Sacred Music, 120.4, Winter 1993; The Journal of the Church Music Association of America

8/14/2019 Sacred Music, 120.4, Winter 1993; The Journal of the Church Music Association of America

1/33

* '..


2/33

Statues from Ro yal Portal. Cathedra l of Notre D ame, Chartres, France

SACRED MUSICVolume 120, Number 4, Winter 1993FROM THE EDITORS"One Bad Translation Begets An other" 3Good News 4

OUR NEGLECTED HERITAGEKaroly Kope 5

QUO VADIMUS?Sister M. Consuelo Hoffman, OSF 7ROMAN CATHOLIC CATHEDRAL MUSICIANSJohn D. Nowik 9

THE JARGON OF LITURGISTS: BRAIN-WASHING OF THE FAITHFULCalvert Shenk 11

PRAYING AD ORIENTEM VERSUS 14THE HERALDRY OF SACRED MUSIC (Part III)

Duane I.CM. Galles 18REVIEWS 21

CONTRIBUTORS 27NEWS 28

EDITORIAL NOTES 28OPEN FORUM 29

INDEX OF VOLUME 120 30


3/33

SACRED MUSIC

Editorial Board:

News:

Music for Review:

Membership, Circulationand Advertising:

CHURCH MUSICASSOCIATIONOF AMERICAOfficers and Board of DirectorsPresident

Vice-PresidentGeneral Secretary

TreasurerDirectors

Continuation of Caecilia, published by the Society of St. Caecilia since 1874,an d The Catholic Choirmaster, published by the Society of St. Gregory ofAmerica since 1915. Published quarterly by the Church Music Association ofAmerica. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota55103.Rev. Msgr. Richard J. Schuler, EditorRev. Ralph S. March, S.O. Cist.Rev. John BuchananHarold HughesdonWilliam P. MahrtVirginia A. SchubertCal StepanRev. Richard M. HoganMary Ellen StrappRev. Msgr. Richard j . Schuler548 Lafond Avenue, Saint Paul, Minnesota 55103Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood, Calif. 91602Paul Manz, 1700 E. 56th St., Chicago, Illinois 60637548 Lafond Avenue, Saint Paul, Minnesota 55103

Monsignor Richard J. SchulerGerhard TrackVirginia A. SchubertEarl D. HoganRev. Ralph S. March, S.O. Cist.Mrs. Donald G. VellekWilliam P. MahrtRev. Robert A. SkerisMembers in the Church Music Association of America includes a subscrip-tion to SACRED MUSIC. Voting membership is $12.50 annually; subscrip-tion membership is $10 annually; student membership is $5.00 annually.Single copies are $3.00. Send applications and changes of address to SA-CRED MUSIC, 548 Lafond Avenue, Saint Paul, Minnesota 55103-1672.Make checks payable to Church Music Association of Amer ica .Library of Congress catalog card number: 62-6712/MNSACRED MUSIC is indexed in the Catholic Periodical and Literature In-dex, Music Index, Music Article Guide, and Arts and Humanities Index.Cover: Vestment, Church of Saint Agnes, Saint Paul, Minnesota. Photo by Joe OCopyright by Church Music Association of America, 1993.ISSN: 0036-2255474960

SACRED MUSIC (ISSN 0036-2255) is published quar ter ly for $10 per year by the Church MusiAssociation of America, 548 Lafond Avenue, Saint Paul, Minnesota 55103-1672. Second-class postagpaid at Saint Paul, Minnesota.Postmaster: Send address changes to SACRED MUSIC, 548 Lafond Avenue, Saint Paul, Minnesot55103-1672.


4/33

The Flight into Egypt. Cathedral, Autun, France

FROM THE EDITORS"One Bad Translation Begets Another"

In an article with that title published in the November 1993 issue of The CatholicWorld Report, Father Joseph Fessio, S.J., traces to its source the rationale for post-Vatican II translations into English of Latin liturgical texts. Some of these transla-tions, as we know, are less than elegant, if not disturbing, unorthodox and vergingon the heretical. The latest controversy involves new translations of the Our Fatherand the Creed.Credo, a group of priests now numbering some 1,400, has been founded to pro-mote a noble and faithful translation of liturgical texts and to counteract the actionsof ICEL (International Commission on English in the Liturgy). It seems that ICELjustifies its translations by saying that it is following the guidelines for translation aspublished in the Holy See's Instruction on the Translation of Liturgical Texts. How-ever, after comparing the original document, whose normative version was pub-lished in French (Comme le prevoit, January 25, 1969) with its English translation

done by ICEL, Father Fessio has discovered that the principles invoked to justify FROM THE EDITORS


5/33

translations that many find troubling, are in themselves mistranslations of theFrench text on how to translate.In his article, Father Fessio cites many examples, of which I will quote but two:Par. 1. The tone is set in the very first sentence: "The Co nstitutio n o n the SacredLiturgy foresees that man y Latin texts of the Roman liturgy mu st be translatedinto different lang uag es (Article 36)." The French peut etre traduit ("can," or b etter,"may be translated") is rendered "must be translated"...(p. 31).

In Par. 7 we are told that "tran slatio ns, therefo re, m ust be faithful to the art ofcommunication in all its vario us aspe cts. But the French says, Ainsi, done, enprepara nt une tradu ction, il faut v iser a assurer la fidelite d u me ssage sous sesmultiples aspects. . ." which should be translated "In mak ing a translation,therefore , one mu st aim at gua rantee ing the faithfulness of the message in itsma ny aspects." It is the message that must be adhered to, not some neb ulous"art of communication" (p. 32).From my background as a professor of French, I find Father Fessio's translationsand comments to be correct, sensitive to the meaning of the original French andcompletely pertinent.Perhaps if the original text in French giving the guidelines for liturgical transla-tions had been adhered to for the translation of the new catechism, we wou ld alreadyhave it available for us in its English version. The first translation was rejected by theVatican and now the most optimistic projection is that it will not be ready beforeEaster. In the mea ntime , it has already been translated into ma ny lan guage s. It is myund erstand ing that the original was prepare d in French, and that 500,000 copies of itwere sold in France last year alone. It is an inspiring work of which we have beendeprived for too long. I hope that by the time you read this the bishops, meeting inW ashington, w ill have rejected any attem pts to change the wording of the O ur Fatherand the Creed and that from now on ICEL will be forced to act more faithfully in ourbehalf.

V.A.S.

Good NewsWord that the American bishops, meet ing in Washington, D.C. , i n November ,have pos tponed a decision on the proposed new ICEL translations of the liturgicaltexts is most welcome. While the problem is not solved, this surely is an advancetoward the much needed reform of the texts of the Mass in their present condition.Most encouraging was the num ber of bishops w h o have indicated their support an dare willing to take a stand in favor of or thodoxy of doctrine, beauty of language, afaithful translation of the Latin original and the preservat ion of our English languagefrom abuse by radical feminists w h o s o unwisely wish to m ake the liturgical texts theobject of their particular projects fo r "inclusive" language.Great credit an d t hanks must be expressed to Mother Angel ica of ETWN, FatherJoseph Fessio of Ignatius Press and the priests of Credo fo r their role in alert ing theCathol ic people to the proposals that were to be considered in Washington . T heAmerican custom of expressing one's opinion to the proper authori t ies paid off withthe staggering volume of letters received by the bi shops . Many thanks to al l whowrote . N o w that the ball h as begun to role, it m us t be kept going. T h e bat t le is notyet over. In fact, the fight has not yet begun!

FROM THE EDITORS R .J .S .


6/33

Saint John the Apostle, Church of St. Trophime, Aries, France

OUR NEGLECTED HERITAGEW h e n a s k e d b y n o n - C a t h o l i c s w h e r e o n e c a n h e a r g o o d C a t h o l i c c h u r c h m u s i c

t oda y , m y t ongue - i n - c he e k r e p l y is a l wa ys t he s a m e : at a H i gh -Ep i s c op a l M a s s .I l ive not fa r f rom the Episcop a l Ca t he dr a l of Sa in t Joh n the Divin e in N ew Y ork

Ci ty , wh ere I occ as io na l ly a t ten d se rv ices , if bu t for the d ig ni ty wi t h whi ch they a reconduc ted . I t saddens me to have to go to an Episcopa l se rv ice to hea r a Pa les t r ina orLa s s us Ma s s s ung i n La t i n , a nd i t s a dde ns m e e ve n m ore t o t h i nk t ha t C a t ho l i c s ha vet u rne d a wa y f rom t he i r m a gn i f i c e n t l i t u rg i c a l pa t r i m ony wh i l e non -C a t ho l i c s s t i l lth ink i t the bes t .

I see Protes tant choi rs a t tempt ing to do some of tha t mus ic but miss ing i t s e ssenceas we l l a s i t s t rue beauty by subs t i tu t ing manufac te red Engl i sh tex ts to rep lace thet ongue i n wh i c h i t wa s c onc e i ve d : it s ou nd s fo re ign i n a n e nv i ron m e n t fo r wh i c h i twas not c rea ted and in which i t loses mos t of i t s beauty , even when done we l l , evenin La t in .

I s e e J e wi s h c ondu c t o r s d o i ng l ov i ng l y s uc h m u s i c a t c onc e r t s , w he r e it be c o m e sm e a n i ng l e s s e n t e r t a i nm e n t , be i n g r e m o ve d f rom t he c on t e x t in wh i c h i ts nob l ebe a u t y c om e s t o fu l l e xp re s s i on : t he l i t u rgy itself.

