ies fa i l to take th is fundamenta l charac ter o f the l i tu rgy in to account , they

no longe r exp la in the essence of the l i tu rgy bu t ra th er concea l i t . As feas t , tho ug h ,

the l i tu rgy th r ives on sp lendor and thus ca l l s fo r the t ransf igur ing power o f a r t .

Inde ed , th e l i tu rgy i s ac tu a l ly the b i r thp l ace o f a r t , a nd i t wa s f rom the l i tu rgy th a t

a r t a cq u i r ed i t s an th r o p o lo g ica l n ece ss i t y an d i t s r e l i g io u s l eg i t im a t io n . Co n v e r se ly ,

we can thus say tha t where a genu ine feas t no longer ex is ts , a r t becomes a mere

museum p iece , and th is p rec ise ly in i t s most sp lend id manifes ta t ions . In such a case ,

a r t l ives on the memory tha t there once ex is ted such a th ing as the feas t ; i t s tense

becomes the pas t . Bu t a feas t does no t ex is t wi thou t l i tu rgy , wi thou t a war ran t to

ce lebra te whic h surpas ses ma n , a nd th us a r t , too , is re fer red to l i tu rgy . For i t s par t ,

a r t ex is ts on the s t reng th o f her wi l l ing serv ice to the so lemn l i tu rgy , in which she i s

c o n t i n u a l l y r e b o r n . 1

2 . As we h av e n o ted , t h e t en s io n b e tween th e p a r i sh p r i e s t ' s p r ag m a t i sm an d th e

a r t i s t ' s ab so lu t i sm i s a p e r p e tu a l p r o b le m o n th e p r ac t i c a l l eve l , t h o u g h n o t a p r o b -

lem a t the leve l o f bas ic p r inc ip les , a t leas t no t necessar i ly so . Much more p rofound

i s t h e q u es t io n wh ic h we p r ev io u s ly h in t ed a t in p a ss in g , w i th t h e wo r d "p u r i t an i sm ."

In more p rec ise te rms o f theo logy and the h is to ry o f ideas one would rea l ly have to

sp eak o f t h e p r o b lem o f i co n o c la sm an d i co n o c la s t i c r i o t s . I n h i s b o o k Where is the

Vatican Heading? Rein h a r d Ra f fa l t im p r e ss iv e ly d e sc r ib e s t h e m an n e r i n wh ich i co n -

oc las t ic cur ren ts burs t fo r th in the postconci l ia r Church and t r ies to f ind a b ib l ica l

d en o m in a to r f o r t h i s p h en o m en o n . T h e Ch u r c h a s i t u sed to b e , t h e "o ld " Ch u r c h ( a s

he puts i t) , def ined i ts feeling of existential presence in terms of , say, the parables of

the laborers in the vineyard or the l i l ies of the f ield; today, casting the sellers out of

the temple o r the eye o f the need le which p reven ts the r ich f rom en ter ing the King-

d o m o f Heav en , h av e m o v ed in to t h e f o r eg r o u n d . 2 As a mat te r o f fac t , church h is to ry

sh o ws th a t i co n o c la s t i c r i o t s b r o k e o u t r ep ea t ed ly . I n t h e sev en th an d e ig h th cen tu -

r i e s t h e Ch u r ch o f By zan t iu m was ex c i t ed b y th i s p r o b lem in a m an n e r wh ich

to u ch ed th e v e r y n e r v es o f h e r ex i s t en ce , an d th u s t h e Or th o d o x Ch u r ch ce l eb r a t e s

the Second Counci l o f Nicaea as the "Feast o f Or thodoxy ," because th is counci l

sea led the v ic to ry o f images and thus in genera l the v ic to ry o f a r t wi th in the fa i th . In

o th e r wo r d s , t h e Or th o d o x Ch u r ch see s i n t h i s q u es t io n th e sa l i en t p o in t o f t h e

Ch urc h ' s ex is tence in genera l , fo r on th is po i n t the bas ic dec is ion ab ou t ou r und er - PROBLEMS



s t a n d i n g of G od , t he w or d a nd m a n i s a t s t a ke . 3 T h o u g h t h e w e s t e r n C h u r c h w a s

p a l p a b l y c o n v u l s e d b y t h e q u e s t i o n d u r i n g t h e C a r o l i n g i a n a g e ,4 i t was rea l ly only

t he r e fo rm a t i on wh i c h u s he re d i n t he g re a t i c onoc l a s t i c d ra m a , i n wh i c h Lu t he r s i de d

wi t h t he a nc i e n t C hurc h a ga i n s t C a l v i n a nd t he l e f t i s t s o f t he r e fo rm a t i on , t he s o -

ca l led Fana t ic s or Schw'armer. The e a r t hqua ke t ha t we a re e xpe r i e nc i ng i n t he

C h urc h t o da y be l o ngs i n t h i s h i s t o r i c a l c on t e x t : he re is t he r e a l c o re of t he t he o l og i c a l

que s t i on a bou t t he j u s t i f i c a t i on fo r i m a ge s a nd m us i c i n t he C hurc h . The m a i n

po r t i on o f ou r r e f l e c t i ons wi l l be de vo t e d t o t he i nve s t i ga t i on o f t h i s que s t i on , a nd

he nc e we s ha l l t e m por a r i l y p os t po ne i t . B u t at l ea s t th i s m uc h i s c l e a r : t he p ro b l e m o f

c hu rc h m u s i c i s no t m e re l y a p ro b l e m fo r m u s i c , bu t a v i t a l que s t i on fo r t he C hu rc h

herself. A nd I w ou l d a d d t ha t i t i s c onve r s e l y a que s t i on fo r m us i c a s a wh o l e a n d n o t

j u s t fo r c hu rc h m us i c , be c a u s e whe n t he r e l i g i ous g r ou nd i s c u t a wa y f rom un de r

m us i c , t he n a c c o rd i ng t o t he fo re go i ng c ons i de ra t i ons m us i c a nd i nde e d a r t i t s e l f a r e

t h r e a t e n e d , e v e n t h o u g h t h i s m i g h t n o t b e i m m e d i a t e l y a p p a r e n t .

3 . To be sur e , a l l o f th i s m ak es qu i te c lea r the fac t th a t th e ecclesiastical crisis of

c hu rc h m us i c c a nno t be s e pa ra t e d f rom t he p re s e n t c r i s i s o f a r t i n ge ne ra l . I unde r -

s t a nd t ha t Ma ur i c i o Ka ge l wro t e a n ope ra s om e ye a r s a go wh i c h de p i c t s i n a r e ve r s e

d i r e c t i on t he h i s t o ry o f m ode rn t i m e s , a nd t hus u l t i m a t e l y wor l d h i s t o ry , a s a nUt op i a n m y t h : t he Am e r i c a o f t he Inc a s , t he M a ya s , t he C h i b c ha s , e t c . i s no t d i s c ov -

e re d by t he C hr i s t i a n S pa n i a rd s , bu t r a t he r S pa i n a nd Europe a re d i s c ove re d by t he

Ind i a ns , a nd l i be ra t e d f rom t he i r C h r i s t i a n " s u pe r s t i t i ons . " Th e m y t h i s i n t e nde d a s

a n Ut op i a n p rog ra m : t h i s wa s t he d i r e c t i on i n wh i c h h i s t o ry s hou l d ha ve m ove d ; t h i s

w o u l d h a v e b e e n p r o g r e s s t o w a r d h u m a n i t y a n d t o w a r d t h e u n i t y o f t h e w o r l d : t h e y

c o u l d h a v e a n d s h o u l d h a v e m e t i n t h e p r e - C h r i s t i a n a n d t h e a n t i - C h r i s t i a n . S u c h

i m a ge s a re no t on l y a n e xp re s s i on o f p ro t e s t a ga i n s t wh a t i s C h r i s t i a n , bu t a re a l s o

i n t e nd e d a s a c u l t u ra l op t i on . Th i s d i s ow n i ng o f C h r i s t i a n c u l t u re a nd s e a rc h fo r ne w

s hore s o f c u l t u ra l e xp re s s i on a re , by wa y o f p ro t e s t , s e t ove r a ga i n s t t he C hr i s t i a n

w o r l d . 5 And he re i n l i e s t he s ym pt om a t i c i m por t a nc e o f s uc h i m a ge s : t he de m a nds o f

C h r i s t i a n c u l t u re a nd of i t s m a t e r i a l i z a t i on s wh i c h ha v e g ro wn o rg a n i c a l l y w i t h i n

t ha t f r a m e work , a c t ua l l y a ppe a r a s a t h re a t t o t he m e n o f a wor l d wh i c h ha s onc e

a g a i n b e c o m e h e a t h e n . A n d m a n y a s p e c t s o f t h e w h o l e a r t in d u s t r y i n r e c en t d e c a d e s

c a n a t bo t t om on l y be unde r s t ood a s de l i be ra t e m oc ke ry o f t ha t wh i c h p re v i ous l y

wa s a r t , a s a n a t t e m p t t o l i be ra t e i t s e l f f rom t he g re a t ne s s o f a r t t h rough m oc ke ry

a nd r i d i c u l e , a n a t t e m p t t o ove r t a ke a nd t o s upe rc e de a r t a nd t o r e ga i n t he a s c e nd -

a n c y vis-a-vis a c l a i m wi t h wh i c h we a re s i m p l y una b l e t o c a t c h up .

4 . O nc e a ga i n , th i s i s c onn e c t e d wi t h t he ph e n om e n on o f func t i o na l i s m de s c r i be d

ear l ie r , and fun c t ion a l i sm i s in fac t the bes t desc r ip t io n of the w ay in w hic h to day ' s

wor l d e x i s t s . In t he i r book , Chance and Risk of the Present, H u g o S t a u d i n g e r a n d

W o l fga ng B e h l e r ha ve r e c e n t l y e xa m i ne d i n g re a t de t a i l t he i nc l u s i ve c ha ra c t e r o f t h i s

f u n c t i o n a l i s m .6 The y m a ke c l e a r t ha t t yp i c a l l y , t he m a c h i ne u l t i m a t e l y be c om e s t he

un i ve r s a l s t e re o t ype fo r hu m a n b e i ngs , t ha t a l l o f r e a l i t y is r e duc e d t o q ua n t i t a t i v ed i m e ns i ons a nd t ha t t h i s r e duc i b i l i t y a pp l i e s e ve rywhe re a nd i n p r i nc i p l e . He re ,

the r e i s no lon ger an y p lace for a r t i s t i c even ts w hic h a re uni qu e , s ince a l l tha t i s

un i que m us t be r e p l a c e d by t he m e re l y c a l c u l a b l e . Ar t f a l l s unde r t he l a ws o f t he

m a rke t p l a c e , a nd t he m a rke t p l a c e a bo l i s he s i t a s a r t . 7

Al l o f t h i s s hou l d ha ve m a de s om e wha t m ore e v i de n t t he ve ry l i m i t e d e x t e n t t o

wh i c h t he p rob l e m s o f c hu rc h m us i c t oda y a re pu re l y e c c l e s i a s t i c a l p rob l e m s . B u t

c onve r s e l y , i t s hou l d a l s o be c l e a r t ha t t he p rob l e m s o f t he c on t e m pora ry a ge a nd o f

i t s c u l t u re ha ve s om e t h i ng t o do wi t h t he c onvu l s i ons r a c k i ng a l l t ha t i s C h r i s t i a n ,

a nd i n t u rn t he s e p rob l e m s a re a l s o s t rong l y i n f l ue nc e d by s uc h s hoc ks . Ac c o rd i ng l y ,

t he s e c ond pa r t o f ou r r e f l e c t i ons m us t be de vo t e d t o i l l um i na t i ng t he ge nu i ne l y

PROBLEMS theo log ica l core of the w ho le qu es t ion : i s Ch r i s t ian i ty itself, i n i t s ve ry roo t s , pe r -

10



h ap s i co n co la s t i c , an d d id i t t h e r e f o r e b r in g ab o u t a r t i s t i c c r ea t io n o n ly th r o u g h a

felix culpa ( in the sense in which Got t l ieb Sohngen ca l led Sa lzburg a felix culpa, a

p r in ce ly - ep i sco p a l m i su n d e r s t a n d in g o f ap o s to l i c su ccess io n , b u t a f o r tu n a t e o n e8)?

Or , i s i t pe rh ap s the iconoc las t ic r io ts wh ich are rea l ly un -C hr i s t ia n , so tha t a r t a nd

p r ec i se ly ch u r ch m u s ic wo u ld ac tu a l ly b e an in n e r r eq u i r em en t o f wh a t i s Ch r i s t i an ,

an d th u s , a lo n g w i th ch u r ch m u s ic , m u s i c i n g en e r a l co u ld co n s t an t ly d r aw n ew

hope f rom th is fac t?

