Home >Documents >Sacred Music, Spring 2011

Sacred Music, Spring 2011

Date post:28-Oct-2014
View:47,919 times
Download:6 times
Share this document with a friend
Published by the Church Music Association of America

SACRED MUSICSpring 2011Volume 138, Number 1EDITORIAL Motets | William MahrtARTICLESThe Psalmody of the Divine Office | Fr. Mark Daniel Kirby, O.S.B.Active Participation and Listening to Gregorian Chant | William MahrtOn Music and Faith | Metropolitan Hilarion AlfeyevREPERTORYMozarts Ave Verum Corpus and Eighteenth-Century Musical Style | Paul Mathew WeberKyriale on the New Texts | Fr. Samuel Weber, O.S.B.REVIEWSSinging Compline with Fr. Weber | Jeffrey TuckerCOMMENTARY The Ineffable Word | Fr. Anselm Ramelow, O.P.Stop Look And Listen | Mary Jane BallouThe Implausible Triumph of the Reform of the Reform | Jeffrey TuckerNEWSA Renaissance Weekend | Gregory HamiltonA Discography of Western Plainchant Online | Fr. Jerome F. WeberInternational Sacred Music Competition For Composers | Kurt PoterackTHE LAST WORDArs Celebrandi | Kurt Poterack33255719656343697978757672Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874,and The Catholic Choirmaster, published by the Society of St. Gregory of America since1915. Published quarterly by the Church Music Association of America. Office ofPublication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail:[email protected]; Website: www.musicasacra.comWilliam MahrtJeffrey Tucker David SullivanKurt PoterackJudy Thommesen12421 New Point Drive, Harbour Cove, Richmond, VA 23233William Mahrt Horst BuchholzJanet GorbitzWilliam StoopsRev. Father Robert PasleyJeffrey TuckerArlene Oost-ZinnerDavid Hughes, Susan Treacy, Scott Turkington Rev. Father Ralph S. March, S.O.Cist; Kurt Poterack; Paul F. Salamunovich; Rev. FatherRobert A. Skeris; Calvert Shenk ; Very Rev. Monsignor Richard J. Schuler Membership in the Church Music Association of America includes a subscription to thequarterly journal Sacred Music. Membership is $48.00 annually. Parish membership is $200for six copies of each issue. Single copies are $10.00. Send requests and changes ofaddress to Sacred Music, 12421 New Point Drive, Harbour Cove, Richmond, VA 23233.Make checks payable to the Church Music Association of America. Online membership:www.musicasacra.com. Sacred Music archives for the years 1974 to the present are availableonline as www.musicasacra.com/archives.LC Control Number: sf 86092056 Sacred Music is indexed in the Catholic Periodical and Literature Index, Music Index, MusicArticle Guide, and Arts and Humanities Index.Copyright Church Music Association of America, 2011, under Creative Commonsattribution license 3.0.ISSN: 0036-2255Periodicals postage paid at Montgomery, Alabama.SACRED MUSICEditor:Managing Editor:Associate Editor:Editor-at-Large:Typesetting:Membership and Circulation: CHURCH MUSICASSOCIATION OF AMERICAOfficers and Board of DirectorsPresident:Vice-President: Secretary: Treasurer: Chaplain:Director of Publications:Director of Programs:Directors: Directors Emeriti: SACRED MUSIC is published quarterly for $48.00 per year by the Church Music Association of America12421 New Point Drive, Harbour Cove, Richmond, VA 23233.Periodicals postage paid at Richmond, VA and at additional mailing offices. USPS number 474-960.Postmaster: Send address changes to SACRED MUSIC, 12421 New Point Drive, Harbour Cove, Richmond, VA 23233.3William Mahrt is editor of Sacred Music and president of the CMAA. [email protected] Vatican Council, Constitution on the Sacred Liturgy, Sacrosanctum Concilium, 116 ; Arti-cle 30 reads: To promote active participation, the people should be encouraged to take part by means of acclama-tions, responses, psalmody, antiphons, and songs, as well as by actions, gestures, and bodily attitudes. And at theproper times all should observe a reverent silence.2Sacrosanctum Concilium, 120.EDITORIAL MotetsBy William MahrtThe Church acknowledges Gregorian chant as specially suited to the Roman liturgy:therefore, other things being equal, it should be given first place [principem locum]in liturgical services.But other kinds of sacred music, especially polyphony, are by no means excludedfrom liturgical celebrations, so long as they accord with the spirit of the liturgicalaction, as laid down in Art. 30.1In the Latin Church the pipe organ is to be held in high esteem, for it is the tradi-tional musical instrument which adds a wonderful splendor to the Church's cere-monies and powerfully lifts up man's mind to God and to higher things.2he Second Vatican Council reiterated the tradition that Gregorian chant isthe fundamental music of the Roman Rite. Indeed, it is constitutive of therite itself: by tradition, everything to be spoken aloud is to be sung; thus, anintroit as it stands in the missal is the text of a Gregorian chant, and not justa text that happens to be set to Gregorian chant; its very entrance into theliturgy was as a chant. Likewise, each part of the liturgy has a particular