A nd I s e e C a t h o l i c s a rgu i ng ove r t he u s e o f La t i n , fo rge t t i ng t ha t wh a t t he y a rede b a t i ng i s m o re t ha n a l a ng ua ge , m o re t ha n r i t ua l i s m o r "m ys te ry , " o r s y m p a t h y o ra n t i pa t hy fo r t he t r a d i t i on a l . W ha t i s a t s ta ke is t he quality of C a t ho l i c c hu rc h m us i citself. F or , w i t h ou t ou r m i l l e nn i a l La t i n r e pe r t o ry we ha ve no t h i n g . Th a t i s ho w ou rl i t u rgy a nd ou r s a c re d m us i c e vo l ve d . No c ons c i ous e f fo r t t o i gno re t h i s w i l l c ha nget he pa s t , o f wh i c h t he p re s e n t i s a na t u ra l c on s e que nc e . W he t he r we li ke it o r no t , we HERITAGE


7/33

a re the p r o d u c t and the sum of all t h a t we h av e b een , d o n e , f e l t , and t h o u g h t t h e s ep as t c en tu r i e s . I g n o r in g th i s ch an g es n o th in g . Our cu l tu r a l " g en es" can n o t be al-t e r ed .

I fear tha t some who o p p o s e L a t in (or a r e t u r n to it) are u n c o n s c i o u s l y p r e y to self-se r v in g v an i ty , if not se l f - i n d u lg en ce . For it is not given to all to do t r a d i t i o n a l m u s i cwe l l , wh i l e it r e q u i r e s n o t h i n g for the a m a t e u r to t h in k h im se l f " c r ea t iv e" by "self-ex p r e s s in g " w i th p r im i t iv e m ed ia . A few g u i t a r c h o r d s can be l e a r n e d by a n y b o d y ina v e r y sh o r t t im e . Do in g g o o d m u s ic we l l is a n o t h e r m a t t e r . Not all h a v e the gift forit (as not all h a v e the gift for b e in g d an ce r s or a th l e t e s or m e c h a n i c s ) , and ev en thegif ted must spend a l o n g and a r d u o u s a p p r e n t i c e s h i p b e f o r e t h e y can exerc ise thecraft of co m p e ten t m u s ic i an f i r s t , and of c o m p e t e n t c h u r c h m u s i c i a n n e x t .

T o th o se who en joy se l f - fu l f i l lment th rough se l f -decreed exper t i se in l i tu rg ica lm u s i c ( u n t r a i n e d or s e m i - c o m p e t e n t m u s i c i a n s ) , any g o o d m u s i c r e p r e s e n t s a t h r e a t .An d s in ce our b es t m u s ic is in L a t in , it f o l lo ws th a t su ch m u s ic is v i e w e d w i t hsu sp ic io n by t h o s e u n e q u i p p e d to u n d e r s t a n d it musica l ly , much less to execu te it .

O p p o s i t i o n to L a t in m u s t , t h e r e f o r e , be in p a r t a t t r i b u t a b l e to se l f - in te res t . Someo p p o s i t i o n is due to i g n o r a n c e : how can p e o p l e w a n t s o m e t h i n g t h e y h a v e n e v e rh e a r d or t a s t e d , s o m e t h i n g to w h i c h t h e y are not e x p o s e d and to w h i c h t h e y c a n n o tc o m p a r e the a l t e r n a t iv e? The rest of the o p p o s i t i o n is r o o t e d in the r eb e l l i o u s n a tu r eo f so m e id eo lo g u es . T h e i r m in d s are m a d e up and no a r g u m e n t w i l l s w a y t h e m .T h e y are ag a in s t t h in g s t r ad i t i o n a l , and t h e y w a n t c h a n g e for the sak e of c h a n g e .

Ch an g e w i l l o ccu r , but it wil l not be the r e su l t of con tr ived ef fo r ts by w o u l d - b ei n n o v a t o r s . The g r ea t e s t r ev o lu t io n a r i e s in m u s i c w e r e not awar e t h a t t h ey we r er e v o l u t i o n i z i n g a n y t h i n g . W a g n e r ' s Tristan ( wh ich ch an g ed wes t e r n m u s ic f o r ev e r )w a s but a n a tu r a l ex p r e s s io n of W a g n e r ' s t h o u g h t . In fac t , hi s l a te r w o r k s (The Ring,The Meistersinger) r ev e r t ed to a l e s s r ev o lu t io n a r y s ty l e . Sch o n b e r g d id n ' t k n o w hewas c r ea t in g twe lv e - to n e m u s ic u n t i l a f t e r his m u s i c had ev o lv ed in t h a t d i r ec t io n .

Wh a tev e r ch an g e l i e s ah ead , it wi l l be the w o r k of t h o s e who wil l express the i rsu n g p r ay e r h o n es t ly and wi th s in ce r i t y , u n awar e t h a t t h ey ar e r e v o l u t i o n i z i n g any-t h in g . Un t i l t h en , it w o u l d b e h o o v e us to m a i n t a i n our c o n t a c t w i t h our r o o t s and tol e a r n to e m u l a t e the g r ea t m as t e r s of the p a s t , as did M a r t i n L u t h e r . It wil l be g iv en tov e r y few to c r ea t e an y th in g g r ea t by d o i n g so , t h o u g h . B e e t h o v e n wa s o n ly t r y in g toi m i t a t e H a y d n , but w i t h t i m e his own i n d iv id u a l s ty l e set him a p a r t . B a c h wa s o n l yt r y i n g to co p y V iv a ld i , but in the end the c o p y t u r n e d out b e t t e r t h an th e o r ig in a l .B ut he was B a c h . W h e r e are the B a c h s of t o d a y ? If they ex is t , they are yet u n d i s c o v -e r e d . For t h ey wo r k w i th s in ce r i t y and "in the s h a d e ." T h e y are not the o n e s on theb a r r i c a d e s b u r n i n g m u s i c a l d r a f t c a r d s , so to s p e a k .

W h e t h e r L a t i n (or m u s i c in Lat in ) f inds its way b ack in to th e C h u r c h t h a t c u l t i -v a t ed it for so l o n g , or w h e t h e r it dies en t i re ly , wi l l be left for h i s to r y to d e c i d e . IfL a t i n d o e s b e c o m e a d ead l an g u ag e ev en in the R o m a n C a t h o l i c C h u r c h of the Latinr i te , the verd ic t wi l l not co m e f r o m it s p r e sen t - d ay d e t r ac to r s . H i s to r y a lo n e w i l l h av eth e l a s t wo r d .

T h e d eb a te o v e r L a t in sh o u ld th e r e f o r e not be seen as a d eb a te o v e r a l a n g u a g e . Iti s ab o u t g o o d ch u r c h m u s ic . To d r a w a p a r a l l e l : you c a n n o t be for g o o d o p e r a if youd ec id e th a t I t a l i an sh o u ld be b a n i s h e d , or be for B r a h m s and S c h u b e r t but againstG e r m a n . If you l o v e m u s ic at all, t h e n you wi l l em b r ace L a t in for the f ac t a lo n e th a ti t p r o v id e s so m e of the g r ea t e s t m u s ic c r ea t ed in h i s to r y . Ra th e r t h an sh u n n in g L a t in ,C a t h o l i c s s h o u l d be p r o u d t h a t it h a p p e n s to be t h e i r l i t u r g i ca l m o th e r t o n g u e . Noo th e r cu l tu r e has c o n t r i b u t e d so m u c h to b e a u t y as did the R o m a n C a t h o l i c C h u r c ht h r o u g h its m u s i c a l r e p e r t o r y in L a t in . J ews and M o s l e m s and B u d d h i s t s and P r o t e s -t a n t s p e r f o r m it p u r e l y for its b e a u t y . How can Cath o l i c s r e f u se or h es i t a t e to use itto serve the v e r y w o r s h i p for w h i c h it was c r ea t ed , t h e i r o wn ?

HERITAGE KA RO LY K O P E


8/33

Damned, Last Judgment, South Porch, Chartres, France

QUO VADMUSMost of us have had the embarrassment at some time either of saying the wrong

thing or of saying the right thing, but not too subtly, just as the room went suddenlysilent, and our ignoble words hung in the air, immortalized for good or ill.It was December of 1929, and I was a senior in a girls' convent school whereFranciscan Sisters were educating us in the true sense, drawing out every possibletalent and ability, while unconsciously furnishing us with models of genuine Chris-tian womanhood. Some years later, the greatest of those Sisters would remark that,at twelve, I had been exactly ready for all they had to give, and I would reply thatthey were also ready and, by God and man equipped, to satisfy the hungriest mindand furnish a lifetime of inspiration.These women were quite willing to accelerate an eager student but wise enoughnot to skimp on the essentials. One could allow the language lover to taste threesemesters of the ancient writers, but not without a full year of Latin first. Under nocircumstances did a student escape a whole and utterly inspired year of ancienthistory.Not everyone could qualify for the classical diploma requiring four years of Latinand four of French. The school was then too small to offer more choices in modernlanguages, but the Sister who taught French had been born in Belgium and was akind of war orphan adopted by our Sisters for her and our good fortune. For thegood students there was the New York State Regents diploma requiring four-yearsequences in English, history and a subject of one's choice, even business. Finally, forthe girl who lacked both ardor and gray cells, a cultural certificate attested to fouryears attendance in which she had acquired basic knowledge along with many soundskills. Right through the 1980's, it was not hard to identify a graduate of our conventschool. QUO VADIMUS?