The inner c r i s i s o f Chr is t ian i ty today consis ts in the fac t tha t Chr is t ian i ty can no

lo n g e r r eco g n ize "o r th o d o x y " a s i t was f o r m u la t ed a t t h e Seco n d Co u n c i l o f N icaea ,

an d ac tu a l ly co n s id e r s i co n o c la s t i c r i o t s t o b e t h e p r im ev a l co n d i t i o n . A l l t h a t r e -

m a in s t h en i s e i t h e r t h e d e sp a r a t e sch i zo p h r en ia o f j o y o n acco u n t o f t h e f o r tu n a t e

m is u n d e r s t a n d in g in h i s to ry , o r an awa k en in g to n ew i co n o c la sm .

W h y i s i t t h a t t h e ex p e r t s t o d ay ag r ee t h a t em n i ty t o w ar d a r t , t h a t p u r i t an f u n c -

t iona l ism , i s the genu ine ly C hr is t ian a t t i tud e? A s a ma t te r o f fac t , the idea has a

twofo ld roo t . The f i r s t l ies in the fac t tha t the t rans i t ion f rom the Old Testament to

th e co m m u n i ty o f J e su s Ch r i s t ap p ea r s a s e scap e f r o m th e t em p le i n to t h e wo r sh ip o f

th e co m m o n p lace . J e su s co n t in u es t h e c r i t i c i sm o f t em p le wo r sh ip b eg u n b y th e

Israe l i te p rophets , and indeed in tensi f ies i t to the po in t o f symbol ica l ly des t roy ingthe temple when He cas t ou t the se l le r s . The cruc i f ix ion o f Jesus "wi thou t the ga te"

(Hebr . 13 :12) thus appears to His apost les as the new cu l t0

and hence as the end of all

p r ev io u s cu l t s . F r o m th i s , p eo p le t o d ay co n c lu d e th a t Ch r i s t i an i ty i n t h e sen se o f

Je su s Ch r i s t i s o p p o sed to t em p le , cu l t an d p r i e s th o o d ; t h a t Ch r i s t i an i ty r eco g n ize s

no o ther sacredness and no o ther sacred space than tha t o f everyday l i fe ; tha t as a

co n seq u en ce Ch r i s t i an wo r sh ip m u s t a l so b e "p r o f an e"—a b i t o f t h e co m m o n p lace .

An d wh e r ev e r cu l t an d p r i e s th o o d m ay h av e o n ce ag a in a r i sen , t h en th i s i s s im p ly

r eg r e s s io n in to a p r e - C h r i s t i an s t ag e . Su ch a p r o f an e c o m p r eh e n s io n of wh a t i s

Ch r i s t i an o f co u r se i n t u r n p r o v o k es t h a t two f o ld r eac t io n o f wh ich we sp o k e a t t h e

o u t se t . On th e o n e h an d , t h e f e s t i v e so l em n i ty o f Ch r i s t i an wo r sh ip m u s t b e d en ied ,

an d wi th i t a l l p re v io us churc h mus ic is ushe red ou t the doo r , s ince i t app ea rs"sacred ." A nd th e o th er reac t ion i s tha t w ors h ip i s sup pos ed to be no d i f fe ren t tha n

ev e r y d ay co m m o n p la ce ac t iv i ty , an d m u s ic can t ak e p a r t i n wo r sh i p , so t o sp eak , o n

co n d i t i o n th a t it b e p r o f an e .

Su ch id ea s we r e co m p le t e ly u n k n o wn to t h e g r o win g Ch u r ch o f t h e ea r ly cen tu -

r i e s . The ep is t les o f the New Testament a l ready speak o f a r ich and by no means

profane l i tu rg ica l l i f e in which the psa lms o f I s rae l were s t i l l sung , a long wi th

Ch r i s t i an ad d i t i o n s i n t h e f o r m o f h y m n s an d ch an t s . E r ik Pe t e r so n h a s sh o wn h o w

in m an y r e sp ec t s t h e Ap o ca ly p se ex p an d s th e t em p le v i s io n o f I sa i a s , i n wh ich

m e n t io n i s m a d e o f t h e cr i es an d u t t e r an ce s of t h e an g e l s b e f o r e Go d . A m o n g o th e r

th in g s , t h e Ap o ca ly p se r ep o r t s m o r e th an m er e c r i e s : s i n g in g , c a l l i n g , g iv in g g lo r y .10

Th e ba ck gr ou nd fo r th is i s a d i f fe ren t ia t io n in l i tu rg ica l usage wh ich op ene d a new

d im en s io n in cu l t i c p r a i se an d g lo r i f i c a t io n : t h e ad d i t i o n o f h y m n o d y to p sa lm o d y ,

of song to speech o r rec i ta t ion . In th is con tex t , Pe ter son refers to a no tewor thy tex t o f

Or ige n : "Sing in g psa lm s bef i t s me n , bu t s ing ing hy m ns is fo r angels and fo r th ose

w h o lea d a l ife l ike that of the angels."11 T h i s m u ch i s c l ea r : f r o m th e v e r y b eg in n in g ,

Ch r i s t i an wo r sh ip was th e wo r sh ip o f God an d c l ea r ly co n t r a s t ed w i th t h e ev e r y d ay

an d th e co m m o n p l ace . I n d eed , f r o m th e v e r y b eg in n in g it wa s ch a r ac t e r i z ed b y

earnest e f fo r ts toward a new form of poet ic and musica l p ra ise , and th is f rom

th eo lo g ica l m o t iv e s .

Bu t o n th e o th e r h an d i t i s t r u e t h a t Ch r i s t i an wo r sh ip p r e su p p o ses a b r eak w i th

the temple an d to tha t ex ten t i s m ore c lose ly re la ted to the syna gog ue serv ice than to

the temple l i tu rgy , in any case in te rms o f i t s ex terna l shape . Th is impl ies the

om iss i on o f ins t ru me nts ; i t doe s no t s ign i fy a t ran s i t io n in to the p ro fan e , bu t ra th er a PROBLEMS

1 1



p u r i s t i c a l ly accen tu a t ed sac r a l i t y . T h e ch u r ch f a th e r s a cco r d in g ly d e sc r ib ed th e en -

t i r e p a th f r o m th e t em p le cu l t o f t h e O ld T es t am en t t o Ch r i s t i an wo r sh ip , i n f ac t t h e

pa th f rom O ld to N ew Testa me nt in genera l , as a p roces s o f sp i r i tua l iza t ion . From

th is po in t o f v iew they were devo ted to a pure ly word- l ike l i tu rgy , and a t f i r s t la rge ly

adverse to l i tu rg ica l sp lendor on a l l leve ls . Th is i s espec ia l ly t rue o f the fa ther o f

wes t e r n t h eo lo g y , S t . Au g u s t in e , wh o f u r th e r m o r e in h i s a r ea h e ld f a s t t o t h e p r o h i -

b i t ion o f images as an express ion o f h is theo logy o f sp i r i tua l iza t ion , thus exer t ing a

spec ia l in f luence upon the development o f the Church and o f theo logy in the west . 1 2

Of co u r se i t was b y n o m ean s n ecessa r y th a t t h e co n cep t o f sp i r i t u a l i z a t io n p r o -

duce on ly such ef fec ts , s ince g rea t a r t i s a f te r a l l p rec ise ly the resu l t o f a maximum of

sp i r i t u a l i z a t io n . H e r e , i t i s r a th e r t h e P l a to n ic r o o t i n p a t r i s t i c t h o u g h t w h ich co m e s

to the fo re , g iv ing i t s spec ia l cas t to the pa t r i s t ic idea o f sp i r i tua l iza t ion and hence

a l so to t h e p a t r i s t i c v i ew o f t h e r e l a t i o n sh ip b e tween O ld an d New T es t am en t s . I n a

cer ta in sense Pla to may be ca l led the d iscoverer o f the sp i r i t in the west , and tha t i s

h is las t ing fame. He descr ibes humani ty as a passage f rom the sensib le to the sp i r i t -

u a l , as a p rocess o f dem ate r ia l iza t ion . I t i s f rom th is po i n t o f v iew th a t h is com pre -

h en s iv e p ed ag o g ica l p r o g r am i s d r a wn u p . As a g en u in e Gr e ek , h e a l l o t s to m u s ic a

cen t r a l p o s i t i o n in t h e ed u ca t io n o f h u m an b e in g s , b u t ev en h i s m u s ic p ed ag o g y r e s t su p o n th e co n cep t o f a d em a te r i a l i z a t io n o f m u s ic , t h r o u g h wh ich h e s im p ly d e s i r e s t o

ach iev e th e v i c to r y o f Gr eek h u m an i ty o v e r t h e "m a te r i a l i z in g " m u s ic o f i n h e r i t ed

r e l ig io n s . T h e b a s i c co n cep t a s su ch i s im p o r t an t , b u t h e w h o co n s t r u c t s a p e r f ec t

wor ld in a tes t tube rea l ly ends up by do ing v io lence to rea l i ty . 1 3

To the fa thers o f the Church , these concep ts seemed l ike an an t ic ipa ted exp lana-

t i o n o f t h e Ch r i s t i an p a ssag e f r o m t em p le t o Ch u r ch . An d th u s t h ey to o r eg a r d ed th e

m u s ica l r i ch e s o f t h e O ld T es t am en t an d Gr aeco - Ro m an cu l tu r e a s a p a r t o f t h e

sen s ib l e , m a te r i a l wo r ld wh ich was to b e o v e r co m e in t h e sp i r i t u a l wo r ld o f Ch r i s -

t i an i ty . T h ey u n d e r s to o d sp i r i t u a l i z a t io n to m e an d em a te r i a l i z a t io n an d h en ce u n -

d e r s to o d i t i n a m an n e r wh ich m o r e o r l e s s b o r d e r s o n i co n o c la sm . T h a t i s t h eo lo g y ' s

h is to r ica l mo r tg age in the que st io n of ecc les ias t ica l a r t , and i t i s a mo r tg ag e w hic h

came to the fo re over and over aga in dur ing the course o f h is to ry . 1 4

I I . The foundat ions o f church music in the essence o f the l i tu rgy .

Wi th th e se r e f l e c t io n s , we h av e n o n e th e l e s s p r o g r e s sed to war d an an swer t o o u r

basic ques t ion : v iew ed in te rms of i t s o r ig in , i s Ch r is t ian i ty iconoc las t ic and an t i - a r t?

or i s i t—prec ise ly when i t r emains t rue to i t se l f—a summons to a r t i s t ic express ion?

We h av e seen th a t g en u in e l i t u r g i ca l a c t iv i t y i s e s sen t i a l t o Ch r i s t i an i ty an d th a t

p r ec i se ly i n i t s e a r l i e s t p h ase , t h e n ew wh ich h ap p en ed w i th Ch r i s t s eem s a su m m o n s

to in tensi f ied express io n , wh ich i s p rese n ted as the t rans i t ion f rom c ry ing to s ing ing .

In o rder to f ind the cor rec t so lu t ion to our p rob lem, we must now pursue th is po in t

o f v iew somewhat fu r ther . Le t us re tu rn to Pe terson 's ana lyses .

He sh o w s th a t t h e ch an g es i n t r o d u c ed in to t h e Ap o ca ly p s e a s co m p ar e d w i th

I sa i a s i n c lu d ed th e ap p ea r an ce n o t o n ly o f t h e Se r ap h im b u t o f a r t i cu l a t ed an dorder ly cho ir s o f angels . Th is in tu rn i s re la ted to the fac t tha t I sa ias ' v is ion i s s t r ic t ly

loca l ized in the temple a t Je rusa lem. Even af te r the des t ruc t ion o f the temple , Juda-

ism has a lways s teadfas t ly be l ieved tha t God 's g lo ry dwel t on ly in the temple a t

Je r u sa l em . Ch r i s t i an s , o n th e co n t r a r y , b e l i ev e th a t d u r in g Ch r i s t ' s c r u c i f ix io n , wh en

th e v e i l o f t h e t em p le was r en t i n two , Go d ' s g lo r y d ep a r t ed f r o m th e t em p le , an d

n o w d we l l s wh e r e Je su s Ch r i s t i s , n am e ly in h eav en an d in t h e Ch u r ch wh ich g a th e r s

wi th Je su s . Acco r d in g ly , h eav en an d ea r th a r e m en t io n ed a s t h e p l ace wh e r e ch an t s

of p ra ise a re now sung . 1 5 Bu t t h is m e an s th a t t h e Ch u r ch i s i n d eed so m e th in g q u i t e

d i f fe ren t f rom th e syn ago gue whi ch had rema ine d in Jew ry af te r the des t ruc t ion o f

th e t em p le , wh ich th e sy n ag o g u e n ev e r d e s i r ed o r was ab l e t o r ep l ace . T h e sy n a -

PROBLEMS g ° g

u e

i s the s i te o f a pure ly lay worsh ip serv ice , which as such i s a lso a mere

12



scr ip tu re serv ice . He who desi res to reduce the Church to scr ip tu re serv ices con-

duc ted by lay me n is no t p rac t ic ing tha t whi ch i s new in Ch r is t ian i ty , bu t ra the r

eq u a te s h im se l f w i th t h e sy n ag o g u e an d o m i t s t h e p a th wh ich l e ad s t o Ch r i s t . T h e

Ch u r c h , a s Ch u r ch , a ccep t s w i th C h r i s t t h e i n h e r i t an ce o f t h e t em p le , a l t h o u g h in a

mod if ied w ay . Th is i s express ed l i tu rg ica l ly in the fac t tha t the Chu rch do es no t

assemble mere ly fo r scr ip tu re read ings and p rayers , bu t a lso to o f fer the Euchar is t ic

sacr i f ice . But then th is a lso means tha t in the ex terna l fo rm of her ce lebra t ion theChurch can and must lay c la im to the inher i tance o f the temple . Th is impl ies tha t the

Ch u r ch ' s l i t u r g y , wh ich n o w r eg a r d s t h e wh o le co sm o s a s i t s t em p le , m u s t h av e a

co sm ic ch a r ac t e r , m u s t m ak e th e wh o le co sm o s r e so u n d . On th i s p o in t , Pe t e r so n 's

co m m e n t , t h o u g h ce r t a in ly so m ew h a t ex ag g e r a t ed , i s b a s i ca l ly q u i t e wo r th y of co n -

s i d e r a t i o n :

And finally it is not pure coincidence that the medieval music theorists begin their

treatises by referring to the harmony of the spheres. Since the Church's hymn of praise

tunes in to the praises of the cosmos, any consideration of the musical element in the

Church's cult must also take into account the sort of praise offered by sun, moon and

stars.10

W h a t t h i s m e a n s in concreto becomes c learer when we reca l l the p rayer in Ps .