Gre-gorian melody to which it is sung, specifying the character of that part anddistinguishing it from the other parts.A sung Mass is thus complete whensung only in chant, with people, choir,lectors, ministers, and celebrant chant-ing parts suitable to their different roles.The chants differ as their functions dif-fer: for example, meditation chantswhich accompany the lessons are highlyelaborate settings of their texts, a style conducive to meditation, while processional chants are some-what more concise and project a greater sense of rhythmic motion, and so on. The tradition of chantis so extensive that there is a normative set of pieces for almost any occasion. In the course of aGregorian chant is the fundamentalmusic of the Roman Rite.T4year, a choir which sings the whole Mass in Gregorian chant for just the Sundays and holy days ofobligation sings well over three hundred pieces for the Proper of the Mass, while a congregationwhich sings six ordinaries sings about twenty-five different melodies in the course of the year.Yet the council also gave a privileged place to polyphony and organ music. But if Gregorianchant is normative, what place is there for polyphony? The repertory of classical polyphony sug-gests answers to that question. Polyphony can be divided into three types: 1) complete settings ofthe Mass Ordinary, 2) motets, and3) polyphonic settings of propers,whether for Mass or Divine Office(for the office, settings of Magnifi-cats in all eight modes,3hymns,psalms, lamentations and a smat-tering of other genres; for theMass, polyphonic settings of thechants of the propers, as in thelarge cycles of Isaac and Dufay; complete cycles of freely composed propers, such as that of Byrd;cycles of one genre for the year, for example, the offertories of Palestrina and Lassus; and settingsof individual propers as in the works of Senfl, Gallus, and numerous others).The employment of the polyphonic Mass Ordinary and polyphonic propers is more or less evi-dent: mainly they replace the chants with the same text and function.4But the use of motets is morevaried, both in history and present practice, and so is worth some discussion.Motet comes from the French mot, word, since a motet is a piece based upon an added text.In the Middle Ages, this meant literally that a tenor voice would sing a chant with its own text, whileone or more upper parts would sing additional texts, a different text for each voice part. But evenwith motets of the Renaissance there is still a sense that the motet is an added text, since its text isnot prescribed by the liturgy but is chosen voluntarily for the occasion. While the texts of motets,are often drawn from the psalms, the churchs canonical book of songs, the route by which they areadopted passes through liturgical use, many texts having been borrowed from the Divine Officeparticularly responsories from Matins, for example, O magnum mysterium or O vos omnes, and antiphonsto the Magnificat from Vespers, e.g., O sacrum Convivium. Motets are also based upon favorite prayertexts, for example, Ave Maria. Other motets stem from a tradition of devotional texts, for exampleO bone Jesu (by Palestrina,5Ingeneri, Monteverdi, Anerio, Compre, Dering, Schtz, and evenBrahms); some of these include a series of brief acclamations, partly drawn from scripture, whosecompilation is traditionally ascribed to St. Bernard. A special genre is the gospel motet, whose textis drawn from a gospel proper to a particular day. The liturgical model for such a motet is the occa-sional communion antiphon based upon the gospel of the day. This, in turn has a precedent in theDivine Office, where that same gospel text recurs throughout the day: the office of Matins has ahomily upon the gospel of the day, and the antiphon to the Benedictus at Lauds and the antiphonSacred Music Volume 138, Number 1 Spring 20113 As a text, the Magnificat is ordinaryit is the same for all vespers; but when sung, it participates in the nature ofpropers, since its mode is determined by the proper antiphon to which it is sung.4 While the function of the polyphonic Mass Ordinary is clear, there are problems with its employment in the ordi-nary form; these will be addressed on another occasion.5 There is a setting in six parts of O Bone Jesu by Palestrina; one in four parts, often attributed to Palestrina, is byIngeneri.If Gregorian chant is normative, whatplace is there for polyphony?5to the Magnificat at Vespers are drawn from it. There was in Spain in the sixteenth century a require-ment of preaching on the days gospel text outside of Mass on Sunday, Monday, Wednesday, andFriday during Lent, and motets were composed reflecting these same gospel texts; thus the Spanishrepertory is filled with motets upon the Lenten gospels, many beginning In illo tempore, the formu-laic beginning of a gospel reading.6Nevertheless the liturgical sources for the texts do not necessarily reflect

Popular Tags:

Click here to load reader

Embed Size (px)