9/33

When I was a senior, the publication of the Saint Andrew Daily Missal was amomentous happening. Elegant in Latin and leather, it was a treasure, and SisterTarcisia promised to teach all who could obtain a copy of the book. It was the year of"Black Tuesday," and the ensuing great depression, and with my two dollars weeklyallowance already nearly depleted in Christmas sh opping , I was faced with theproblem of getting the missal. When I was asked when was I going to get it, I repliedthat I would have it as soon as I got the money for it. After long weeks, I finallycould sit at Sister's feet and explore the magnitude of the Mass. The followingsummer I rose early every morning and walked a good many blocks to Mass with themissal in my properly gloved hands. I did love to dress up for Mass. However, as aserious student I was marvelously motivated by the study of Latin and the meaningof the mystery of the Mass, preparing me for a lifetime of loving and understandingthe daily miracle of the unbloody Sacrifice. Some years later the missal underwent arebinding. No one abandons a treasure. But today, do we consider our throw-awaypaper missalettes any comparison to the satisfaction or the memories that theleather-bound Saint Andrew brought?Our school world was replete with poetry, drama, debate, music, retreats, gymna-sium, etiquette club for seniors, literary contests and finally the yearbook, dedicatedto the bi-millennium of Virgil. We read Shakespeare and committed to memory longpassages of poetry in English and Latin. Training of the memory is a sine qua non fo rhappy living. Human memory is God's original computer. Everyone can attest tointellect and will as God's great gifts as faculties of the soul, but there is also the giftof memory, given only to men and angels.A child who cultivated the missal can today still repeat whole sections of thecanon of the Mass, English and Latin. And from Virgil, Forsan et haec olimmeminisse iuvabit. Much of modern amorality can find its explanation in Facilisdescensus Averno. Nodes atque dies patet atri ianua Ditis, sed revocare g radus,superasque vadere ad auras, hoc opus, hie labor est.We read Francis Thompson and A. A. Milne. G. K. and the other half of theChesterbelloc, Eric Remarque, Henryk Sienkewicz, Pearl Buck and Willa Catherwere given to us, and we grew on these au thors , even learning parts of their writingsby hea rt. Today, how m any are required to learn anythin g by heart? T here is one clueto answering the question about the general decline in standards, the leather-to-paper slide. Education, by its very etymology, is meant, not to soothe, but to drawout possibilities, to challenge the human being to be his own original best, whileconstituting an essential mem ber of Ch rist ' Body here on earth. N ot to help stock thestudent's mind with the best of the past is to deprive him of the knowledge thatmankind has a long story, and he is to have his own unique place in this story. Toknow one's uniqueness is to be armored for life.SISTER M. CONSUELO HOFFMAN, OSF

QUO VADIMUS?


10/33

The Mystical Mill. Ba silica of the Mad eleine, Vezelay, France

ROMAN CATHOLIC CATHEDRALMUSICIANSThe tenth anniversary meeting of the Conference of Roman Catholic CathedralMusicians (CRCCM) took place in Rome, Vatican City and Assisi, February 1-8,1993. The purpose of the conference was to celebrate the musicians who serve RomanCatholic cathedrals in the United States and to rededicate their lives to their voca-tion.The conference opened with a papal Mass on the Feast of the Presentation of theLord (Candlemas Day) at the Basilica of Saint Peter. It was a very moving experienceas Pope John Paul II entered the basilica in darkness, and as the procession movedforward, the candles held by the congregation gradually were lighted and slowlybegan to illuminate the great church.The program arranged for the conference included several fine speakers and manyvisits to important places in the City. Monsignor Pablo Colino, director of music atSaint Peter's, discussed the opportunities for visiting choirs to sing at the basilica. Healso spoke of the Fifth World Congress of Choirmasters, February 6-10, 1993, andthe first international Giovanni Pierluigi da Palestrina choir competition.James Frazier of Saint Paul, Minnesota, and James Savage of Seattle, Washington,lead a meeting on conciliar and post-conciliar thought and writings with regard tochoral music and choral practice. Frazier discussed the theological aspects of thechoir in contrast to the role of the congregation in the Novus Ordo liturgy, and

Savage related his personal experience in implementing the instruction, Musicam MUSICIANS


11/33

sacram (1967), at Saint James Cathedral in Seattle. He pointed out that sung liturgyin the United States today consists mostly of hymns and without any sung dialoguebetween priest and people. This was corrected at Saint James.Cardinal Pio Laghi, prefect of the Congregation for Seminaries and Institutes ofStudies, spoke to the conference meeting at the North American College. FatherCuthbert Johnson, OSB, and Monsignor Walter Edyvean, members of the collegestaff, also spoke. The cardinal told of the great need today for priests to learn to singthe Mass, urging the CRCCM to hold workshops for seminarians and priests to learnthe music of the Mass. He said, "Liturgy without music is like marriage withoutlove." He re-affirmed the Church's calling for preservation of Latin in the Mass. Heindicated that much modern music, in his opinion, is distracting and not prayerful."To please the minority, you alienate the majority." Several questions were directed tothe cardinal on seminary formation and the Church as patroness of the arts.Monsignor Edyvean spoke of the work of the Congregation for Catholic Educa-tion and its semin ary d ivision. In visits to seminaries, there is a noticeable w eaknessin the philosophy and cultural education departments. Father Cuthbert addressedthe role of music in liturgy. He indicated that in his opinion the great reform orderedby Vatican II had not as yet come about. Musicians must understand liturgy as thelanguage, tradition and action of the Church. The liturgy defines what we believe,and becau se we do not have great faith in our o wn age, we have bad liturgy. We havelost the mystical and aesthetical aspects of faith. The great texts of the Church havebeen largely ignored. It is the duty of musicians to bring them to life again throughmu sic. He commen ted, "If the priest does not sing, how can we expect the congrega-tion to sing?"Visits to the important sites in Rome were arranged, including the Sistine Chapelwhere the group sang Palestrina's Jesu Rex Adm irabile and the Holy Father's privatechapel where vespers was sun g. Father Leonard E. Boyle, OP, conducted a tour of theVatican archives and displayed several music manuscripts, including Palestrina'sMissa Papae Marcelli and Allegri's Miserere. A visit to the scavi beneath the Basilicaof Saint Peter included the tomb of Saint Peter and the various graves and monu-ments of ancient Rome. Another visit was to the papal apartments at Saint JohnLateran. In Assisi, Father Chrysogonus Waddell, OCSO, spoke, and Mass wascelebrated at the tomb of Saint Francis in the crypt of the Basilica of Saint Francis. Abanquet at Ristorante Sabatini in Trastevere concluded the conference.The conference was planned by Leo Abbott, Donald Fellows, Gerald Muller, LeoC. Nestor, Richard Proulx, James Savage and Francis Zajac. The next conference willbe held in Atlanta, Georgia, January 10-14, 1994. JOHN D. NOWIK

MUSICIANS10


12/33

Cloister, Church of St. Trbphime, Aries, France

THE JARGON OF LITURGISTS:BRAIN-WASHING THE FAITHFULHere are two different ways of describing the beginning of holy Mass:1. "Before the Eucharistic celebration begins, the assembly gathers in the worship

space. As the assembly sings the gathering song, the presider and other ministersenter. The presider greets the assembly and, in preparation for liturgy of Word andEucharist, invites them to reflect on their sinfulness."2. "Before Mass, the congregation enters the church. As the introit or the proces-sional hymn is sung, the celebrant, deacon, lector and servers enter in procession.The celebrant, having made the sign of the cross, greets the congregation and, inpreparation for the sacred mysteries, exhorts the faithful to call to mind their sins."It may seem that these descriptions are essentially the same, distinguished fromeach other only by more-or-less arbitrary differences of terminology. The first de-scription is a fairly typical specimen of modern liturgical jargon, the second astraightforward exposition in more traditional nomenclature. It seems to me that inimposing the first kind of language on the Church through missalettes, hymnals,orders of worship, articles, homilies, and any other means available, the liturgists ofa certain school are really seeking to impose notions of the sacred liturgy, thesacraments, and the Church which are quite different from those which are in factheld by the ecclesia docens.

Let us examine some of these common liturgical catchwords so beloved by modernliturgists, and seek to account for the insistence with which they are pressed upon us.Eucharistic celebration, Eucharistic liturgy, etc. Any te rm may be used excep t

"Ma s s . " Mass, o f course , i s the word which most Catho l ics have used fo r cen tu r ies todesignate the p r inc ipa l serv ice o f the i r Church . To ca l l ho ly Mass a "Echar is t icce lebra t ion" may be to imply (more o r less sub t ly ) tha t a d i f fe ren t serv ice i s rea l ly inprospec tor , a t leas t , a t ransformat ion o f our concep t ion o f tha t serv ice . The te rm"celebra t ion ," thou gh ven erab l e in the l i tu rg ica l lex icon , i s o f ten used no w in a ra ther JARGON


13/33

different sense from its tradit ional meaning. The connotation is that we are going tohave something very l ike a party, and that the Mass is an action which we who"celebrate" perform (indeed, l i turgists often talk of our "doing Eucharist"), ratherthan a sacrifice which Christ offers. It is not many steps from this notion to the ideaof the "community" celebrating itself.Assembly. This i s meant as a somewhat tendent ious t ranslat ion of gahal or eccle-

sia: the coming together of the faithful. As opposed to "congregation" (the morecommon term until recently), i t is designed to include all who "assemble," includingthe priest . The intention is to eradicate the dist inction between the celebrant, actingin persona Christi, and the faithful who participate in the sacrifice analogically. (SeePius XII, encylical Mediator Dei, and many other conci l iar and papal pronounce-ments giving the Church's view.)Worship space. A "space" is just a space; a chu rch (building) is a sym bolic, visibleexpression of the Church (the Body of Christ).Gathering. This ideareally just the fact of people being present at the same timeand placehas been elevated by modern l i turgists to the level of sacred action. As a"gathering ri te," the opening prayers and hymns of the Mass (introit , penitential ri te,

Gloria, collect) become entirely a matter of people "gathering." The emphasis shiftsfrom prayer and praise to such concerns as "hospitali ty." This is the trivialization ofworship. We also, of course, gather for club meetings, sporting events, and virtuallyevery other human enterprise involving more than one person in the same vicinity.Song. The constant use of this term for many sung parts of the l i turgy is particu-larly exasperating to the faithful church musician, to him whom Father Robert Skeriscalls "the competent Kapellmeister!' "Song" (as unfortunately enshrined in the ICELsacramentary) seems to be a mistranslation of cantus (chant) as in cantus ad in-

troitum (entrance song) or, worse, "gathering song." It is used to refer to hymns,proper chants (e.g. , int roi t , offertory or communion, when these are acknowledgedat all), and any miscellaneous musical elements with the exception of the ordinaryparts of the Mass. At least , I have not yet encountered terms such as "glory song"{Gloria,) "holy song" (Sanctus), or "bread-breaking song" (Agnus Dei). The implica-tion in contemporary culture is that these sung i tems are the musical equivalent ofpop tunes, and of course in practice they frequently are. I remain committed to theuse of specific terms such as "hymn," "antiphon," "psalm," "canticle," and the like.