Cy p r i a n wh ic h sp eak s of Go d a s th e O n e W h o i s p r a i sed b y an g e l s , a r ch an g e l s ,

m a r t y r s , a p o s t l e s a n d p r o p h e t s ,

to whom all the birds sing praises, whom the tongues of those in heaven, upon the earth

and under the earth glorify: all the waters in heaven and under the heavens confess

Thee. . .'7

Th is tex t i s espec ia l ly in te re s t ing bec ause i t d isc loses , so to spea k , the theo lo g ica l

p r in c ip l e a cco r d in g to wh ich th e organon wa s un der s to od , fo r i t wa s s im ply ca l led

the i n s t r u m en t a s o p p o s ed to a ll t h e o th e r s . T h e o r g an i s a t h eo lo g ica l i n s t r u m en t

wh o se o r ig in a l h o m e was th e cu l t o f t h e em p e r o r . Wh en th e em p e r o r o f By zan t iu msp o k e , an o r g an p l ay ed . On th e o th e r h an d , t h e o r g an wa s su p p o sed to b e t h e

combinat ion o f a l l the vo ices o f the cosmos. Accord ing ly , the o rgan music a t impe-

r i a l u t t e r an ces m ean t t h a t wh en th e d iv in e em p e r o r sp o k e , t h e en t i r e u n iv e r se r e -

sounded . As a d iv ine u t te rance , h is s ta tement i s the resounding o f a l l the vo ices in

t h e c o s m o s . T h e organon i s the cosmic ins t rum ent an d as such the vo ice of th e

wor ld ' s ru le r , the imperator.18 As ag a in s t t h i s By zan t in e cu s to m , Ro m e s t r e s sed a

cosmic Chr is to logy and on tha t bas is the cosmic funct ion o f Chr is t ' s v icar on ear th :

wh a t was g o o d en o u g h f o r t h e em p e r o r was q u i t e g o o d en o u g h f o r t h e p o p e . Na tu -

rally , it is no t a case here of superf icia l p ro bl em s con cer nin g prestig e, but i t is a

mat te r o f the pub l ic , po l i t ica l and cu l t ic represen ta t ion o f the mandates rece ived in

each ca se . T o th e ex c lu s iv i ty of an im p e r i a l t h eo lo g y wh ic h in c r ea s in g ly ab an d o n e d

th e Ch u r ch to t h e em p e r o r an d d eg r ad ed th e b i sh o p s to m er e im p e r i a l f u n c t io n -

a r ie s ,1 9 Rome opposed the pope ' s cosmic c la im and wi th i t the cosmic rank o f be l ie f in

Ch r i s t , w h ich i s i n d ep en d e n t o f an d in d eed su p e r io r t o p o l i t i c s . T h e r e f o r e t h e o r g an

had to resound in the papal l i tu rgy as wel l .

Su ch a b o r r o w in g f r o m im p e r i a l t h eo lo g y i s n o t r eg a r d ed w i th f av o r b y co n tem p o -

r a r y th eo lo g ica l s ch o la r sh ip , wh ich co n s id e r s su ch accep tan ce a s "Co n s t an t in i an " o r

a "Ro m an iza t io n , " w h ich i s n a tu r a l ly f a r wo r s e t h an He l l en i za t io n . A s a m a t t e r o f

fac t , what has been sa id thus fa r su f f ices to ind ica te c lear ly the conv inc ing reasons

for the whole p rocess , as wel l as i t s log ic wi th in a Chr is t ian con tex t : th is de tour made

i t poss ib le to avo id tu rn ing the Church in to a synagogue and to car ry ou t in p rac t ice

the t rue c la im of the Chr is t ian fa i th , which accep ts the inher i tance o f the temple and

su rpa ss es i t by far , into the ve ry dim en si on s of the un ive rsa l . PROBLEMS

13



Fu r th e r m o r e , t h e h i s to r y o f t h e o r g an r em a in ed a t h eo - p o l i t i c a l h i s to r y f o r q u i t e a

lo n g t im e : t h e f ac t t h a t an o r g an r e so u n d s a t t h e Ca r o l in g ian co u r t i s an ex p r e s s io n

o f t h e Ca r o l in g ian c l a im to eq u a l i t y w i th By zan t iu m . Co n v e r se ly , t h e Ro m an u sag e

was t r an s f e r r ed to t h e ca th ed r a l s an d ab b ey ch u r ch es . L ess t h an a l i f e t im e ag o i t was

s t i l l cu s to m ar y f o r t h e o r g an to p l ay a s b ack g r o u n d to t h e ab b o t ' s r e c i t a t i o n o f t h e

Pater noster i n Ben ed ic t in e ab b ey s , an d th i s i s t o b e u n d e r s to o d a s a d i r ec t i n h e r i -

tance f rom the anc ien t cosmic l i tu rgy . 2 0

An d n o w we a r e i n a p o s i t i o n to f o r m u la t e o u r t h e s i s : ch u r ch m u s ic w i th a r t i s t i c

pre ten sio ns is no t op po se d to the essence o f Ch r is t ian l i tu rgy , bu t i s ra th er a neces-

sary way of express ing be l ie f in the wor ld - f i l l ing g lo ry o f Jesus Chr is t . The Church ' s

l i t u r g y h a s a co m p e l l i n g m an d a te t o r ev ea l i n r e so n an t so u n d th e g lo r i f i c a t io n o f Go d

wh ich l i e s h id d en in t h e co sm o s . T h i s , t h en , i s t h e l i t u r g y ' s e s sen ce : t o t r an sp o se th e

c o s m o s , to sp i r i tua l ize i t in to the ges tu re o f p ra ise th rough song and thus to redeem

i t ; t o "h u m an ize " t h e wo r ld .

A f in a l q u es t io n r em a in s : t h e q u es t io n o f sac r ed n ess , o f t h e d i s t i n c t io n b e tween

sac r ed an d p r o f an e m u s ic . T h i s d i s t i n c t io n was v e r y m u ch p r e sen t i n t h e Ch u r ch o f

th e ea r ly f a th e r s , b u t was a lm o s t co m p le t e ly b u r i ed u n d e r a m ass o f o th e r p r o b lem s .

T h e f i r s t t im e th e p r o b lem was p o sed q u i t e o p en ly was d u r in g th e sep a r a t io n o fp r o f an e f r o m sac r ed cu l tu r e i n t h e f o u r t een th cen tu r y , an d th en w i th ev en m o r e

sharpness in the rena issance cu l tu re o f the s ix teen th cen tury . Ever s ince the twelf th

cen tu r y an d th e b eg in n in g s o f p o ly p h o n y th e q u es t io n h a s b een p o sed w i th i n c r ea s -

in g u r g en cy , t h o u g h i t was t h e ex i l e o f t h e p o p es a t Av ig n o n wh ich m ad e ev e r y o n e

f u l ly awar e o f t h e p r o b lem , b ecau se a t Av ig n o n " th e F r en ch ars nova a p p e a r e d a t t h e

papal cour t , and i t must have seemed qu i te fo re ign to the o f f ic ia ls o f the cur ia who

wer e so f am i l i a r w i th Ro m an m u s ica l p r ac t i c e s . . . "21 I t was t im e to i n q u i r e an ew in to

th e m ean in g o f Ch r i s t i an sp i r i t u a l i z a t io n . On ce ag a in t h e Ch u r ch f o u n d h e r se l f i n

th e d i l em m a b e tween p u r i t an i ca l ex c lu s io n o f t h e n ew d ev e lo p m en t s i n g en e r a l , an d

a n a c c o m m o d a t i o n w h i c h b o t h m a k e s t h e C h u r c h l o s e f ac e a n d s i m u l t a n e o u s l y

e l im in a t e s h e r a s a so u r ce o f h u m an r ea l i t y . T h e co n s t i t u t i o n , Docta sanctorum

patrum, i s su ed b y Po p e Jo h n X X I I i n 1 3 2 4 - 2 5 , f o u n d a p a th wh ich was m o r e th an a

co m p r o m ise i n t h e sen se o f t h e a r i t h m e t i ca l m ean :

It was not p olyp hon y in itself wh ich Pope John XXII rejected, bu t rather the suppression

of the Gregorian melody by a sensually effective polyphony which was far removed

from the l i turgical function in tonal terms as well as in terms of rhythmic

movement. . .and expression.22

T h e Ho ly Fa th e r p u t i t t h i s way : " th e o ccas io n a l u se o f c e r t a in co n so n an t i n t e r v a l s

su p e r im p o sed u p o n th e s im p le ecc l e s i a s t i c a l ch an t " was n o t f o r b id d en , b u t " a lway s

o n co n d i t i o n th a t t h e m e lo d ie s t h em se lv e s r em a in in t ac t i n t h e p u r e i n t eg r i t y o f t h e i r

fo rm . . ."23 I n o th e r wo r d s , r e l a t i o n sh ip to t h e t ex t , p r ed o m in an ce o f t h e m e lo d y an d

reference to the fo rmal s t ruc tu res o f the chan t as the po in t o f depar tu re fo r ecc les ias-t i c a l p o ly p h o n y a s ag a in s t a co n cep t o f s t r u c tu r e wh ich d e s t r o y s t h e t ex t , a s ag a in s t

th e em p h as i s u p o n sen su a l so u n d e f f ec t s .

T h e Co u n c i l o f T r en t co n f i r m ed an d d eep en ed th e se p r o v i s io n s . I n M asse s ce l e -

b r a t e d w i t h s i n g i n g a n d o r g a n m u s i c , " n o t h i n g p r o f a n e s h o u l d b e i n t e r m i n g l e d , b u t

o n ly h y m n s an d d iv in e p r a i se s ; " i t sh o u ld n o t b e a m a t t e r o f m e r e em p ty p l ea su r e f o r

th e ea r, b u t t h e w o r d s m u s t b e u n d e r s to o d b y a l l , so t h a t t h e h ea r t s o f t h e l i s t en e rs b e

d r a w n (rapiantur) t o a d e s i r e f o r h eav en ly h a r m o n ie s , i n t h e co n tem p la t io n o f t h e

joys o f the b lessed .2 4

Wh en th e co u n c i l sp eak s o f raptus and o f desiderium (des i re ) fo r heaven ly har -

m o n ie s , it i s p r e s u m in g a p o we r to en r a p tu r e wh ich m er e fu n c t io n a l ap p l i ca t io n can

PROBLEMS n ev e r p r o d u c e . Su ch an ab i l i t y t o en r a p tu r e r a th e r p r e s u p p o ses i n sp i r a t i o n , wh ich

1 4



surpasses the level of the mere rational and objective. Incidentally, Hubert Jedin has

recently shown that the well-known legend about the Missa Papae Marcelli influenc-

ing the fathers of Trent is not mere legend, but that it has a core of historical fact,

which he admittedly does not explain in any greater detail: the composition must be

convincing, and not the theory, which can only follow the composition.25

Of course, one cannot expect timeless recipes in these conciliar texts. Otherwise,

succeeding doctrinal statements, such as those made in our own century by Pius X,Pius XII and Vatican II, would be superfluous. But the structure continues to remain

valid: the l i turgy demands an artistic transposition out of the spirit of the faith, an

artistic transposition of the music of the cosmos into human music which glorifies

the Word made flesh. Such music must obey a stricter law than the commonplace

music of everyday life: such music is beholden to the Word and must lead to the

Spirit.

Hence church music must find its way while constantly contending in two direc-

tions: in the face of puritanical pride it must justify the necessary incarnation of the

spirit in music, and vis-a-vis the commonplace it must seek to point the spirit and the

cosmos in the direction of the divine. When the effort is successful, it is of course a

gift; but the gift is not bestowed without the preparation which we offer through our

own effort. When this takes place, then it is not a matter of exercising a mere hobby

without obligation, but rather of living out a necessary dimension of Christian faith

and in so doing, retaining a necessary dimension of what it means to be a h u m a n

being. Without both of these dimensions, culture and humanity irresistibly decay

from within.

JOSEPH CARDINAL RATZINGER

NOTES

1. On this see J. Pieper, Zustimmung zur Welt. Eine Theorie des Festes (Miinchen 1963) as

well as W. Dtirig, Das christliche Fest und seine Feier (St. Ottilien 197r4) with further literature

in each case.

2. R. Raffalt, Wohin steuert der Vatikan? (Miinchen 1973) esp. 93 ff.; Ibid., Musica

eterna (Miinchen 1978) 221-31.

3. On this see Chr. non Schonborn, Licbne du Christ. Fondements theologiques elabores

entre le I et le II Concile de Nicee (325-787), (Fribourg 1976).

4. See the presentation of F. Schupp, Glaube-Kultur•-Symbol. Versuch einer kritischen

Theorie sakramentaler Praxis (Diisseldorf 1974).

5. The most radical philosophical development of this position is by Cl. Levi-Strauss,

especially in La pensee sauvage (1962). An example is this sentence on p. 326: "The ultimate

purpose of the anthropological sciences is not the production of man but his disintegration."

Cited here according to H. U. von Balthasar, Prolegomena-Theodramatik 1 (Einsiedeln 1973)

4 1 . Instructive on the intellectual background is G. Martelet, L'Au-dela retrouve. Christologie

des fins dernieres (Paris 1974) 35 ff.

6. H. Staudinger-W. Behler, Chance und Risiko der Gegenwart (Paderborn 1976) esp. 97-

224).

7. The attempt to escape this consequence through a "creativity," which frees itself from

anything established in advance and seeks a totally new reality, is futile. The intellectual

underpinnings of the attempt to find in this way a new basis for art by dissolving the links to

its religious origin have been most impressively elaborated by Ernst Bloch, for whom the artist

is "the absolute breaker of boundaries," "the pioneer at the frontier of an advancing world,

indeed a most important component of the world which is only creating itself." Genius is

"consciousness which has progressed the farthest." Thus there disappears the qualitatively

specific characteristic of art, which is mere anticipation of what is to come. Accordingly, Ernst

Bloch's concept of art quite logically flows into the prediction of a world in which "electric

power plants and St. Mark's Church" will be identical. For more details, see F. Hartl, Der PROBLEMS

15



Begriff des Schopferischen. Deutung sversuche der Dialektik durch Ernst Bloch und Franz von

BaaderRegensburger Studien zur Theologie 18 (Frankfut 1979).

8. G . Sohngen, Der Weg der abendldndischen Theologie. Grundgedanken zu einer Theol-

ogie des "Weges" (Miinchen 1959) 61.

9. See my article Weltoffene Kirche, in Th. Filthaut (ed.), Umkehr und Erneuerung

(Mainz 1966) 271-91, here 281 ff. For more details on the entire subject of desacralization, see

H. Miihlen, Entsakralisierung (Paderborn 1971).

10 . E. Peterson (tr. R. Walls), The Angels and the liturgy (New York 1964) 26.

11 . Ibid., 27 (Sel. in psalmos, to Ps. 118:71).

12 . See F. van der Meer, Augustinus der Seelsorger (Koln 1951) 329-74, as well as my

article Zur theologischen Grundlegung der Kirchenmusik, in F. Fleckenstein (ed.), Gloria Deo-

Pax Hominibus, ACV Schriftenreihe 9 (Bonn 1974) 39-62.

13. For evidence of this, consult my article Zur theologischen Grundlegung (note 12) 50 ff.

and 58 ff.

14 . Once aga in, see my article cited in note 12, as well as the book of Chr. von Scho nborn

cited in note 3, above all, pages 77-85: Origene et les racines de la theologie anti-iconique.

15 . See E. Peterson (note 10) 16 ff.

16 . Ibid., 29.

17 . Ibid., 22-23.

18 . I gratefully acknowledge here the kindness of the Rt. Rev. Abbot Urbanus Bomm ofMaria Laach, who pointed out these facts and referred me to the pertinent literature: D.

Schuberth, Kaiserliche Liturgie. Die Einbeziehung von Musikinstrumenten, insbesoncere der

Orgel, in den fruhmittelalterlichen Gottesdienst Ver offentlichungen der Evang. G esellsch. f.

Liturgieforschung 17 (Gottigen 1968); E. Jammers, Der gregorianische Choral und das byzan-

tinische Kaisertum: StdZ 86 (1960-61) 445-51; Idem, Musik in Byzanz, im pdpstlichen Rom

und im Frankenreich. Der C horal als Textaussprache (Heidelberg 1962); E. Wellesz, A History

of Byzantine Music and Hymnography (Oxford 1961).

19 . A Grillmeier, Auriga M undi. Zum Reichskirchenbild der Briefe des sog. Codex Ency-

clius (458), in Idem, Mit ihm und in ihm (Freiburg 1975) 386-419.

20. For this reference, too, I am grateful to Abbot Urbanus Bomm.

21. K. G. Fellerer, Die Constitutio Docta Ss. Patrum Johannes XXII., in Geschichte der

katholischen Kirchenmusik (Kassel 1972) 1/379 ff.22. Ibid., 379.

23. Ibid., 380.

24. K. G. Fellerer, Das Konzil von Trient und die Kirchenmusik, in Geschichte der katho-

lischen Kirchenmusik (Kassel 1976) 2/9.

25 . H. Jedin, Geschichte des Konzils von Trient IV/1 (Freiburg 1975) 208 and 345, note 47,

where we read: "The widely publicized version of Agazzari, that the Missa Papae Marcelli

changed the mind s of the council fathers, was previously. . .regarded as a legend. . . O.

Ursprung has shown how probable it is. . .that this 'legend' is not entirely lacking in founda-

tion."

PROBLEMS

16



The Master of the Aix Annunciation.

SYNTHESIS OF THE SECOND INTERNA-TIO N A L CO N G RES S O F G REG O RIA N

CHANT(Given in French under the title, Conference de Synthese, this address summarized some

twenty lectures on Gregorian chant presented as part of the conference in Paris in May

1985. The proceedings of the congress have been published in La Revue Musicale, 7,

place Saint-Sulpice, 75006 Paris. The translation was made by Virginia A. Schubert.)

The philosopher Aristotle said that a habit is born with the first act. Our interna-

tional congress confirms this statement. Ten years ago Benoit Neiff called us to

Strasbourg for a similar meeting and for a similar presentation. The craftsman of

that meeting was our dear departed Dom Jacques Hourlier. The enterprise seemed

audacious and there was even some hesitation about the very nature of the goal of

the congress. Was Gregorian chant still a living music or was it nothing more than anobject for archeological musical studies? Gregorian chant as it is used here naturally

means a music that is currently used in the liturgy.

In 1975, formulators of laws had been tempted to define a new sort of law of

musical physics: the scientific knowledge of Gregorian chant proceeds in reverse

proportion to its use in the liturgy. Since the beginning of the decline in the use of

chant, the secret of neumatic writing has been unlocked; decisive advances have been

accomplished in the understanding of modality, its history and its evolution; and the

relationship between the melody and the Latin word has been better explained. But

by contrast, what was the reception of the decree of the constitution on the sacred

liturgy of the Second Vatican Council which said that Gregorian chant, the chant

proper to the Roman Church, should hold primacy of place in all l i turgical actions, G R EG O R IA N C H A N T

17



ceteris paribus. More had reservations against it than accepted it.The Strasbourg congress reassured us in some measure. Gregorian chant was not

totally dead. It had not become exclusively an object of scientific study and a musicfor the conservatory and the concert. Even though it was much less used in church, itremained a liturgical music which, w hen it was know n, was capable of responding tothe aspirations and needs of human beings of this age.

The past ten years have been marked by a number of events which are, for themost part, favorable. If Gregorian chant is not as popular as it was previously, therules against its use are less prevalent and a new interest is being shown in it. Itseemed an o pportune time to organize another meeting. This time it was the Grego-rian Choir of Paris that took the initiative of organizing this congress which isinternational like the preceding one. The inspector-general and commander of theSchool of Val-de-Grace was kind enough to welcome us to this famous formermonastery. This congress is fully international. Participants have come from everycontinent: Omnes isti congregati sunt, veneru nt tibi: filii tui de longe venient de filiaetuae de latere surgent (Is. 60:4). The Far East is strongly and magnificently repre-sented here. Gregorian chant is the sign of the catholicity of the Church, a sign ofrecognition, a bond of union and unity in liturgical prayer.

The power behind the invitation o r more accurately the servant behind the invita-tion is the Gregorian Choir of Paris, referred to according to contemporary usage byit initials, "CGP." This occasion gives me an oportunity for once to make public myadmiration for this organization. This group of young men which celebrated its tenthanniversary last year under the auspices of His Eminence, Cardinal Lustiger, has notonly shown proof of its musical value and its attention to liturgical perfection, butgives an example of a spirituality that is lived in prayer, friendship and charity,which has edified me greatly. This Gregorian choir shines forth.

After having wandered from chapel to church, the choir received the hospitality ofVal-de-Grace from Dr. Lefebvre, the inspector-general. With the gracious consent ofHis Excellency, the Vicar of the Armies, he was kind enough to receive our congress

also. We thank him for that. He should also be thanked for the kindness andunderstanding that he has shown us (I really should say, given us) on this occasion asin so many others. Val-de-Grace was one of the centers of seventeenth-centuryFrench spirituality in an area that was also a center of Jansenism. It became thelocation of a prestigious medical school and a famous hospital which cares forsoldiers and officials. The church is perfect for solemn liturgies. Its walls, whichresounded in the beginning to polyphony, musical plain chant and M edicean or neo-gallican melodies, today present a perfect setting for a purified Gregorian chant.

A scientific congress, for that is what this conference is, is a step in a progressiontoward an ever-more perfect understanding, which is the very goal of research. Itsobject is to take a siting (if we want to use the language of the sailor) or to establish a

balance sheet of progress that has taken place, of questions that have been resolvedas well as of continuing uncertainties. It stimulates those involved in research toreveal their unedited discoveries. It rekindles the enthusiasm of others and concludesoften by the adoption of ambitious programs which are sometimes only carried outpartially.

The International Gregorian Chant Congress of Paris, in what has happened hereand w hat will yet be done, has followed the pattern of this type of conference. It wasorganized around four themes: 1. Gregorian chant as a plastic art; 2. Gregorianchant as an architectural art; 3. Gregorian chant as a vocal art; 4. Gregorian chan t asa traditional art. In this concluding p resentation, I will not go into the details of thevery learned papers which have been presented and which suffice in themselves.

GREGORIAN CHANT Personally, I am not a specialist in musicology, and will categorize myself simply as

18



an old singer who is for the most part out of work for technical reasons, and who has

come to musicology and the liturgy through an apprenticeship rather than through a

theoretical formation.

My goal then is not to analyze and criticize the learned papers that we have heard.

That would be the work of specialists and they have already begun to do it. Instead

of speaking to those who have attended this congress to whom I have nothing to say,

I would rather address myself to the outside world and present to it, if not our

conclusions, because it is not permitted to make conclusions, at least to present the

responses that our work gives to three questions: 1. What is Gregorian chant; what

do we know about it; and how do we know about it? 2. What place does it have in

the official prayer of the Church? 3. What place could it find once again?

1. What do we know about Gregorian chant? According to prevailing opinion, the

golden age of Gregorian composition was between the seventh and ninth centuries.

What was it like at that time? What characterizes this music or these kinds of music?

These are historical and musicological questions, questions that demand a work of

reconstruction and analysis, which must be carried on at the same time.