Presider. This term, which connotes to Americans the chairman of a meeting, isanother attempt, when used in place of "celebrant," to eradicate the dist inctionbetween the priest and the faithful. Anyone can preside, and indeed, one has heardof celebrations over which non-ordained persons have presided. The aim is to desu-pernaturalize holy orders. Some years ago the preferred term was "president," whichseems, mercifully, to have disappearedperhaps as a side-effect of many li turgists'strong reactions to a succession of Republican administrations.Minister. This t i t le once referred to the celebrant, deacon and subdeacon at solemnMass (sacred ministers) or to those authorized to administer the sacraments. Now itsimply includes anyone who does anything noticeable in the l i turgy, from the ushers(ministers of hospitality) to the organist (minister of music). Again as in the case of"song," one notices a lack of specificity. Anyone can be a "minister" of anything.Word. Eucharist. Church. Liturgy. These terms become jargon when used wi thoutthe definite art icle, "the." A dependable rule of thumb is never to trust anyone whodrops his art icles, as in "to do Eucharist" or "to be Church." The idea seems to be toeliminate (along with capitalization) the notion of the Eucharist or the Church as aspecific definable enti ty. Whatever the user of the term would l ike "Eucharist" or"Church" to mean becomes i t s meaning.

JARGON Sinfulness. Of course, we are all sinful, but that (apart from original sin) is12


14/33

because w e comm it sins . "Sinfulness," as habit ually used in place of "sin(s)," seems toremov e the concern w ith specific sinful action a nd to replace it with a wistful feelingof regret that we, as a society, are so "sinful" (particularly, of course, in our "struc-tures of oppression").Preparation of the gifts. Banishing the word "offertory" in favor of "preparation ofthe gifts" implies quite a different relationship between ourselves and the oblata.

"Preparing" the gifts is hardly the same as offering them. A whole devotional tradi-tion of offering ourselves with the bread and wine on the corporal, to be transformedwith them by the action of Christ in the Eucharistic Sacrifice, is here obliterated by asimple substitution of words. The Missale Romanum and the Graduate Romanumstill refer to the cantus ad offertorium. W hat is good eno ugh for the editio normativashould, one would think, be good enough for us.Who has not, in discussing the sacred liturgy with a diocesan or parish liturgydirector, seen the wince of fastidious pain and the subsequent condescending smilewhen a term such as "hymn," "offertory," "Sanctus" or "celebrant" has been used?Who has not felt the gently scornful reproach with which the functionary hasquickly pronounced the current jargon term in response, with almost audible italici-zation? The clear message is that one is a hopeless reactionary, or at least pitiablyignorant of the politically correct liturgical worldview at the moment.No doubt, many who use and promulgate "litjargon" are simply passing on whatthey have been told is the preferred usage of the Church. But someone, somewhere,had to have originated these deceptively innocent sounding expressions. Whetherintended or not , the net effect of their cons tant use is to brain -w ash th e faithful, topersuade them that the process of desacramentalizing and desupernaturalizing theworship of the Church has somehow been officially mandated, and that they mustadjust their thinking accordingly.What can be done? Perhaps little beyond insistently, constantly, habitually usingterms which express unequivocally the Church's real theology of worship, and ban-ishing the jargon terms entirely from our own speaking and writing. Perhaps wemust wait for a new generation of "legitimate liturgists" (to use another of FatherSkeris' felicitous coinages), nu rture d in the real teaching of Vatican Coun cil II and thepost-conciliar popes, to restore sanity and Catholicity to the common liturgicalpractice of the ecclesia orans. CALVERT SHENK

JARGON


15/33

Kings and Queens of Juda, Royal Portal, Chartres, France

PRAYING

PRAYING AD ORIENTEM VERSUS(Published as an editorial in Notitiae 332, Vol. 29, No. 5, May 1993, pp. 245-249, thisarticle was translated from Italian by Fr. John T. Zuhlsdorf.)

1) The Eucharistic celebraion is, by definition, connected to the eschatologicaldimension of the Christian faith. This is true in its most profound identity. Is this notperhaps the sense of the wondrous change (mirabilis conversio) of the bread andwine into the Body and Blood of the Lord of glory, who lives always with the Father,perpetuating His paschal mystery?2) The sober description of the Acts of the Apostles in the first summary concern-ing the life of the community speaks of the "joy" (agalliasis) with which those joinedin the assembly (epi to auto), broke bread in the homes. This term (agalliasis) is thesame that Luke used to indicate eschatological joy.3) There is a logic of Ascension in the Eucharist: "This Jesus that you have seenascend into heaven, will return. . ." In the Eucharist the Lord returns; He anticipatessacramentally His glorious return, transforming the profound reality of the ele-

14


16/33

mer i ts , and He leaves them in the cond i t ion o f s igns o f His p resence and media t ion o fco mm un ion w i th His ow n perso n . I t i s fo r th is tha t the var iou s l i tu rg ica l fami l iesunderscored a common po in t in d i f fe ren t ways: wi th the Euchar is t ic p rayer theChurch penet ra tes the ce les t ia l sphere . Th is i s the mean ing o f the conclus ion o f theRoman prefaces , o f the chan t o f the Sanctus and o f the eas te rn Cherubicon.

4) In ana lyz ing the o r ig ins o f the Euchar is t ic p rayer one i s s t ruck by the typ ica l lyCh r i s t i an v a r i an t i n t r o d u ced in t h e i n i t i a l d i a lo g u e . T h e g r ee t in g , Dominus vobis-cum, an d th e i n v i t a t i o n , Gratias agamus, a r e co m m o n to t h e Jewi sh berakha. O n l yth e Ch r i s t i an o n e , b eg in n in g w i th t h e f i r s t co m p le t e r ed ac t io n th a t we p o sse s sth eAp o s to l i c T r ad i t i o n in se r t s t h e Sursum corda. Habemus ad Dominum. For theCh urc h , in fac t , ce lebra t ing the Euchar is t i s never to pu t in to ac t ion som eth i ngear th ly , bu t ra ther someth ing heaven ly , because i t has the awareness tha t the p r inc i -pa l ce lebran t o f the same ac t ion i s the Lord o f g lo ry . The Church necessar i ly ce le-b r a t e s t h e E u ch a r i s t o r i en t ed to war d th e L o r d , i n co m m u n io n w i th H im an d , t h r o u g hHis media t ion , toward the Fa ther in un i ty wi th the Holy Sp ir i t . The p r ies t , o rda inedin th e Ca th o l i c an d ap o s to l i c co m m u n i o n , is t h e w i tn e ss of t h e au th en t i c i t y o f t h ece lebra t ion and a t the same t ime the s ign o f the g lo r ious Lord who pres ides a t i t . Jus tas the b read and wine are the e lements tha t Chr is t assumes in o rder to "g ive Himself,"the p r ies t is the person tha t C hr is t conse cra ted an d inv i ted to "give ."

5) The p lacement o f the p r ies t and the fa i th fu l in re la t ion to the "myst ica l tab le"found d i f fe ren t fo rms in h is to ry , some of which can be considered typ ica l to cer ta inp lace s an d p e r io d s . As i s l o g ica l wh en t r ea t in g l i t u rg i ca l q u es t io n s , sy m b o l i sm to o kon a no tewor thy ro le in these d i f fe ren t fo rms, bu t i t would be d i f f icu l t to p rove tha tthe a rch i tec tu ra l in te rp re ta t ion o f such symbol ism cou ld , in any o f the fo rms chosen ,have been considered as an in tegra l and bas ic par t o f the Chr is t ian fa i th o r o f thep r o f o u n d a t t i t u d es o f t h e ce l eb r a t in g Ch u r ch .

6 ) The ar rangement o f the a l ta r in such a manner tha t the ce lebran t and thefa i th fu l we re look in g tow ard the eas t wh ich i s a g rea t t rad i t ion eve n if i t i s no tu n a n im o u s is a sp l en d id ap p l i ca t io n of th e " p a r o u s i a l " ch a r ac t e r of t h e E u ch a r i s t .One ce lebra tes the mystery o f Chr is t un t i l He comes aga in f rom the heavens {doneeveniat de caelis). Th e sun whic h i l lumina tes the a l ta r dur in g the Euch ar is t i s a pa lereference to the " sun tha t comes f rom on h igh" (exsultans ut gigas ad currendamviam) (Ps . 18 :6 ) in o rder to ce lebra te the paschal v ic to ry wi th His Church . Theinf luence of the sym bo l of l igh t , an d concre te ly th e sun , i s f reque n t ly foun d inChr is t ian l i tu rgy . The bap t ismal r i tua l o f the East s t i l l p reserves th is symbol ism.Pe r h ap s t h e Ch r i s t i an Wes t h a s n o t ad q u a te ly ap p r ec i a t ed th i s , g iv en th e co n se -quence o f hav ing come to be known as a "g loomy p lace ." But a lso in the West , a t thepopular leve l , we know tha t there remains a cer ta in fasc ina t ion fo r the r i s ing sun .Did not Saint Leo the Great, in the f if th century, remind the faithful in one of hisChr is tmas homil ies tha t "when the sun r i ses in the f i r s t dawning o f the day somepeo ple a re so foo l ish as to wo rsh ip i t in h igh p laces?" He ad ds : "There a re a lsoCh r is t ia ns th a t s t i ll r e ta in t ha t i t i s pa r t o f re l ig ious p rac t ice to con t inue th is con ven-t ion and tha t before en ter ing the Basi l ica o f the Apost le Pe ter , ded ica ted to the on lyand t rue God , a f te r hav ing c l imbed the s ta i r s tha t bear one up to the upper leve l ,tu rn themselves a round toward the r i s ing sun , bow the i r heads and kneel in o rder tohonor the sh in ing d isk" (Homily 27 , 4 ) . In fac t , the fa i th fu l en ter ing the bas i l ica fo rthe Euchar is t , in o rder to be in ten t on the a l ta r , had to tu rn the i r backs to the sun . Inorder to p ray whi le " tu rned toward the eas t ," as i t was sa id , they would have had totu r n th e i r b ack s t o t h e a l t a r , wh ich d o es n o t s eem p r o b ab le .