An essential element of western civilization, Gregorian chant is the only music

inherited from ancient Christianity and from the middle ages. It is venerable by itsvery age, but has it been transmitted to us in a faithful way? What were the melodies

like at the time of their composition? These questions have been asked and studied

since the middle of the last century. From the late middles ages to contemporary

times, Gregorian chant, which was for the most part called plain chant, has been at

the origin of western music. The paper given by Professor Gagnepain demonstrates

this clearly. These various kinds of music evolved in an autonomous manner, under

the effect of the demands of polyphony. A musical aesthetic was formed whose

canons imposed themselves on Gregorian chant in such a way as to change its

nature . Humanism played a role and a desire for simplification was manifes t. When

printing facilitated editions of chant books, chant was horribly deformed: for exam-

ple, changes multiplied the number of leadings notes; neums placed on unaccented

syllables were systematically changed to accented syllables; modalities were legibly

corrected; melismas were shortened; mensuralism was introduced. The result of this

massacre is the so-called Medicean edition. The chant that came out of the mutilat-

ing surgery was a degenerate plain chant, aesthetically very ugly, which was replaced

in France at the beginning of the 19th century by a neo-Gallican chant, which was, if

one could say it, even more detes table. When in the middle of the last century, the

dioceses of France returned to the Roman liturgy, under the influence of the first

abbot of Solesmes, Dom Gueranger, the state of the chant in the Roman Graduate

and Antiphonale of the Medicean edition was evident, and from that point, a long

effort of reconstruction began, an effort which is still not finished and which has

been, in great par t, the work of the Abbey of Solesmes. This is an extremely difficult

task. Until the middle of the ninth century, the pieces that were chanted at Mass and

in the office did not have any notation in liturgical books. The melodies were

transmitted by oral tradition, a subject about which Mr. Demolliere gave us much

insightful information. Beginning in 850, melodies began to be written in notation

according to many diverse systems, made up for the most part from grammatical

signs used for accents and punctuation. This is called neumatic writing.

For a long time the meaning of the neums was partially lost. If the relationship

between the neums and the figures of square notation which followed it was fairly

evident, the interpretation of the diverse forms given to these same neumatic formu-

las had become almost as mysterious as the interpretation of hyroglyphs. They are

being deciphered through Gregorian semiology, a science about which the confer-

ence in Strasbourg revealed recent research, most notably the discovery of neumatic GREGORIAN CHANT

19



breaks. Here Dom Cardine played the role of Champollion. These discoveries haveno longer been questioned even though not much further research has been carriedon and little was said abou t them at this congress. Two of these neumatic notationshave since become easily usable, one of them drawn from a Messine manuscriptwhich is preserved at the library of Laon, and the other from the manuscripts ofSaint-Gall. They are reproduced above and below the chants of the Mass in the

Graduate Triplex, edited by Solesmes in 1979.Even though these indications on duration, which came from the neumatic writ-

ings, were precious and fine, they did not give us any information on the respectivepitch relationship of the notes. These indications would be provided much later bymanuscripts, when the copyist would begin to write notes with relationship to a line,to two lines and finally to the staff of four lines.

When this writing became generalized, beginning with the 11th century, we wouldknow the melody as it existed at the time of the m anuscript and often we would evenknow several melodies. The question we have to ask ourselves is to wha t degree is thesingle melody faithful to the original composition, and if there are several, which isthe best?

Those working on the restoration of the chants had to answer these questions andscholars were not in agreement about the answers. The official chant books, theGraduale Romanum and the Antiphonale Romanum of the Vatican edition, are theresult of choices, many of them inspired for pastoral or aesthetic reasons but foreignto historical science. Those doing the restorations were accused of having acted like"Viollet-le-Duc," or with reference to the new offices, in a neo-gothic style. Theseimperfections in the Vatican edition have not facilitated the safeguarding of the chantof the Church in Latin. The work still needs to be corrected.

The antiphonary is incomplete and only exists for the chants of the day hours.With the exception of matins of Christmas, the Triduum sacrum, Easter and Pente-cost, the chants of the night office still need to be restored. Dominique Crochu gaveus an interesting presentation on the immense work he has just done on the 1200responses of matins.

As for the anthems of the office, the monastic antiphonary edited by Solesmes in1934 showed great progress and was a marked improvement.

The Second Vatican Council ordered a critical re-edition of liturgical chant books.This vast enterprise, begun well before the council, already includes an enormousamount of work and m onum ental publications, but it is still an unfinished construc-tion site. Mr. Viret, who presented a synthesis of the work that is currently going on,is not very confident about its imminent success and suggests with respect to theGraduale the interesting solution of waiting, and this wait would doubtlessly last along time.

In truth , it is difficult to restore the authentic chan t. The most learned Gregorianist

hesitates between flats and naturals in many places. All restoration is the result of achoice dictated by an opinion on the nature of G regorian chant or more precisely onits architecture.

The architecture of the chant was the subject of the central part of our congress. Atthe beginning of the remarkable paper on melodic construction, the eminent teacher,Canon Jeanneteau, presented perfectly the thought of the organizers. Gregorianchant is an architecture which constructs a habitat with the use of material accordingto an idea and a plan.

The material is the Latin word. The relationship of Gregorian chant to the Latinword has been studied with pe netration by Professor Alain Michel. His presentationexplains scientifically the successful adaptations of Gregorian melodies to texts in

GREGORIAN CHANT languages with tonic accents like Italia n, German and English and the general lack of20



success of adaptation to texts in French, a language which is for the most part

composed of words that are accented on the last syllable, called in Italian, tronchi.

On the other extreme, in its origins Gregorian chant was without a doubt not

created ex nihilo. It has precedents and sources. What are they? Scholars discuss it at

length, and literature about it is considerable. Many think that there is a link be-

tween Gregorian chant and the chant of the synagogue. Very prudently, Professor

Yehezel Braun, in a presentation of cantelations from the pentateuch in diverse

Jewish traditions, notes remarkable similarities, but is careful not to claim an influ-

ence. Like the prophet for whom he is named, he allows us to draw the conclusions

ourselves.

The presentation of Canon Jeanneteau had as a subtitle, "New Understanding of

Modal Structures." The author has worked with the principle theoretician of modal-

ity, Dom Jean Claire, to renew that understanding. Since the Strasbourg congress the

choirmaster of Solesmes has prepared a learned and difficult, but fundamental,

work on the antiphons of the ferial office. The analysis of the melody of these

antiphons is essential for the understanding of modality before octoechos, the sys-

tem of eight modes presented classically as characteristic of Gregorian chant.

It is not appropriate to give a summary of the presentation of Canon Jeanneteau. It

must be read in its entirety. It will convince the reader of the inaccuracy of the

criticisms that are often made of Gregorian musicology in which it is claimed that an

ensemble of compositions written over a thousand years is presented as a block.

Such a critique reveals that its authors do not understand or are perhaps ignorant of

contemporary work. To the contrary, this contemporary work shows the evolution

and diversity of chant that is called Gregorian, a name that was given to a chant

which is no doubt of Messine origin and which has almost completely supplanted

other origins, for example, the old Roman, the Beneventin and others. After its high

point between the seventh and ninth centuries, Gregorian chant was continuously

transformed until its decadence in the sixteenth century. A search for the authentic

melody does not deny the existence of discernible evolutions.The paths are open and the field that needs to be plowed is almost limitless. What

remains to be done is a sort of excavation which will nourish many future congresses

if in the future there will be Gregorianists to attend them. And these Gregorianists

exist if Gregorian chant remains alive.

2. What place does Gregorian chant have in the liturgy? Gregorian chant is a vocal

art. That was the third theme of the congress, and the subject of many papers. Some

were rather unexpected like Mr. Humphrey's comparison of Gregorian chant and

Negro spirituals or Gregorian pedagogy through video-tape as presented by Dr.

Fowells. Others were more expected and dealt with the singing of Gregorian chant

such as those by Miss Hirayama and Mr. Loiret and Mr. Vigne.

The progress of Gregorian musicology has had a considerable and happy influence

on the singing of chant. Chant is no longer sung today as it was sung several decades

ago. The teachings of semiology and those of the relationship of melody and text

happily transform the performance of chant.

As an example of a kind of chant, Gregorian naturally holds a certain musical

interest. Spiritual concerts and festivals of sacred art attract a very interested public.

Recordings of Gregorian chant, some of which are very beautiful, have a market and

buyers. There is a growing place given to Gregorian chant in advanced musical

education and in musical literature for the non-specialist.

Must one conclude that Gregorian chant is alive and well? That would be a serious

misunderstanding and a neglect of the very function which gives it its being. The

Gregorian melody conveys the words, which are the words of praise and of prayer.

Chant is a learned medium; and the word is the essential part . From the time when GREGORIAN CHANT

21



chant is no longer a prayer, it is nothing but a declamation no matter how wellperformed and artistic it is.

It is very interesting that Gregorian chant has therapeutic virtues as we were toldby several speakers. Professor Reznikoff called it beneficial chant and Dr. JacquesVigne says that chant prevents stress. It is very legitimate to chant for these ends. Arenot these healing virtues the counter-proof of the religious nature of chant, the

thaumaturgical verification of its sacred nature?When the question of the survival of chant was asked at Strasbourg in 1975, it

received a very pessimistic answer. We are participating in a systematic three-partregression. In France, for example, the bishops conference, using the faculties givenby the council, made it obligatory to use the vernacular language for the readings ofthe Mass. This is a justifiable measure since the readings were destined for thecongregation. In its second step, the vernacular language was authorized for thesinging of the proper, an action that was justified by the difficulty of the pieces ofmusic which composed that part of the Mass. The Graduate Simplex, published in1967, came too late. In a third stage, the singing of the ordinary in the vernacularwas authorized. This step was less indispensible and served as the coup de grace.

For the most part, parish clergy wanted to eliminate Latin. They did it out of apastoral concern that the liturgy would be understood by the faithful and that thefaithful would be able to participa te in it. It was a sort of rejection of elitism, and arejection of an erudite liturgy in favor of a populist liturgy. It remains that perhapsthe intellectual and aesthetic capacities of the faithful were underestimated; that therequests by families for wedding Masses and funeral Masses were sometimes rejectedwithout charity, and that the Catholic value of a common language was somewhatforgotten in a time of frequent and rapid communication.

It should be added that those in favor of the missal of Pope Paul VI presentedarguments which did not stand up to examination. Thus, far from contributing tothe defense of Gregorian chant, they have quite to the contrary compromised it by

linking it to an integralism which is injurious to the Holy Father.Not only are Gregorian melodies no longer sung, but books in Gregorian chanthave been reduced to pulp. It is true that these books no longer correspond to thenew text of the missal and of the Liturgia Horarum.

When the congress of Strasbourg met, the Graduate Romanum , novae rerumcondicioni accomodatum had just been printed (1974). This book re-used ancientcompositions, arranging them according to the new calendar and the new order ofreadings. It retired from use most of the recent compositions, the neo-gothic, whichdid not merit any other treatment. The melodies are those of the Vatican edition,regretfully, but time did not permit anything better.

Two other cha nt books have been printed since 1975. In them, Dom Claire and hiscollaborators have happily restored forgotten melodies, new psalm tones in thePsalterium monasticum, new tones for the invitatories in the Liber hymnarius, thefirst volume of an Antiphonale Romanum, which goes along with the LiturgiaHorarum, that is to say the new Roman breviary.

The Latin text of the monastic psalm boo k is no longer the Vulgate, but tha t of theneo-Vulgate. It is this latter text which will be reproduced in the Roman antiphonary.Dominique Dauzet in his paper expressed his reservations on this decision, moti-vated by consideration of the inspired character of the Septuagint, a text that thepsalms of the Vulgate translate. I am not enough of a biblical scholar to take aposition in this debate. But from a pragmatic point of view I will agree with D auzet.Those who say the office in Latin are very few in number. Is it necessary to makethem forget the psalms that they know by heart? In Psalm 118, for example, is it that

GREGORIAN CHANT much more clear to replace the word mandata by praeceptal Lately a parish missal22



has been published which goes along with the new missal.

Who uses these books? Who still sings in Latin? Let us not count those monastic

communities, especially Benedictines, whom Paul VI had asked to preserve Grego-

rian chant, monasteries of monks and nuns whose influence perhaps has never been

as strong as it is currently and who continue to recruit good numbers. In spite of the

weakened role of chapters which have ceased to have any jurisdiction at cathedrals,

many churches have sung Mass in Latin, even if it is at a very early morning hour. In

several major cities, however, many churches continue to say a Gregorian Mass on

Sunday or have the ordinary of the Mass sung in Latin. But it is often Mass VIII.

Note should be made of the major role that belongs from henceforth to choirs like

the Gregorian Choir of Paris or the Chorale of Nantes.

Outside of several extraordinary churches like the ones that Denis Crouan spoke

to us about, what else remains? Very little in reality. Sometimes we hear several

sections of the Requiem Mass. The only Latin chants that remain date from the 17th

century: a melody for the Magnificat which is called "royal" and which supposedly

was composed by Louis XIII; Credo III; and Salve Regina of the Oratorians, arranged

by Dom Pothier two centuries later.

One of the results of our congress could be a vast poll of Gregorian practices in the

countries that are represented here. The encouragement given by Paul VI at the

request of President Leopold Senghor, whose first result was the publication of

Jubilate Deo, has had little effect. At least Paul VI's encouragement was a sign which

others have confirmed. A number of bishops praise Gregorian chant and say how

much they love it. Hostility to traditional church music is no longer so generalized

among the clergy who permit it now in wedding and funeral Masses.

The cause of Gregorian chant no longer runs up against real hostility, but rather

indifference, because the older generation has forgotten it and the young have never

known the Gregorian liturgy. It is especially the case with the young clergy, if any

still exist.

3 . What place can Gregorian chant again find? One is tempted to parody the titleof the booklet on the third estate written by Sieyes who was then vicar general of

Chartres. According to the conciliar constitution on the sacred liturgy, Gregorian

chant was supposed to have primacy of place in the liturgy. In reality, it scarcely even

occupies the last place. Our wish would be that it would find a better position.

This opinion is not heretical. The prefect of the Congregation for the Doctrine of

the Faith taught us that we have not yet begun to implement the council. If the

conclusion that was to be drawn from our work was that of resignation, many would

not have come here. Our common ambition can be nothing other than the promo-

tion of Gregorian chant and its rediscovery by the general population.

Please understand us clearly. We do not defend this cause either out of a spirit of

revenge or a spirit of refusal. It is very understandable that some have been wounded

by the ferocity by which others have tried to eliminate all Latin chant from the new

liturgy. We must make an effort to forget that. And it is unreasonable to link the

defense of Gregorian chant with an unwillingness to accept liturgical reform. It must

be totally to the contrary; we should show the perfect compatibility between the

two.

Recently the Holy See gave bishops permission to authorize in a general way

celebration of the Mass according to the post-Tridentine missal, called the missal of

Pius V, which has been often modified, finally by Pius XII and John XXIII. This was

a conciliatory measure which should have been made much sooner. Let us be careful

to avoid linking Gregorian chant to this rite. Those who are annoyed by chant as a

souvenir of a long-since-evolved past would like to have that happen. If that were the

case, Gregorian chant would be definitively condemned to disappear. Those who GREGORIAN CHANT

23



defend the Mass of Pius V are a body which is moving toward extinction. Let us

make sure that Gregorian chant does not disappear with the last of them.

Let us prove that it is part of the Mass of Paul VI. The new Ordo cantus Missae

was promulgated with this in mind on June 24, 1972. The most Gregorian of monas-

tic communities have been following this new missal for fifteen years and have

applied the decrees of the bishops' conferences concerning the use of the vernacular

languages for the readings and prayers of the faithful.

The promotion of Gregorian chant, if we speak in contemporary terms, can only

have one basis, that is the sublime nature of this chant, its religious and musical

qualities which cannot be divided from each other, as they are revealed by the value

of its performance. It is not a question of imposing or reclaiming by obligatory

measures. It is a question of persuading and convincing, of making it known and

letting it be appreciated, of being enthusiastic and being edified.

The groups which continue must be encouraged to persevere. Their action, how-

ever, must be supported and assured by groups of young people. An effort must be

made in institutions that form clergy where Gregorian chant has been practically

totally eliminated along with Latin. This does not mean asking for a return to the

liturgy exclusively in Latin, something which is impossible, but rather that a place bemade for Gregorian chant in a li turgy which from now on should be open to all

musical forms, good and less good, religious, and those that are scarcely religious.

There is hope on this front. Young seminarians are few in number, but often of

excellent quality.

French education, which was for so long indifferent to music, is beginning to pay

more attention to it . Catholic educational establishments, which have just saved

their identity, are not doing very much to preserve in a musical sense the traditional

chant of the Church. In fact, most of them make no effort whatsoever. It would be

time to rekindle their zeal as it would not be forbidden to link a rudiment of

instruction in chant to instruction in catechism. It wou ld even be recom mend ed to do

so . In diocesan organizations that deal with li turgical and sacramental pastoral care,a work of conversion could also be done, and also among female religious who are

playing such an important role in the preparation and carrying out of li turgical

celebrations. The secret of success is in the quality.

Everyone should work on it . From this congress we would be able to establish a

sort of permanent society with a loose structure, organized as an association which

is charged with coordinating, harmonizing and supporting all the efforts in a Church

at peace.

This Second International Congress of Gregorian Chant will have been a congress

of peace. We have heard here neither recriminations nor condemnations nor lamen-

tations. Quarrels among Christians are an object of scandal. They are often unjust,

and in our time, more than in another, are out of place. Other tasks call us in this

world here on earth.

Our plan without a doubt will have been understood. We are motivated by belief

in the irreplaceable religious value of Gregorian chant. Canon Jeanneteau, who does

not fear strong statements, went so far as to say that "the first architect for the

Gregorian master is God Himself, and what is more, the Divine Author will also be

the commentator . Scientiam habet vocis (he has knowlege of the wo rd), as the introit

Spiritus Domini from Pentecost says."

We continually try to know this chant better in order to sing it better, and we

would always like to share better this inestimable, inexhaustible and impenetrable

good with the largest number. What follows in the future will tell us if the work of

these days will have contributed to that cause.

GREGORIAN CHANT JE AN FO YE R

24



The Master of Flemalle. The Annunciation.

THREE SERVANTS OF THE LO RD: SCHM IT,GAJARD, HABERL

In August 1966, the Fifth International Church Music Congress was held in the

United States. This event brought together internationally renowned scholars and

church musicians for working sessions in Chicago. That group w as joined by Ameri -

can choirs for Masses and concerts in Milwaukee. It is appropriate twenty years later

to pay tribute to three great church musicians who were in attendance and w ho are

now deceased. Two of them, Jean-Pierre Schmit and Ferdinand Haberl died during

this past year, 1985. For Dom Joseph Gajard, O.S.B ., wh o died in 1972, 1985 mark edthe hundredth anniversary of his birth.

I had the great privilege of meeting all three of these eminent musicians at the 1966

congress, and I wou ld like to share some of my memories as a sincere tribute to them.

Although the expression "no words are adequate" is a tired cliche, it aptly expresses

my at t i tude as I undertake this welcome but awesome challenge.

JEAN-PIERRE SCHMIT

Jean-Pierre Schmit, priest, church musician, teacher and friend, died on October

21 , 1985, in Luxembourg. The readers of Sacred Music will perhaps best remember

him as secretary-treasurer and member of the governing board of the Consociat io

Internationalis Musicae Sacrae, responsible for the finances of that association and THREE SERVANTS



for the publication of the journal Musicae Sacrae Ministerium. For many years hewas prefect of studies and professor at the Pontifical Institute of Sacred Music inRome. The people of Luxembourg knew him, and readily recognized him on thestreet, as former director of the Conservatory of Music in the city of Luxembourgand president of its board, as well as former director of the St. Cecilia Choir of thecathedral and seminary professor. He was a prolific composer, writing Masses,

hymns, motets, cantatas and settings of Luxembourg traditional music. Specialevents in Luxembourg, both civic and religious, were often graced with his composi-tions.

It has been said about Father Schmit that his life was consecrated to his faith, hisfatherland, his music, his family and friends and that it was lived w ith goodness andcharity. I would like to share with you some of my memories which illustrate thesecommitments. Father Schmit was first and foremost a priest who demonstrated hisdeep faith through his music. A vigorous m an physically, even at the age of 80 andeven after serious surgery several years ago, I remember the energy with which hewalked early every morning to say Mass in a hospital chapel ab out a mile away fromhis residence, and his strong back in the Roman vestments as he faced the altar to

celebrate the traditional Latin M ass. I remember him on Sunday m ornings in his lastyears, listening to the Mass broadcast over Radio Luxembourg and watching thetelevised Mass from France, while carefully noting with tiny script in a small note-book what was sung. At these times he often criticized w hat he heard and sorrowedover the state of church music in Luxembourg, Europe and the world.

Then he would begin to tell stories of other times, neither bitter nor sad stories, bu tbeautiful because they came from someone still vital and active who was not livingin the past. He told of his arrival at the cathedral the day of his return to Luxembourgfrom a concentration camp in G ermany after World War II. He had been sent therebecause he had helped young Luxembourg men escape from being drafted into theGerman army by hiding them in the tunnels under the city, in the forests of the Eifel,and in the mine shafts of southern Luxembourg. Since it was Sunday and time forhigh Mass and he had been director of the cathedral choir at the time of his arrest, hisfirst thought was to go directly to the cathedral. Mass was already in progress, thechoir singing what he described as a rather dreary setting of the Mass. He said thathe walked into the choir area to the startled gasps of the choir, who up to that pointdid not know whether he was still alive or dead. He took out a more festive M ass andassumed the podium , much to the confusion of the radio audience who did not knowof the drama going on in the cathedral.

There are two other stories I remember that deal with music and the war. One hetold me during a long walk through the city of L uxembourg. He always delighted intaking his guests on such a walk before noon dinner, proudly explaining the historyof his beloved city, On this occasion he pointed out a church to me where he said that

during the war his choir had sung a concert, performing a cantata he had written.Word had reached the German command that an expression of Luxembourg patriot-ism w ould take place as a part of the concert. Indeed, Father Schmit had included themelody of the Luxembourg national anthem as a theme in the new work . Luckily hewas warned that the German authorities would be in attendance so he changed thelast note of the melody of the anthem and it went undetected by the Germans. Iremember his strong voice singing that melody for me on a Luxembourg street cornerand again one night at a dinner in Saint Paul, Minnesota, at the request of some of usAmerican Luxembourgers, so num erous in the Twin Cities. That night he stood verystraight and proud, tears filling his eyes.

The other story has to do with a M ass he was composing just as the war broke out.

THREE SERVANTS It was a commission for a shrine in G ermany dedicated to Saint Ora nna . Left on his26



desk incomple te a t the t ime of h is a r res t , i t was sen t by a German of f icer to the sh r ine

f o r wh ich i t was i n t en d ed . I m ag in e Fa th e r Sch m i t ' s su r p r i se t o r ece iv e h i s m an u sc r ip t

in the mai l severa l years a f te r the end o f the war wi th a no te f rom the p r ies t a t the

shr ine ask ing tha t he f in ish i t . The Agnus Dei tha t he ad de d af te r the w ar ex presses

a l l the joy he fe l t then and is in s ta rk con tras t to the ear l ie r par ts o f the Mass . Severa l

years ago , the Twin Ci t ies Catho l ic Chora le had the p r iv i lege o f s ing ing th is Mass in

honor of Saint Oranna, sco r ed f o r m ix ed ch o i r , o r g an an d o r ch es t r a , w i th Fa th e rSch m i t a s c e l eb r an t a t t h e Ch u r c h o f Sa in t Ag n es i n Sa in t Pau l , M in n eso ta . I t was a

m o v in g ex p e r i en ce f o r a l l .

L o v e o f f a i t h , f a th e r l an d an d m u s ic , h i s f am i ly an d f r i en d s w i th g o o d n ess an d

ch a r i t y ! I r em em b er a t t en d in g th e ju r y of t h e L u x e m b o u r g co n se r v a to r y o f m u s ic a t

wh ich h e p r e s id ed an n u a l ly . I t was t h e su m m er o f 1 9 8 4 , an d h i s h ea l th was n o lo n g e r

r o b u s t , a l t h o u g h h e s t i l l l o o k ed s t r o n g , u p r ig h t i n b ea r in g , w i th h i s j e t - b l ack h a i r

h a r d ly t o u ch ed w i th g r ay an d h i s k een , d a r k b r o wn ey es . A l th o u g h h e h ad o f f i c i a l l y

re t i red as d i rec to r o f the conserva to ry severa l years before , he was s t i l l very much the

cen te r o f a c t iv i t i e s ; t e ach e r s an d s tu d en t s c lu s t e r ed a r o u n d h im an d p r o u d p a r en t s

g r ee t ed h im . T h e d ay h ad b een h a r d o n h im , b u t wh en we g o t h o m e h e to o k t im e to

t e l ep h o n e an d co m f o r t o n e o f t h e d ev o ted wo m en t each e r s wh o se p u p i l s , b y o v e r -s ig h t , h ad n o t b een g iv en th e p u b l i c r eco g n i t i o n th ey d e se r v ed wh en th e p r i ze s we r e

d i s t r i b u t ed . H i s k in d n ess , g en e r o s i ty o f sp i r i t an d g en t l en ess we r e l eg en d . On h i s

b i r th d ay an d n am e d ay , f l o wer s f r o m f r i en d s an d f o r m er s tu d en t s f i l l ed h i s h o u se .

Fo r m er s tu d en t s f r o m th e co n se r v a to r y , t h e sem in a r y o r f r o m th e d ay s wh en h e

t au g h t a s a r u r a l p a r i sh p r i e s t o f t en s to p p ed b y an d wr o te . L a t e ly , o n e was ca t a lo g u -

in g th e m u s ic h e h ad co m p o sed , wh ich o v e r f lo wed a l a r g e a r m o i r e i n t h e l i v in g

r o o m .