7 ) Th e fac t tha t the app l ica t ion o f th is sym bol i sm in the West , beg inn ing f romv er y ea r ly o n , p r o g r e s s iv e ly d im in i sh ed , d em o n s t r a t e s t h a t i t d id n o t co n s t i t u t e aninv io la b le e lem ent . The refore , i t can no t be cons idered a t rad i t iona l fun dam ent a l PRAYING


17/33

principle in Christian liturgy. From this it also arises that, subsequently, other typesof symbolism influenced the construction of altars and their arrangement inchurches.8) In the encyclical Mediator Dei, Pius XII regarded as "archeologists" those whopresumed to speak of the altar as a simple table. Would it not be equally an ar-cheologizing tendency to consider that the arrangem ent of the altar tow ard the East isthe decisive key to a correct Eucharistic celebration? In effect, the validity of theliturgical reform is not based only and exclusively on the return to original forms.There can also be completely new elements in it , and in fact there are some, that havebeen perfectly integrated.9) The liturgical reform of the II Vatican Council did not invent the arrangement ofthe altar turned toward the people. One thinks concerning this of the witness of theRoman basilicas, at least as a pre-existing fact. But it was not an historical fact thatdirected the clear option for an arrangement of the altar that permits a celebrationturned toward the people. The authorized interpreters of the reformCardinal Ler-caro as the president of the Consiliumrepeated from the very beginning (see theletters from 1965) that one was not dealing with a question of a liturgy that iscontinuing or passing away (quaestio stantis vel cadentis liturgiae). The fact that thesuggestions of Cardinal Lercaro in this matter were, in that moment of euphoria,little taken into consideration, is unfortunately not an isolated case. Changing theorientation of the altar and utilizing the vernacular turned out to be much easierways for entering into the theological and spiritual meaning of the liturgy, forabsorbin g its spirit, for study ing the history and the meaning of the rites and a nalyz-ing the reasons behind the changes that were brought about and their pastoralconsequences.10) The option for celebrations versus populum is coherent with the foundationaltheological idea discovered and proven by the liturgical movement: "Liturgicalactions are celebrations of the Church. . .which is the holy people of God gatheredand ordered under the bishops" (SC 26). The theology of the common priesthoodand the ministerial priesthood, "distinct in essence, and not in degree" (essentia, nongradu) and nevertheless ordered to each other (LG 10) is certainly better expressedwith the arrangement of the altar versus populum. Did not monks, from ancienttimes, pray turned toward each other in order to search for the presence of the Lordin their midst? Moreover, a figurative motive is worth underscoring. The symbolicform of the Eucharist is that of a meal, a repetition of the supper of the Lord. Onedoes not doubt that this meal is sacrificial, a memorial of the death and resurrectionof Christ, but from the figurative point of view its reference point is the supper.11) Furthermore, how does one forget that one of the strongest arguments thatsustain the continuance of the uninterrupted tradition of the exclusive ordination ofmen, lies in the fact that the priest, president in virtue of ordination, stands at thealtar as a member of the assembly, but also by his sacramental character, before theassembly as Christ is the head of the Church and that for this reason stands there infront of (gegenuber) the Church.12) If from the supports we pass to the applications, we find much material forreflection. The Congregation of Divine Worship, taking into consideration that aseries of questions has been rising up in this regard, proposes now the followingguiding points:1. The celebration of the Eucharist versus populum requires of the priest a greaterand more sincere expression of his ministerial conscience: his gestures, his prayer, hisfacial expression must reveal to the assembly in a more direct way the principalactor, the Lord Jesus. One does not improvise this; one acquires it with some tech-

PRAYING niq ue. O nly a prof oun d sense of the pro pe r priestly iden tity in spiritu et veritate is16


18/33

able to attain this.2. The orientation of the altar versus populum requires with great care a correctuse of the different areas of the sanctuary: the chair, the ambo and altar, as well as acorrect positioning of the people that preside and serve in it. If the altar is turned intoa pedestal for everything necessary for celebrating the Eucharist, or into a substitutefor the chair in the first part of the Mass, or into a place from which the priest directsthe whole celebration (in almost a technical sense), the altar will lose symbolically itsidentity as the central place of the Eucharist, the table of mystery, the meeting placebetween God and men for the sacrifice of the new and eternal covenant.3. The placement of the altar versus populum is certainly something in the presentliturgical legislation that is desirable. It is not, nevertheless, an absolute value overand beyond all others. It is necessary to take into account cases in which the sanctu-ary does not admit of an arrangement of the altar facing the people, or it is notpossible to preserve the preceding altar with its ornamentation in such a way thatanother altar facing the people can be understood to be the principal altar. In thesecases, it is more faithful to liturgical sense to celebrate at the existing altar with theback turned to the people rather than maintain two altars in the same sanctuary. The

principle of the unicity of the altar is theologically more important than the practiceof celebrating facing the people.4. It is proper to explain clearly that the expression "celebrate facing the people"does not have a theological sense, but only a topographical-positional sense. Everycelebration of the Eucharist is praise and glory of God, for our good and the good ofall the Church {ad laudem et gloriam nom inis D ei, ad utilitatem quoque nostram,totiusque Ecclesiae suae sanctae). Theologically, therefore, the Mass is always facingtowards God and facing the people. In the form of celebration it is necessary to takecare not to switch theology and topography around, above all when the priest is atthe altar. The priest speaks to the people only in the dialogue from the altar. All therest is prayer to the Father, through the mediation of Christ in the Holy Spirit. This

theology must be visible.5. At last, a conjectural consideration that is not to be left in silence. Thirty yearshave passed since the constitution Sacrosanctum Concilium. "Provisional arrange-ments" cannot be justified any longer. In the re-organization of the sanctuary if aprovisional character is maintained which is either pedagogically or artisticallybadly resolved, then an element of distortion results for catechesis and for the verytheology of the celebration. Some criticisms of certain celebrations that are raised arewell-founded and can only be taken with seriousness. The effort to improve celebra-tions is one of the basic elements to assure, in so far as it depends on us, an activeand fruitful particip ation .

PRAYING17


19/33

THE HERALDRY OF SACRED MUSIC(Part III)Things in the Armorial Musical AlphabetThings , more of ten than persons , form par t of the a rmor ia l mus ica l a lphabe t .Bes ides musica l ins t rum ents , m usica l notes a n d symbo ls have some t imes appea red inhera ldry. With a n o b v i o u s p u n th e D u t c h V an Nooten family bore a rms inc luding amusic staff with notes. Likewise, in the chief of the a rms gran ted in 1 947 to thePerforming Rights Socie ty of Britain is a music staff marked with a bass clef. Sincethis organiza t io n exis ts to help protec t th e r ight of mus ic ians to royalties, this musicalcharge seems appropr ia te . A t least o n e f amous mus ic ian made copious use of mus i -ca l symbols in his coa t a rmour . When ennobled in 1570 b y t h e Emperor Maximi l i an ,O r l a n d o d i Lasso received a grant of a rms inc lud ing a s h a r p , a flat, a n d a na tura ls ign. In 1690, when Biber was ennobled b y Leopold I , he wa s given a crest consistingof a beave r ho ld ing a folded music score .Severa l musica l ins t ruments have made the ir contr ibut ions to hera ldry. T h e a r m o -r ia l musica l orches tra , however , is sparer than e i ther th e symphonic orches t r a or thesacred orches tra . There w a s a t ime wh en in te rpre ta t ions of P i u s X's motu proprio of

1903, Tra le sollecitudini, led some to the bel ie f tha t only pla inchant , polyphony inthe style of Pales tr ina , a n d organ music were permit ted in c h u r c h . B u t Pius XII's 1955encyclical, Musicae sacrae disciplina, an d the II Vatican Counci l ' s cons t i tut io n o n t h el i turgy, Sacrosanctum concilium, have made it c lear tha t these views were er ron eou s .Art ic le 116 of the cons t i tu t ion s ta ted tha t po lyphonic mus ic w a s "b y n o me a n sexcluded from liturgical celebrations."But if th e sac red orches t r a nowadays approaches t h e symphonic orches t r a in size,the a rmoria l orches tra is smaller. T h e armoria l orches tra developed before t h e great

n ine teen th cen tury improvements in the t e chnology of mus ica l ins t ruments . T h eu p s h o t is t h a t fo r the mos t pa r t t h e hera ldic orches tra remains much a s t h e s y m -phonic orches tra exis ted in the days of H a y d n a n d M o z a r t . It inc ludes t h e organ , t h eviol in, th e treble violin o r viol ince l lo, t h e t a b o r o r d r u m , t h e fife o r flute, t h ehautboy , t h e h a r p , t h e lyre , a n d t h e bel l .O c c u p y i n g a place of high es teem among t h e sacred ins truments in the view ofVatican I I w as the pipe organ, which t h e counci l dec lared adds "wonderful splendorto t h e Church's ceremonies a n d powerfully lif ts u p t h e spirit t o G o d a n d to highe rthings." T h e organ a lso enjoys a respected place in hera ldry. In English heraldry, infact, it takes o n t w o forms . A s a cha rge o n a shield a r ange of organ pipes is to befound. Usually, they a r e graded with th e shortest pipes facing to the dexter o r r ight(from t h e perspec t ive of one h o l d i n g t h e shie ld) . Sometimes a lso a pa i r of organpipes will b e found crossed in slatire or in the form of a Saint Andrew cross . LordWil l i ams of Tame , fo r example , bore t w o organ pipes , c rossed in sa l t i re , be tweenfour crosses patee, a ll silver, o n a field of blue . A s o n e might expect , t h e a r ms of th eRoyal Guild of Organis ts inc lude organ pipes .The peculiarly English heraldic form of the o r g a n is th e c lar ion o r "organ-rest." Ita p p e a r s a s a graded range of organ pipes fixed to a base with a curved e n d . Thishighly s tyl ized render ing of the o r g a n h a s some t imes obscured i ts origins , a n d n a m e shave been ascr ibed to it which would have put i t dehors t h e sacred orches tra .Frequent ly t h e c lar ion occurs a s a cant ing o r punning device as in the three goldenclar ions on a red field borne b y t h e Grenvi l les of G l a m o r g a n . In their case t h e p u n iso n th e place , Glamorgan, f rom whence they sprang. D o m Wilfred Bayne a lso made

HERALDRY use of c lar ions in the a r m s h e des igned fo r the Paul is t Chor is te rs of the C h u r c h of18


20/33

Sa int Paul the Apos t le in New York Ci ty . They bore a s i lve r sword wi th golden h i l tbe t we e n t wo go l de n c l a r i ons on a r e d f i e l d .

If the c la r ion i s ren der ed in a s ty l ized fash ion , the v io l in i s dr aw n na tu ra l i s t i ca l lyi n he ra l d ry . T he v i o l i n is de p i c t e d ve r ti c a l ly , o r pa l e wi s e , w i t h t he bo dy u pw a rd s o rchief w ar d . C lea r ly th i s i s con venie nt in ac co m m od a t i ng i t to the sh ape of the sh ie ld .If the br id ge sho uld face chief wa rd , i t i s b la zo ne d " t ra nspo sed ." Th ree S t ra div a r iu sv i o l i n b r i dge s , e a c h e ns i gne d wi t h a n a nc i e n t c rown , a ppe a r i n t he a rm s g ra n t e d i n1977 t o t he R oya l P h i l ha rm on i c o f London .

Th e t reb le v io l in or v io l ince l lo is d i s t in guis hed in he ra ld ry , n ot by i t s so un d, bu tby i t s s ize . The Bolognese Li roni fami ly bea rs on a b lue f ie ld a ce l lo in bend s in i s te rc rossed by i t s bow in pa le wi th three golden f ive -poin ted s ta rs or mul le t s in chief, allgo l d . The s t r i ngs o f bo t h t he v i o l i n a nd t he v i o l i nc e l l o m a y be b l a z one d a c o l o rd is t inc t f rom the ins t rument in which case i t i s sa id to be "s t r inged" of the d i s t inc t ivecolor , e .g . , "a v io l in red , s t r inged gold ." Thus , the Engl i sh Swee t ing fami ly bore threet reble v io l ins t ransposed a rgent , s t r inged sable , on a red f ie ld .

The ha rp r a nke d a s a s a c re d i n s t rum e n t e ve n i n Ol d Te s t a m e n t t i m e s whe re i t i sf r e que n t l y m e n t i on e d i n t he p s a l m s o f Da v i d . P l a y i n g t he ha rp , Da v i d a s s ua ge d t het roub l e s o f K i ng S a u l a nd fo r t he ha rp , o f c ou r s e , Da v i d wro t e m a ny o f t he p s a l m s .Arm or i a l l y , t he i n s t r um e n t t e nds t o r e s e m b l e t he s i m p l e r a nc i e n t i n s t r um e n t r a t he rt ha n t oda y ' s c onc e r t ha rpa ga i n be c a us e o f t he g re a t t e c hn i c a l de ve l opm e n t o f t heha r p i n t he n i ne t e e n t h c e n t u ry . The a rm or i a l ha r p i s f a m i l i a r t o m a n y i n t he c oa t o fa rm s o f I r e l a nde i t he r i n t he "a nc i e n t " fo rm o f a go l de n ha rp on a b l ue f i e l d (wh i c hda tes only to the t ime of Henry VIII ) or in the modern form borne by the I r i shRepubl ic on a f ie ld of green . In an in te res t ing combina t ion of t ex tures , the Frauncesfami ly bore a s i lve r ha rp on a red canton on a f ie ld of e rmine . In France manyfa m i l i e s w i t h t he s u rna m e Da v i d m a ke u s e o f t he ha rp i n c a n t i ng a rm s . L i ke t hev i o l i n a nd t he c e l l o , t he ha rp ' s s t r i ngs m a y be s e pa ra t e l y b l a z one d . S uc h a ha rp i s t obe found i n t he c a n t i ng a r m s o f t he Ha rps f i e l d f a m i l y w he r e a b l a c k ha rp wi t hgolden s t r ings re s t s on a s i lve r f ie ld .Th e l y re i s a no t he r s t r inge d i n s t ru m e n t wh i c h fo rm s pa r t o f t he a rm or i a l o rc h e s -t ra . It d i f fe rs f rom the ha rp by i t s sh ap e wh ich ha s ba lan ced S -shape d s ides wi th thes t r i ngs runn i ng f rom t op t o bo t t om . In t he c a s e o f t he ha rp t he s t r i ngs run d i a gona l l yor "bend wise ." In the or y the lyre is the sym bo l of lyr ic poe t ry , n ot of mu s ic , an d t hu sfo rm s no pa r t of t he a rm or i a l m us i c a l a l pha be t . Yet nu m e ro us s c r i p t u ra l r e fe re nc e sto i t seem to have overcome the burden of i t s c la ss ica l pas t , and today one does f ind i ti n a rm ory r e p re s e n t i ng m us i c . A go l de n l y re fo rm s t he c re s t o f t he W ors h i p fu lC om pa ny o f Mus i c a ns o f London . Th i s gu i l d , i nc o rpo ra t e d by roya l c ha r t e r i n 1604 ,r e m a i ns one o f t he s e ve ra l l i ve ry c om pa n i e s o f gu i l d s o f London . A go l de n l y re fo rm spar t of the a rms of Francois Couper in (1668-1733) . S ty l ing h imse l f F rancoisC oupe r i n de C rou i l l y on t he t i t l e pa ge o f h i s t wo o rga n Ma s s e s , pub l i s he d i n 1690 ,th i s organis t of Sa in t Gerva is in Pa r i s was made a Knight of the Golden Spur inRome in 1702. He bore on a b lue f ie ld two s i lve r t r idents c rossed in sa l t i re be tweentwo s i lve r s ta rs of f ive poin ts and in chie f a golden sun in i t s g lory and in base agolden lyre . A golden lyre on a b lue f ie ld was a l so used in the a rmoria l bea r ingsde s i gne d by Dom W i l f r i d B a yne fo r t he B e ne d i c t i ne c ho i r nuns o f R e g i na La ud i sAbbe y i n B e t h l e he m , C onne c t i c u t . In t he c h i e f he p l a c e d t h re e go l de n fleurs de lys tore c a ll t ha t t he C o nne c t i c u t a bb e y i s a da ugh t e r ho us e o f t he a nc i e n t F re nc h a bbe y o fJ oua r re , e s t a b l i s he d i n t he da ys o f t he Me rov i ng i a n k i ngs o f F ra nc e .

Th e t a bo r i s a n obs o l e t e t e rm fo r d r um , bu t i t ha s c on t i nue d t o do du t y i n he ra l d i cpar lance and enables the tabor to be use fu l in cant ing a rms , a s in the a rms of theTa bouro t f a m i l y o f F ra nc e who bo re a s i l ve r c he v ron be t we e n t h re e s i l ve r d rum saga in s t a b la ck f ie ld . Th e tab or i s repr esen ted as the sor t of dr um tha t acc om pan ies HERALDRY


21/33

the fife. The fife itself, as the ancestor of the flute, might also be reckoned amongsacred music's contributions to armory.The armorial hautboy differs markedly from the symphonic oboe. The armorialhautboy is depicted as a long, straight, tapering tube having a mouthpiece andopening to a bell shape. H oles at the upper end near the mouthpiece act as keys. Thearmorial instrument, in fact, represented several symphonic instruments of thewoodw ind and brass families. This is why it is sometimes blazoned "flute," "horn," or"trumpet," and these different blazons establish its usefulness in canting arms. Thefamily of Trumpington, for example, bears three silver trumpets palewise on a redfield. The Nevelles of Sussex sport two hautboys crossed in saltire between fourcrosses crosslets, all gold, against a red field. The Bourdon family bore three haut-boys between as many cross crosslets, all gold, on a blue field.Bells sometimes appear in orchestral music and they have long been used inchurch. In fact, the Church ranks them as sacramentals. Bells summon us to wor-ship, to mourn, to rejoice, and warn us in time of danger. Formerly, the Romanpontifical even included a rite for the "baptism" during which, like babies, they werewashed, anointed and given a name. Today's rite is simpler. Today a peal of bellsremains integral to the popular American vision of a church building and canonlawyers have long taken the presence of a bell as evidence that a chapel ranks as apublic oratory and not as a private chapel.In heraldry, it is the bell of the campanile that is most frequently found. Depictedcylindrically with a closed head and outward curved mouth or skirt, the bell'sclapper may be separately blazoned or tinctured. The Wordsworth family of En-gland (which included the poet) bore three blue bells on a silver field. The BavarianKloekel family approp riately bore as canting arm s (Glocke is Germ an for "bell") on ablue and gold vertically-divided field three bells counter-colored or stained the oppo-site color as the field.Many church musicians will have seen the arms of the Diocese of Alexandria,Louisiana, on the noted Latin-English Ordo Missae cum Populo which it published.The diocesan coat consists of a silver cross between four silver bells, charged at itscenter with a black and gold checkered crescent. The bells recall the arms attributedduring the middle ages to the patriarchal see of Alexandria in Egypt, viz., three redbells on a silver field. The crescent comes from the arms of the Javier family whosemember, Saint Francis Xavier, is titular of the Louisiana diocese's cathedral.This, then, is the contribution of things musical to heraldry. In the last part of thisseries we shall look at the arms of musical armigers. DUANE L.C.M. GALLES

HERALDRY20


22/33

REVIEWSBooksThe Reform of the Roman Liturgy: Its Problems andBackground by Klaus Gamber. Foundation for Cath-olic Reform, P.O. Box 255, Harrison, NY 10528.1993. $19.95.

Twenty years ago (Winter 1974) Sacred Music pub-lished an article by Klaus Gamber entitled "Mass'Versus Populum' Re-examined." It caused little or nointerest, although it proposed a thesis that was in1974 totally in conflict with the universal practice inthe United States of offering Mass "turned toward thepeople." Gamber, a German historian of liturgy, saidthat no evidence existed that in the early churches,especially in Rome, was Mass said with the priestturned toward the congregation.Monsignor Gamber died in 1989. This summertwo works of his were posthumously published inFrench translation. Each volume carried a preface byCardinal Ratzinger, prefect of the Congregation ofthe Doctrine of the Faith, in which the cardinal indi-cated his interest in the research of Gamber, and laterin an interview with the Italian paper, // Sabato, hegave an opinion that perhaps the time would comefor returning altars to their historic position.The evidence given by Gamber falls into two cate-gories. First, that historically altars in both the Eastand the West were not turned toward the people.