I r em em b er t h e s to r i e s h e t o ld o f h an d l in g r o wd y s tu d en t s i n a r u r a l s ch o o l a s a

y o u n g p r i e s t , o r h o w, d u r in g th e Ge r m an o ccu p a t io n , h e b r av e ly s to o d u p to a k n i f e -

w ie ld in g , d r u n k en f o r m er s tu d en t wh o th r ea t en ed h i s l i f e o n e n ig h t wh i l e c r o ss in g a

b r id g e in L u x em b o u r g . Fa th e r Sch m i t q u i t e s im p ly p i ck ed h im u p an d th r ea t en ed to

th r o w h im o v e r t h e b r id g e i f h e d id n o t b eh av e . I a l so r em em b er t h e m o r e g en t l e

s to r y ab o u t Gu id o , t h e l i t t l e b a r e f o o t I t a l i an b o y , wh o u sed to se r v e h i s M ass wh en

Fa th e r Sch m i t was l i v in g in a sm a l l t o wn ju s t o u t s id e Ro m e . On e d ay , Fa th e r Sch m i t

in v i t ed Gu id o to v i s i t Ro m e wi th h im . Gu id o was d e l ig h ted an d cam e b ack f r o m h i s

very f i r s t v is i t to Rome wi th a knowledge o f the c i ty , a good meal in h is s tomach and

h is f i r s t pa i r o f shoes . He kep t those shoes exc lus ive ly fo r serv ing Mass because they

wer e to o n i ce f o r wa lk in g ! Fa th e r Sch m i t a lway s r em a in ed in co n tac t w i th Gu id o ,

w a t c h i n g h i m g r o w , m a r r y a n d b e c o m e a t r u e R o m a n .

T h o se o f u s wh o v i s i t ed h i s h o m e o n th e Av en u e Gu i l l au m e k n ew h i s g r ac io u s

h o sp i t a l i t y an d wa r m f r i en d sh ip a s we l l a s t h a t o f h i s f a i th f u l h o u sek eep e r , M ia

Rudolf. We a l so k n ew h i s t i r e l e s s wo r k f o r m u s ic an d ch u r ch m u s ic i n p a r t i cu l a r . He

was ev e r s t r o n g , ev e r v ig i l an t , co m m i t t ed to t h e g o o d , t h e t r u e an d th e b eau t i f u l ;wa r m , t en d e r an d sy m p a th e t i c i n h i s d ea l in g s w i th o th e r s . H i s f a i t h f u ln e ss t o t h e

cau se o f ch u r ch m u s ic r em in d s m e o f t h e o ld so ld i e r an d th e r e so u n d in g b e l l , co m -

p a r ed to each o th e r b y Ch a r l e s Bau d e la i r e i n h i s so n n e t , La Cloche Felee ( T h e

Cracked Bel l ) . No cracked be l l he , bu t as Baudela i re says , a be l l wi th a v igorous

th roa t l ike an o ld so ld ier , a le r t and s t rong , who keeps v ig i l in h is ten t . Fa ther Jean-

P ie r r e Sch m i t ' s li fe was a s t r o n g an d b eau t i f u l h y m n o f p r a i se t o G o d . M ay w e f o l lo w

h i s b eau t i f u l ex am p le .

D O M J O S E P H G A J A R D , O . S . B .

1 9 8 5 m a r k e d th e o n e h u n d r ed th an n iv e r sa r y of t h e b i r t h of D o m G a ja r d , w h o d i ed

in Apr i l o f 1972 af te r hav ing devo ted s ix ty years o f h is l i f e to the aposto la te o f

G re go ria n ch an t at the A bb ey of Sa int- Pie rre of So les me s. At the t im e of his de at h, THREE SERVANTS

27



Fa th e r Ra lp h S . M ar ch , S .O .Ci s t . , t h en ed i to r o f Sacred Music a n d f o r m e r s t u d e n t

a n d c o l l a b o r a t o r of D o m G a j a r d , a n d I b o t h w r o t e a b o u t h i m a n d h i s w o r k . I w o u l d

l ik e t o q u o te f r o m th o se a r t i c l e s , s t a r t i n g w i th m y o wn im p r e ss io n s .

I m e t Do m Jo sep h G a ja r d wh en I s e r v ed a s h i s i n t e r p r e t e r f o r t h e m u s ic co n g r e s s i n

Ch icag o . I sh a l l n ev e r f or g e t m y f ir s t im p r e ss io n o f h im . A h eav y , wo o l Ben ed ic t in e

hab i t ou t l ined h is s tocky s i lhouet te so tha t the s ign o f h is voca t ion seemed to be one

w ith the ma n . H e w ore th ick g lasses wh ich we re , I con clu ded , the resu l t of a li fe

d ed ica t ed to t h e s tu d y o f ch an t m an u sc r ip t s . He seem ed a t im e le s s i n ca r n a t io n o f t h e

m o n a s t i c v o c a t i o n .

I c am e to k n o w D o m G a ja r d b e t t e r t h r o u g h o u r co r r e sp o n d en ce an d d u r in g a v i s i t

t o So le sm es . I f o u n d h im to b e ex t r em e ly h u m b le an d a p p r ec i a t i v e o f t h e sm a l l e s t

k in d n ess . He h ad a g en t l e , t e a s in g sen se o f h u m o r an d a d e l ig h t f u l ep i s to l a r y s ty l e .

He ch ided me severa l t imes fo r no t wr i t ing more o f ten and fo r no t v is i t ing h im

d u r in g m y t r i p s t o E u r o p e . On ce h e wr o te m e : "A l e t t e r f r o m Vi r g in i a Sc h u b e r t . N o w

tha t i s a rea l even t ! . . .1 wa s angr y wi th her . I ha d hea rd tha t she ha d been in Eu rop e ,

in Ge r m an y , i n Au s t r i a , ev e r y wh e r e ex cep t a t So le sm es , i n sp i t e o f t h e m o s t so l em n

p r o m ise s . A n d a t t h a t t im e , t h a n k h eav en s , I d id n ' t k n o w sh e h a d sp en t a l o n g t im e

in Pa r i s ." O r o n ce ag a in h e wr o te , "You wer e in E u r o p e . . . an d d i sd a in ed F r an ce .T h a t i s n o t n i ce . W h a t h a s sh e d o n e to y o u , p o o r F r an ce , t h a t y o u wo u ld t r e a t h e r i n

su ch a f a sh io n ?"

Bu t e s sen t i a l l y , i n s t r i n s i ca l ly , Do m Ga ja r d was a m o n k wh o ex p r e s sed h i s v o ca -

t i o n b y a l i f e - lo n g d ed ica t io n to Gr eg o r i an ch an t . T h r o u g h h i s s ch o la r sh ip an d

th r o u g h th e r eco r d in g s h e so l o v in g p r ep a r ed ev e r y su m m er ( ev en th e l a s t su m m er

before h is dea th ) he has t ransmit ted to us h is concep t o f chan t , the o f f ic ia l sung

p r ay e r o f t h e Ca th o l i c Ch u r ch , a s a v ig o r o u s an d v i t a l ex p r e s s io n o f m an ' s f a i t h .

In co m m en t in g to me on the ro le o f ch an t in h is l if e , he sa id , "H ow I wis h tha t yo u

could p rof i t f rom a l l the p rofound fa i th , a l l the love , a l l the cer t i tude , a l l the gen t le -

ness , a l l the s t reng th which i t expresses . I owe so much to i t personal ly . Because o f i t s

h id d en q u a l i t i e s , w i th o u t m y ev en r ea l i z in g i t , ch an t h a s f o r m ed m e sp i r i t u a l ly , l i t t l eby l i t t le , th roughout my whole l i fe . How sad i t i s to depr ive one se l f o f such a

r ichn ess , wh ich i s sp i r i tu a l even m or e than ar t i s t ic , and th a t i s no sma l l th ing to say."

F a t h e r M a r c h k n e w D o m G a j a r d m u c h b e t t e r t h a n I b e c a u s e h e s t u d i e d a n d

wo r k ed w i th h im a t So le sm es . He wr i t e s ab o u t h im in t h i s way :

Contemplative by temperament, he wanted to spend his days at the monastery, direct-

ing the singing of the divine office from early dawn until dusk. He also loved the patient

work at the paleographie studio of the abbey in silence and peace. But he soon became

aware of the enormous apostolic value of the chant. Just as Saint Bernard of Clairvaux

left the serene calm of his monastery to preach crusades, pacify belligerent kings and

princes and give advice and help to popes, Dom Gajard set out more and more

frequently—on orders from his abbot—to spread knowledge and the love of Gregorian

chant. Sturdy, healthy and endowed with boundless energy, he criss-crossed Europe and

most of the other continents for over four decades, teaching, lecturing, conducting

workshops and giving summer courses. Many of his observations and suggestions were

put in writing and published either in the Revue Gregorienne or in shorter booklets. In

his theoretical works, he kept on polishing and defending the Solesmes system, so

admirably established by his predecessor, Dom Mocquereau. In addition to his writing,

he was famous for the recordings prepared under his direction, several of which were

accorded the prestigious Grand Prix du Disque.

Even as Dom Gajard's fame grew with every year, so did his humility. To the end of

his life, he remained a simple monk, rustic in appearance, innocent in the ways of the

world, deeply pious and easily moved by religious and artistic emotions. He could cry

with tears of joy upon hearing a beautiful performance of Gregorian chant. His meek-

THREE SERVANTS ness disa ppe ared only wh en he was challenged to defend la methode. He would then

28



become forceful, convincing, imperturbably lucid yet always charitable and patient,with only short flashes of that Gallic wit that his friends liked so much and his adversar-ies learned soon to fear. Dom Gajard's last years were somewhat tinged by sadnessbecause of the decline of chant both in France and elsewhere.

While we cannot say that things have improved markedly since his death in 1972,

we can note that the work goes on and that chant continues to be the source of graceand the inspiration for religious vocations in monasteries like Solesmes and

Fontgombault in France.

MONSIGNOR FERDINAND HABERL

Monsignor Ferdinand Haberl was a priest of the Diocese of Regensburg and a true

and typical Bavarian. He held positions of importance, being president of the fa-

mous School of Music in Regensburg and later rector of the Pontifical Institute of

Sacred Music in Rome, succeeding Monsignor Iginio Angles. His family name is

famous not only from his own accomplishments, but from those of his uncle, Franz

Xavier Haberl, who was editor of the complete works of Palestrina and who along

with Karl Proske and Franz Witt did so much for the Caecilian movement of the

nineteenth century.Monsignor Haberl was a very quiet man. Conversation with him was never easy

since he spoke so little. He had a great sense of humor, and his store of Bavarian

jokes and witticisms was legendary. Even in the course of what was considered a

weighty meeting of international significance in the world of church music, he would

lean toward someone seated near him and come up with a remark that truly put

things in their proper perspective.

He was learned in Gregorian chant and published several volumes on the subject:

Das Graduate Romanum; II Kyriale Romanuni; II Canto Gregoriano Antifonico

dell'Introito e del Communio; 86 Tropi an tiphonarum ad Introitum usui liturgico

accomodati. And yet his scholarship was closely connected with his teaching, both

in Regensburg and in Rome. He undertook to implement in practice wha t the SecondVatican Council had ordered in its reforms of the liturgy and its effects on sacred

music . The position of chant in the post-conciliar Church was demonstrated by his

continuing research and promot ion of its use.

Monsignor Haberl came to the United States for the Fifth International Church

Music Congress in Chicago and Milwaukee in 1965. He was vitally interested in

American ways and living. He enjoyed himself here and liked this country. He was

active in the affairs of the Consociatio Internationalis Musicae Sacrae as well as the

Allgemeiner Cacilien-Verband fur die Lander der deutschen Sprache for many years

until his death.

He retired from the office of rector of the papal music school in 1981, returning to

his native Bavaria, where he died quite suddenly this past July. His work will remain,

and his influence on hundreds of students in Germany and around the world will

carry his name through the years . His writings are significant in the field of Grego-

rian chant. More personal and perhaps more important, however, is his mem ory as a

priest and as a dear friend. It will long endure. He taught clearly by his whole life

that it is the person that counts; the works, whether in word or in deed, only reflect

the spirit that God created. God did indeed create a great spirit in Ferdinand Haberl.

Father Jean-Pierre Schmit, Monsignor Ferdinand Haberl and Dom Joseph Gajard

were alike in the way they made their love of God and sacred music the fabric of

their lives. They were alike also in their humility, warmth and kindness. Like bea-

cons they transmitted the heritage of the Catholic faith to us. The challenge is now

ours .

VIRGINIA A. SCHUBERT THREE SERVANTS

29



REVIEWS

ChoralFanfare an d Processional ar. by Undine Smith M oore.SATB, optional brass, percussion. Augsburg Publish-ing House, M inneapolis, M N. $.90 vocal score; $2.00brass parts.