Rather, the people and the priest faced toward theEast, awaiting the second coming of Christ. If thechurch building for any reason was facing toward theEast instead of the West, then the congregationlooked toward the East with their backs toward thealtar and the priest also faced the East. The peopleturned toward the altar only at certain times duringthe Mass. The issue had nothing to do with the direc-tion the priest faced, but rather the need for facingEast. A second, and more important, element wasthe very nature and understanding of the altar withits Victim and the God for whom it was built. Thepriest led his people, as was done in Jewish and pa-gan worship also. The idea of sacrifice was para-mount with the notion of a supper table being muchless important, until Martin Luther introduced hisAbendsmahl or supper.

The reforms introduced soon after the II VaticanCouncil went far beyond the intentions of the councilfathers. A new missal, new ceremonies caused by thechanged position and understanding of the altar, theextension of the vernacular languages beyond theoriginal intentions resulted in the destruction of theRoman rite, which was the oldest of all the many ritesin both East and West. Gamber suggests that Paul VIwent beyond the power and authority of the pope

when he introduced the new missal in 1970. Certainlyhe approved greater changes than any previous pope.If the liturgical reforms of these post-conciliar yearsare to be judged on their effects on the Church today,it must be said that they have wrought great devasta-tion. But Gamber's judgment is one of the historicalaccuracy of claims that altars were versus populumin the early Church and the misunderstanding of therole of the altar in early worship. He faults the litur-gists of our day for ignorance and error in spreadingthe current practice of having the priest face the peo-ple. It is no longer essentially a sacrifice, but rather itis a meal; we have no longer a priest at an altar, but aleader who presides over the assembly.

The beginning of experimentation with the altar istraced to the German youth movement of the twen-ties and a little later to the liturgical movement espe-cially in Austria with Pius Parsch. I, myself, in thefifties celebrated two Masses each Sunday at an altarin the crypt of a parish church in Saint Paul, Minne-sota, set up versus populum, a rather advanced andprogressive experiment for those days. But it had lit-tle if any effect on the congregation except for someshallow interest in some of the movements made bythe priest over the oblata, gestures that could only beseen if the priest turned toward the people. As forany spiritual benefit, I perceived none.

Perhaps something that has suffered most from theturned-around altar is the traditional solemn Masswith deacons, who now simply disappear behind thealtar. When they were lined up behind the celebrantthey added to the concept of the approach to God,represented in the crucifix and present in the taberna-cle. The steps moved th e ministers toward the ho ly ofholies upon which only the elements of the sacrificewere placed.Mystery, sacrament, the holy, the secret and rever-ence are essential to worship. In the East these wereachieved by separating the sanctuary from the con-gregation by veils and the iconostasis. In the Westmuch of the same result came from the silence in-voked for the holiest parts of the Mass, but the altaritself possessed all the elements of mystery and rever-ence until our day when it has been abused by serv-ing as little more than a shelf or table as weddingparties, choirs, tourists and orchestras enter the sanc-tuary for their various purposes. If the tradition ofthe holy place which lasted through many centurieswere maintained, such conduct would not be toler-ated. But the altar of sacrifice is no longer the centerof the community gathering. It has been replaced bythe meal and human fellowship.

Monsignor Gamber's works need to be widely cir-culated and should be studied in every seminary.Truth about early liturgical practices must be known.The false assertion that in the early Church the priestfaced the people must be corrected. Parish priests21


23/33

should know that they were victims of a propagand athat caused them, often against their wills and betterjudgment, to destroy the works of art in theirchurches. Bishops who ordered altars to be removed,rebuilt and even destroyed were misinformed. Someof the reformers did more harm to churches in theMidwest than the Vandals ever did in Spain and inNorth Africa.Recently, Notitiae published a study and some di-rectives coming from the Congregation of DivineWorship. (See p. 14 in this issue for the text.) In it,guidelines are given indicating that in churches withaltars that are themselves works of art, they shouldnot be destroyed and a portable altar should not beplaced in the sanctuary. Rather, the main altar, withthe priest facing toward God, is to be used. The read-ings, of course, are made toward the people. But thesacrifice is performed with the priest at the head ofhis congregation, offering Jesus Christ to the Father.

In my parish church, Saint Agnes in Saint Paul,Minnesota, a great baroque building with a beautifulmarble altar with mosaics and statues, Mass is cele-brated as the rubrics of the Missale Romanum of1970 direct. That missal, published by order of PopePaul VI, in at least five places, d irects the priest at thealtar to turn toward the congregation to say Dominusvobiscum, Ecce Agnus Dei, O rate Fratres, etc. Therubrics in Latin are conversus ad populurn (havingturned toward the people) sacerdos dicit (the priestsays). The norm expressed in the missal does notconceive of the priest looking toward the people. Ican truthfully say that with the main altar in use, thereverence toward the sanctuary is maintained andMass itself is understood to be the Sacrifice of Cal-vary, the parish coming to God with the sacrificeoffered by the parish priest on the parish altar, thecenter of parochial worship.It is to be hoped that Monsignor Gamber's workand Cardinal Ratzinger's interest in it may cause in-terest and discussion in this country as it has inFrance. R.J.S.

Where Have You Gone, Michelangelo? The Loss ofSoul in Catholic Culture by Thomas Day. CrossroadPublishing Co., 370 Lexington Avenue, New York,NY 10017. Pp . xii + 226. $19.95.In this sequel to his best selling and highly contro-versial book, Why Catholics Can't Sing, ThomasDay endeavors to examine in a more extensive, in-depth manner "the loss of soul in Catholic culture."Those familiar with his first volume will immediatelyrecognize Day's personal, anecdotal, often trenchantstyle, a style that brings laughter, tears, indignation,and even outragebut never boredomto his read-ers. Mr. Day begins with a chapter that offers a suc-cinct and enlightening history of Catholicism in

America, especially during this century, and proceedsto elucidate a "style" or "mood" that characterizedpre-Vatican II Catholicism. No mawkish, sentimen-talized view of the past will be found here; Day is aspointed in his criticism of pre-conciliar abuses in theChurch as he is of post-conciliar offenses. His con-demnation of the hideous, pill-box, gymnasium-typechurches of the fifties and sixties is no less sharplybarbed than his assault on the lecture-hall, sheep-shed type structures of the seventies and eighties.Unlike most Catholic laymen an d clergy, Day hasobviously read and studied the documents of the Sec-ond Vatican Council with care. He repeatedly illus-trates that the council itelf is not actually the agent ofabuse in today's Church; rather, the responsible par-ties are those who, more often than not through in-tentional misrepresentation of the spirit of the coun-cil, have distorted its message to the faithful. Perhapsthe most egregious example of such misrepresenta-tion, vividly illustrated in Day's chapter, "The LateLatin Mass," is the propaga nda that has been shoveddown the throats of the faithful about the rightfulplace, or rather the lack of a place, for Latin in con-temporary Catholic wo rship. No less than four artic-les of the Second Vatican Council's constitution onthe sacred liturgy (Cf. Articles 36, 54, 114, and 116)proclaim the prerogative of the Latin language and ofmusic in Latin for the liturgy. Talk to the typicalCatholic on the street, however, and you will be toldin no uncertain terms that "Latin went out with Vati-can II," or "Latin Masses are no longer permitted."

As the reader proceeds through the book, a por-trait of two m odes of w orship, based on tw o antithet-ical philosophies, emerges. The first mode is thatwhich has characterized Christian worship, in bothEast and West, for most of its history; it is under-girded by the philosophical premise that the sacredand profance belong to two different realms. Whenthe worshiper enters the church, everythingarchitecture, art, music, languageconspires totransport him from this worldly vale of tears into adifferent realm, timeless and spaceless, where meremortals can experience the miracle of the sacrifice ofCalvary, the "foretaste" of the heavenly banquet tocome. The focal point of worship, for the people andthe priest, is the altar, above w hich in the tabernacleresides the Blessed Sacrament, the Incarnate God.

In the majority of post-conciliar churches, on theother hand, the philosophical premise for worshiphas shifted radically. The modern church building istoo often a structure that might pass for any numberof things: a concert hall, field house, or a theatre.The interior decoration is nondescript; there may bea few burlap wall hangings, several plants, perhaps apool of water. The seats face inward towards eachother, and the focal point, if one can be identified, isusually the chair, or throne, of the "presider." A22


24/33

prominent place is also given to the song leader orcombo of musicians, who, with their piano and gui-tars and microphones, sing music that is vaguelyreminiscent of 1960's folk ballads. Every effort ismade to make the congregation feel "at home," toperpetrate the belief that God's presence is every bitas real in the assembly, in our neighbors, in the com-munity, as it is in the tabernacle.

This radical shift in the philosophy of worship is acentral theme in Day's book. To it he attributes thecloying preoccupation with self that characterizes somuch of Catholic worship in today's Church. Such aphilosophy, he maintains, has seduced Catholics intosurrendering themselves "not to a new life in Christbut really to a priest or musician or special group orguru " (p. 213): "In former times, the Catholic Churchdeveloped the custom of putting the consecrated hostin a beautiful golden monstrance so that the faithfulmight contemplate the mystery of the eucharist andshow their gratitude for it. The post-conciliar C hurchfrequently puts the priest in a kind of grand architec-tural monstrance, with the presider's seat at its center,so that the faithful might, without distractions, expe-rience the joy of marveling at one man's personality"(p . 108).

Such gurusbe they priests, liturgists, ministers ofmusic, or members of liturgy committeesare all toooften the same people who, displaying not an iota ofhumility, have ripped altars and tabernacles andpaintings and sculptures from our churches, whohave dismantled pipe organs and choirs, who haverobbed the faithful of their birthright and heritage,and in doing so, have torn the very soul out of Ca-tholicism. The vacuum that resulted has been sup-planted by the cult of personality. But no personality,however magnificent or charismatic, can fill such avoid, nor in such matters can the human ever sup-plant the divineat least in an enduring and perma-nent fashion. In fact, most pew-sitting Catholics whogive such things any thought, Day rightly points out,have grown (or will soon grow) tired of the "FatherBobs" of the world, who hubristically impose (withtheir continual, ad-libbed, banal commentary) theirown "spin" on the Mass, a ritual that by its verynature demands regulation, repetition, re-enactment,not to mention a sense of the sacred.

All Catholics, or for that matter, all Christianswhose faith ha s some basis in liturgical action, woulddo well to read and ponder Where Have You Gone,Michelangelo! They might then accomplish a furthergood by passing it on to a friend, or better yet, apriest, a liturgist, the members of the liturgy commit-tee, the song-leader of the parish, or the parish coun-cil. Perhaps when doing so, they might consider at-taching to it a note to this effect: "Let the Church,which is, in fact, the Mystical Person of Christ, speakfor itself. Let it partake in and enjoy its own rich

heritage. Give back to us an opportunity for realworship. Give back to us our soul."JAMES M. MAYSt. Olaf CollegeNorthfield, Minnesota

Liturgical Music in Lutheran Bened ictine Mon asti-cism by Dom David Nicholson, OSB. Mount AngelAbbey, Saint Benedict, Oregon 97373. 28 pp. 1993.This small monograph is the final entry in the se-ries, Liturgical Music in Benedictine Mon asticism.The historical, liturgical and musical information as-sembled here will probably be a surprise to manyreaders who were unaware of these monastic com-munities in Germany, Sweden and the United States.Six foundations for both sexes are treated, and manypictures illlustrate the text. This is an interestingbooklet, the conclusion of a most interesting series.R.J.S.

The Sacred Music of Gilles Binchois, edited by PhilipKaye. Oxford & New York: Oxford University Press.1993. 324 pp. $160, cloth.Gilles Binchois (cl400-1460) worked at the court ofthe dukes of Burgundia. He is one of the best knowncomposers of the early fifteenth century along withGuillaume Dufay, John Dunstable and Joannes Tinc-toris. His extensive production of sacred music hasnot been widely known although his chansons havebeen his chief claim to fame. His settings of the textsof the ordina ry of the Mass are usually separate com-positions, not parts of complete Masses, althoughthey can be joined in performance. This edition indi-cates those that are paired.This handsomely printed edition contains eightpaired Mass movements, thirteen single Mass move-ments, six Magnificats and twenty-nine works withLatin texts. The bulk of these is for three voices:superius, contratenor and tenor.Current musicological practices for tempo andmensuration are employed. Texts and underlaying ofthem follow current practices and are very clear. Anextensive bibliography of works relating to the early

fifteenth centu ry is useful an d valu able .The edition is restricted to study purposes. Per-formance and recording rights are not extended topurchasers or renters of the edition. R.J.S.Music in the Medieval English Liturgy. Plainsong andMediaeval Music Society Centennial Essays, ed. bySusan Rankin and David Hiley. Oxford: ClarendonPress, 1993. 413 pp. $82, cloth.Founded in 1888, the Plainsong and MediaevalMusic Society has contributed notably to research inEnglish music of the middle ages as well as practical

23


25/33

performance of that music, especially in the revivalof ancient music of the Roman Church and its intro-duction into the Anglican liturgy. Today its activity ismuch less, although the publication of this series oflectures shows that it is far from dead. The list ofofficers over the years reads like the who's who ofEnglish musicology, and its publications are classics.This collection of essays is divided into two parts:those dealing with music pre-dating William theConqueror and that from medieval England includ-ing both chant and polyphony. Many of the textsstudied are Marian. The authors are among the mostdistinguished scholars working in medieval music:David Hiley, Susan Rankin, Ritva Jacobsson, MichelHuglo, Wulf Arlt, Ruth Steiner, David Chadd, An-drew Hughes, John Caldwell, Frank Harrison andNick Sandon.The indices are extensive, and illustrations andgraphs are numerous.This book is classic and should be found in every

musicological library as well as in general librariesfor ecclesiastical students. It is a welcome addition tothe growing list of scholarly musicological publica-tions coming from Oxford University Press.R.J.S.

MagazinesSINGENDE KIRCHE, Vol. 40, No. 3, 1993.Always an interesting journal with considerable in-formation, well edited and at the same time bothscholarly and practical, this issue has several articlesof note. Thomas Schmogner has an extensive studyof Anton Heiller, organist and composer well-knownto Americans; he taught at several workshops at BoysTown, Nebraska, before his untimely death. FranzKarl Prassl has the first in a series of articles on thebasso-continuo in the Masses of the Viennese schoolof composers. With interest in the classical Massesand performance practice of the period growing,these articles are very informative. The year 1993marks anniversary dates for several important com-posers who are studied: Claudio Monteverdi, Giro-lamo Frescobaldi, Johann Kaspar Kerll and LeopoldHofmann. Ernest Kubitschek gives biographical in-formation as well as news about new e ditions of theircompositions. Erich Benedikt writes about the Fran-ziskanermesse of Carl Ditters von Dittersdorf. Theusual listings of music scheduled for Sunday Massesin the cathedrals of Austria and programs of sacredmusic, including radio presentations, show the qual-ity of music maintained there. An item of news is thedeath of Anton Dawidowicz, choirmaster at the Salz-burg cathedral, June 25, 1993.

R.J.S.

24

UNA VOCE (France). No. 170. May-June 1993.There is yet ano ther article which refers to the sub-ject raised by Monsignor Gamber's book on the ori-entation of the altar and the priest in Catholicchurches. T his time there is a discussion of a book byFr. Louis Bouyer, Architecture and Liturgy, whichwas published originally in 1967 and reprinted in1991. This boo k discusses the link between the Jewishand Christian liturgies and between Jewish syna-gogues and the earliest Christian churches in Syria.Fr. Bouyer makes the very important point that thesechurches were no longer oriented toward Jerusalemas were the synagogues, but toward the geographicaleast where Christ will appear as the rising sun. Fr.Bouyer admits that at one time he was in favor ofMass facing the people, but that since 1967 he hasconsistently advocated that out of respect for Chris-tian tradition, the priest should say Mass on the sameside of the altar as the people, a position which isoften described as being with his back to the people.An article begun in this issue and continued in thenext compares the 1974 and 1986 editions of Jubilate

Deo. The preface to the 1986 edition states the fol-lowing: "We continue to wish that, thanks to thiswork in particular, Gregorian chant will be a link ofunity which will transform so many nations into asingle people assembled in the name of Christ with asingle heart, a single mind and a single voice."The thirtieth anniversary of the founding of theConsociatio Internationalis Musicae Sacrae (CIMS)was celebrated in Cologne and at Maria Laach lastApril. The eightieth birthday of Monsignor Johannes

Overath, honorary president of CIMS for life, wasalso celebrated on that occasion.V.A.S.

UN A VOCE (France). N o. 1 71. July-August 1993.There is an interesting reflection on the life of St.Martha and the various legends associated with her.Her feast is celebrated on July 29. A church was dedi-cated to St. Martha in the southern French town ofTarascon in the early middle ages. There seems to besome confusion about whether this St. Martha is aPersian virgin, martyred in the fourth century orMartha, the sister of Lazarus. In any case, she isassociated with the story of having overcome a mon-ster with holy water and a cross. Stories of saintsovercoming monsters were common in the middleages and are an allegory of the victory of Christianityover paganism.

This magazine often includes interesting shortnews items. Here are two from Asia. Mass is said inLatin in the Cath olic churches that are now permittedto function in China. In Japan there is a trend amongthose who want to be chic to get married in a Catho-lic church, even if they are not Catholic. In addition,CD's of Gregorian chant are becoming ever morepopular in Japan. V.A.S.


26/33

UNA VOCE (France). No. 172. September-October1993.An article on the role of the organ in the liturgynotes that the great generation of organists such asMarcel Dupre' has more or less disappeared and thatthe organ no longer plays the same role in the liturgy.The great repertory of organ music seems out ofplace in a contemporary church atmosphere which isoften vulgar and banal. The themes of the newhymns sung in church no longer inspire improvisa-tion as the Gregorian themes did previously. The newgeneration of organists, while being very talented,has no idea how to accompany Gregorian chant ifasked to do so, nor do they have a true liturgicalsense. There are a few bright spots. In some churchesand c athedrals organ s have kept or have rediscoveredtheir central and indispensable role. Thanks to therole of the organ and the organists some timid at-tempts are being made to re-establish a more digni-fied liturgy. In these cases organists have found onceagain their dignity and place in the liturgy. Elsewherein this issue there is a comment by a Moslem that thegenius of Islam is to have conserved Arabic as thelanguage o f worsh ip in mosques everywhere ,whether in Africa, China or the United States. Andwhat about the Catholic Church and Latin? A Grego-rian conference took place in Lyon from November 11to 14.

V.A.S.

OrganA Victorian Organ Album, compiled and edited byMalcom Archer. Oxford University Press, Oxfordand New York.The contents of this anthology were all written bycomposers during the lengthy reign of Queen Victo-ria (1837-1901), a period in which the organ achievedsupremacy as the king of instruments, dominatingcathedral, church and concert hall.As liturgical organ music it falls short: however, asa historical document it is immensely valuable. Thisvolume could be popular in the mega church of todaybecause it is not only interesting, it is entertaining. Itis possible a few of the compositions could be used byorganists as postlude material. Otherwise the volumewill be helpful to those who are looking for recitalmaterial. By all means, examine this work and bringsome much-needed interest to the organ recitals.

PAUL MANZThe Oxford Book of Wedding Music for Manuals,compiled by

Date post:	30-May-2018
Category:	Documents
Upload:	church-music-association-of-america
View:	214 times
Download:	0 times

Sacred Music, 120.4, Winter 1993; The Journal of the Church Music Association of America

Documents