A very effective use of brass and choir for a proces-sional with the text, "He is King of kings, He is Lordof lords." Scored for three trumpets, three trombonesand timpani, the organ might play the vocal parts,which often are divisi. The range of the soprano linerequires a good section, but with sufficient support,it can be an exciting piece.

Sing to God by Lodovico Grossi da Viadana. SAB.Theodore Presser Co., Bryn Mawr, PA 19010. $.65.

The Latin text is Exsultate justi from Psalm 81. Akeyboard part is given, but probably was not in theoriginal version. This is not difficult, but can be use-ful and effective in either language. It can be an op-portunity to sing music from the early seventeenthcentury without having to have a full four-part en-semble.

Here Yet Awhile by J. S. Bach, ar. by Ed. Forsythe.SATB, organ. Coronet Press; agent: AlexanderBroude. $.70.

This wonderously beautiful finale to the SaintMatthew Passion can be used frequently during Lentand Passiontide. Reduced from it original eightvoices, this arrangement is not difficult, but it pre-serves the tenderness of the text addressed to Jesus inthe tomb.

Motet from Saint Luke Passion by Heinrich Schiitz.SATB, organ. Theodore Presser Co., Bryn Mawr, PA19010. $.65.

Both German and English words are provided.1985 was the 400th anniversary of the birth ofSchiitz, and a quantity of his music was made avail-able to use. This motet will be a treasure for anychoir.

Sequentia: Veni Sancte Spiritus by Noel Goemanne.SATB, a cappella. Theodore Presser Co., BrynMawr, PA 19010. $.60.

The full text of the Latin sequence is set. The chantthemes are used in an interesting fashion, alternatingamong the voices. Voice leading is not difficult, butthe a cappella restriction may be demanding in someplaces where chromatic changes occur. Music forPentecost is not in abundance. This is a welcomefind.

Blessed are They by Samuel Sebastian Wesley, editedby W. R. Anderson. SAB, organ. Stainer & Bell;

agent: Galaxy Music C orp. $1.20.

A traditional setting of a Methodist hymn, this is abeautiful melody with easily sung harmony. Thereare no difficulties chorally.

Let Thy Clear Light Shine by W. A. Mozart, ar-ranged by Austin C. Lovelace. SATB, organ.S.M.S.I., Minneapolis, MN 55408. $.55.

An easy chordal setting of a text by John Hunter, itis not clear just what Mozart had originally written.One wonders why the editor chose to use a five-flatkey, especially with a keyboard accompaniment in-volved. This can be a well-loved addition to a reper-tory.

O Bone Jesu and Fecisti Nos by Philip Radcliffe.SATB, a cappella. Stainer & Bell; agent: Galaxy M u-sic Corp. New York, NY 10024. $1.20.

These two Latin texts are set in a polyphonic stylethat does not make great demands on the vocalforces. While not contemporary writing, it is notmerely an imitation of the renaissance style. Thetexts are useful at any season but especially during

R.J.S.

MagazinesUNA VOCE (France). Number 124. September-October 1985.

This issue reprints a lecture given by Jean de Vi-guerie, professor at the University of Angers, on therole of the psalms in French religious practice in the

seventeenth and eighteenth centuries. Another articlegives practical ways to help a choir of modest meanssing the complex chants of the proper of the M ass. Acommentary is made on articles by the Centre na-tional de pastorale liturgique which suggest limita-tion of participation in the Mass to those who areprepared to participate. This point of view wouldhave it that those who are not practicing Catholicscannot truly "celebrate" the Mass and thereforeshould not be allowed to participate in it, but shouldbe relegated to another sort of worship, much as thecatechumens were in the early Church. On theseground s, some are refused the Mass at both weddings

and funerals because those attending are not pre-pared to "actively participate." The author of thisarticle suggests that if the simple faithful are not con-sidered ready to celebrate the new Mass, they shouldbe allowed to attend the old Mass, which is open toall.

Mention is made of the 100th anniversary of thebirth of Dom Gajard, choir director at Solesmes for57 years, from 1914 to 1971, and known throughoutthe world for his research and the recordings madeunder his direction, so many of which received theGrand Prix du Disque.

V.A.S.

30



U N A VOCE (France) . Number 125. November-

December 1985.

The theme of this issue could be the role of Grego-

rian chant in the Church. A brief editorial reviewing

the recent international church music congress in

Rome, whose theme was "Gregorian chant in current

pastoral work," calls for good will from the clergyand the education of the young. Once again the point

is made that education in chant must begin in reli-

gious institutions.

This theme is developed in the continuation of the

series of articles giving practical steps on how to in-

troduce chant to small, modestly trained choirs. An-

other article explains in great detail how to sing the

proper of the Mass for the third Sunday after Epiph-

any. Two other articles continue from preceding is-

sues: one dealing with the representation of the

Blessed Virgin Mary in religious iconography; the

other explaining the Roman canon.

Announcement is made of a regular TridentineMass every Sunday in Paris, at 11:15, in the Church

of St. Eugene-St. Cecilia (metro: Montmartre or

Bonne Nouvelle). The annual Una Voce pilgrimage

will be to the tomb of Saint Martin in Tours on June

7, 1986.

V.A.S.

BOLLETTINO CECILIANO. Anno 80, No . 3 , March

1985.

The Italian post often comes late and sometimes

does not come at all. We have already reviewed No . 8

and 9 of the Bollettino Ceciliano for 1985, but some

previous issues had not as yet come. Here they are,late but yet welcome.

The program for the International Congress on

Gregorian C hant, held at Subiaco, April 26-28, 1985,

is printed. Listings of diocesan choral festivals

throughout Italy show a great deal of activity in the

country. An account of the newly restored pipe organ

in the Church of San Luigi dei Francesi in Rome

brings out some of the history of that musically im-

portant church. A brief account of a pilgrimage to

northern Italy to celebrate the 150th anniversary of

the birth of Pope St. Pius X indicates the European

knack of finding anniversaries to celebrate.R.J.S.

BOLLETTINO CECILIANO. Anno 80, No. 4, April

1985.

The Italian Association of St. Cecilia was founded

in Milan in 1880, and the famous National Academy

of St. Cecilia was founded in Rome in 1870, and both

have roots that go back to the establishment by Pope

Sixtus V of the Congregation of St. Cecilia in 1585.

So there is reason to celebrate an anniversary, the

fourth centenary of all these institutions, and Luigi

Celso Cipriano contributes a lengthy historical article

on this history. E. Papinutti assesses the liturgical

reforms of the past twenty years and their affect on

sacred music. His conclusions for Italy are very simi-

lar to those most judges of the scene in the United

States have concluded for this country, but he still

sees hope in the future.

R.J.S.

BOLLETTINO CECILIANO. Anno 80, No. 5 , May1985.

Luigi Celso Cipriani delivered an address at the

three-day conference on spirituality held in Rome,

March 1985. Entitled, "The Effects of Chant on the

Spirit," this long article says that music unifies the

people of God, saves them from the torments of this

modern world and reveals to them the mystery of

God. Notices of several national and international

meetings for organists and church musicians during

the summer and fall of 1985 are given.

R.J.S.

BOLLETINO CECILIANO. Anno 80, No. 6-7,June-July 1985.

E. Papinutti has an interesting and informative ar-

ticle entitled "From Pius X to John Paul II." He com-

pares the words of both popes and those used by the

Vatican Council in its decrees on sacred music. The

requirements that music for church music be holy,

true art, and universal still remain. The various

forms (chant, polyphony and modern compositions)

and the use of instruments according to the popes

and the council are treated. He concludes with the

application of these principals to seminaries, choirs

and schools of music. Luciano Migliavacca studiesthe subject of St. Charles Borromeo and sacred m usic

in the reform period following the Council of Trent.

A report on the international Gregorian chant con-

gress held in Subiaco, April 25-28, briefly summa-

rized the lectures, including one by Pellegrino

Ernetti, O.S.B., who spoke on the melodic and

rhythm ic recontruction of the chant making reference

to the work of Gueranger, Pothier and Mocquereau

and the contemporary findings of Dom Cardine in

the area of semiology.

R.J.S.

NEWSSaint Francis of Assisi Cathedral in Metuchen,

New Jersey, celebrated Christmas with special music

under the direction of John D. Nowik in a concert

given on December 8, 1985. The program included

excerpts from J. S. Bach's Christmas Oratorio, works

by Mozart, Praetorius and Schein, in addition to tra-

ditional Christmas carols. A quartet of singers in-

cluded Elaine Convery, Mickey Seppi, Richard Ru-

chalski and Mark Cleveland. Other concerts in the

cathedral series will present Gabriel Faure's Requiem

and several organ ists in recital. I

31



Saint Raphael's Church, Saint Petersburg, Florida,had special music for Christmas under the directionof Joseph Baber. Works by Gruber, Handel andBeethoven were on the program for both the mid-night Mass and the Mass during the day. I

Michael Latham-Ellis directed a festival of lessonsand carols at Saint Mary the Virgin Church (RomanCatholic, Anglican Use) in Las Vegas, Nevada, onDecember 15, 1985. James Marx was lector. FatherClark A. Tea is pastor. •

Midnight Mass at the Church of the Maternity ofMary, Saint Paul, Minnesota, began with a series ofChristmas carols from many nations. The programincluded w orks of Praetorius, M ozart and Max Regeralong with Gregorian chant. A small orchestra as-sisted the choir. Robert Kaiser is organist and direc-tor. •

Saint Stephen Parish in Stevens Point, Wisconsin,celebrated Christmas with music of Melchior Vul-pius, Giovanni Gabrielli, Adolphe Adam, Pietro Yonand Franz Schubert. James Benzmiller was organistand director of the schola can to rum . Lenore Jirovecwas director of both the adult and children's choirs.A small wind orchestra accompanied the singers. Fa-ther Thom as E. Mullen is pastor. •

At the Church of Saint Agnes, Saint Paul, Minne-sota, the Twin Cities Catholic Chorale and membersof the Minnesota Orchestra presented Joseph H aydn's

Schbpfungs Mass at the solemn Latin Mass of mid-night on Christmas. Other music by Mozart, MaxReger and Schubert as well as traditional Christmascarols were on the program. The proper was sung inGregorian chant by a schola under the direction ofPaul LeVoir. Mary Gormley was organist, and Mon-signor Richard J. Schuler, choirmaster. •

A Latin Mass was celebrated at Sacred HeartChurch, New Haven, Connecticut, on January 12,1986, with Gregorian chant used for the proper textsand T. L. de Victoria's Missa Ave maris stella, as theordinary. Palestrina's Alma Redemptoris and Victo-

ria's Magi viderunt were sung at the offertory and thecommunion. The missal of Pius V was used. Rever-end Robert Ladish, pastor of the church, was cele-brant. The music was under the direction of W. BrittWheeler. •

Christmas vespers as set by Claudio Monteverdiwere sung at Saint Ann's Church, Washington, D.C.,Christmas Eve. Music at the midnight Mass was byMonteverdi, Vittoria, Franz Gruber, Adolphe Adamand Louis Vierne, together with several Christmascarols. Choir and orchestra were under the direction

The ninth annual church music workshop at SaintMichael's College, Winooski, Vermont, will be heldJuly 7-9, 1986. John Weaver will teach organ, andWilliam Tortolano will conduct the choral sessions.Information can be obtained from the college. •

The University of Wisconsin at Madison is offering

a conference on music in parish w orship, July 22-24,1986. For the 32nd consecutive year, these confer-ences have been directed to both liturgical and non-liturgical traditions. Faculty this year includes LeoNestor, Wolfgang Rubsam, Murray Sommerville,John Folkening, Gertrude Stillman, Sister LornaZemke, and Lawrence G. Kelliher. In addition, theuniversity is sponsoring seminars throughout thestate of Wisconsin during July. Faculty for thesemeetings includes Arthur Cohrs, Arlyn Fuerst andEdward Hugdahl. Information about all the sessionsmay be obtained from Continuing Education in Mu-sic, 610 Langdon Street, Madison, Wisconsin 53703.

•R.J.S.

EDITORIAL NOTES

Subscription noticesOur printer made a mistake! He attached renewal

notices in the last issue to all those who had already

paid, and those who needed the reminder did not getan envelope asking for payment.

This issue, the first of Volume 113, begins a newsubscription period. We hope the notices have goneto the right people this time. May we ask you to remityour paym ent for 1986, using the attached envelope.

Sacred Music has about 1100 subscribers. Weshould have double that number. W ill you help us bysending a gift subscription?

CONTRIBUTORSJoseph Cardinal Ratzinger is prefect of the Sacred

Congregation of the Doctrine of the Faith. He is well-known as a professor of theology and as a formerArchbishop of Mun ich. He has written frequently onthe subject of sacred music and sacred liturgy.

Virginia A. Schubert, one of the editors of SacredMusic, is professor of French at M acalester College inSaint Paul, Minnesota, and secretary of the ChurchMusic Association of America.

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Sacred Music, 113.1, Spring 1986; The Journal of the Church Music Association of America

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