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Corpus Christi Photopost 2014 - 2/2

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Below you can see more Corpus Christi photos from this year. Evangelization through beauty!


London
 


St. Mary's Cathedral, Austin, TX





St. Erik's Cathedral, Stockholm, Sweden


Saint Martin of Tours Catholic Church, Saint Louis, Missouri



Immaculate Conception Parish, Omaha Nebraska



Florissant, MO


St. Stephen the First Martyr Parish in CA (FSSP)


Sweetest Heart of Mary, Detroit, MI


Saint-Augustin, Lausanne, Switzerland



Mount Calvary, Baltimore


Incense in Art and Worship

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It has often seemed to me bizarre in the extreme that incense is so rarely encountered in so many Catholic churches. Incense appears everywhere in Scripture—in the law of Moses, in the books about Temple worship, in the Psalms where it serves as a primary symbol for prayers rising up to God, in the Gospel account of Zechariah, in scenes of heaven from both Testaments. The sweet-smelling smoke was always there in Hebrew worship and became even more prevalent in Christian worship, where, in contrast with the animal sacrifices of the old covenant, it fittingly represented the rational worship of a mind raised up to God in union with Christ, Himself the pleasing oblation par excellence. The importance of it is well captured by one of the antiphons for Lauds on the Solemnity of Corpus Christi, found in the Roman Breviary, the Monastic Office, and the modern Liturgy of the Hours: Sacerdotes sancti incensum et panes offerunt Deo, alleluia, "The holy priests offer incense and bread to God, alleluia."

And then there is the subjective experience of the worshiper. Every time incense is used at Mass, it just feels like Mass: something very special is happening here that no words or songs can convey by themselves, someone is present who deserves the treatment owed to a king or a god. The fragrance surrounds you, gets into your hair and your clothing, and pretty soon your field of vision is permeated with a hanging haze, which subconsciously says: You are in the midst of mysteries that cannot be clearly seen but must be worshiped on bended knee. When the embers are glowing well and the grains are heaped on with abandon, those clouds of incense make everything hazy, as if seen through a veil—a drifting image of the pilgrimage of the Christian’s life, as he passes through this vale of tears.

When visiting friends in Austria this past May, I was able to accompany one of them to the Kunsthistorisches Museum in Vienna, where I was dazzled by many great paintings. One room that surprised me was the Rubens room. I had developed a sort of prejudice against Rubens on account of the almost gushing fleshliness of his figures and the extravagant sensuality of his scenes. But this time, when I first walked in to the gallery, I saw from a distance how he softens all the hard edges and bathes the whole of his scenes in a kind of muted light. It looked like the scenes themselves, even the secular ones, had been enveloped in incense, made into an offering to God. It was Counter-Reformation theology in colors and shapes: the good creation of God, taken on by the Son of God in his wondrous Incarnation—matter and mankind assumed, healed, elevated, destined for immortality.

You’ll have to take my word for it or go to see the paintings yourself, because none of the reproductions available in books or online do justice to this very subtle lighting effect that I saw (or at least imagined I saw).

Years ago I read a magnificent commentary on the Song of Songs called The Cantata of Love. Its author, Blaise Arminjon, often speaks about the meaning of the “sensualism” of the text. At the time, I remember realizing with a pang that the antiphons and lections of the new Mass have been purged almost entirely not only of verses from the Song of Songs, but of the whole spiritual sensualism it conveys. The prayers, the sequence of readings, the gestures, were somehow diminished with the padding of orderliness and rational propriety. Little “warm touches” in the calendar, the kind of colorful riot of detail that Rubens exulted in—for example, the reading of the Gospel about faith moving mountains on the Feast of Gregory Thaumaturgas (November 18) because he was a saint famous for having literally moved a mountain, or the Offertory antiphon of the Mass for St. Rita (May 22) that applies to her husband and sons a verse from Genesis about three budding branches bringing forth grapes—were taken away. A whole intricate network of connections between antiphons, readings, orations, and the sacrifice itself seemed to disappear. The old crinkled map, marking groves, streams, ruins, and holloways, was replaced with a crisp new rational map showing motorways and their exits. All such “simplifications” had but one overall long-term effect: to cut the Mass off from the human heart, from culture, from the bodily world outside and the affective world inside.

In this Manichaean era of contempt for the flesh—contempt for historical embodiment, the authority of tradition, the law of nature and the narrative of grace—I say we need Rubens, and all that he represents, more than ever; we need the Song of Songs more than ever; we need the traditional Mass more than ever.

***
The crypt in the basilica of Norcia, birthplace of SS. Benedict & Scholastica

Not long after visiting the Kunsthistorisches Museum, I was in the little town of Norcia, a sort of Italian Nazareth—out of the way, rather insignificant in worldly terms. But there are the monks and their chanting of the divine praises night and day, and this makes Norcia, like Nazareth, a place from which a hidden power streams forth. In the crypt is found the rooms of the Roman house where, in a decrepit and decadent age, the future saints Benedict and Scholastica were born.

As I joined the monks in the basilica built over the crypt and heard the gentle modulations of their choral prayer, I also had the experience of, at certain moments, not knowing just what the monks were singing—and of not caring, because the soaring beauty of their songs, rising up to God like musical incense, carried me with them and lifted my heart to God. I had exactly the experience St. Thomas Aquinas mentions in an article of the Summa. To an objection that singing hinders praise both because it draws the attention of the singers to the music rather than the words and because it makes the words harder for other people to understand, he replies:
The soul is distracted from that which is sung by a chant that is employed for the purpose of giving pleasure. But if the singer chant for the sake of devotion, he pays more attention to what he says, both because he lingers more thereon, and because, as Augustine remarks, “each affection of our spirit, according to its variety, has its own appropriate measure in the voice and in singing, by some hidden correspondence wherewith it is stirred” (Confessions x, 33). The same applies to the hearers, for even if some of them understand not what is sung, yet they understand why it is sung, namely, for God’s glory; and this is enough to arouse their devotion.
My devotion was soaring even when my intellect had been left behind. Is that not, in a way, the lesson that incense teaches us—that there are things we can never understand, can never put into words, or even into music, and yet we must do something to reach up to them and connect ourselves with them? We burn something valuable and sweet-smelling. We send up our sighs with the smoke. Hidden correspondences are stirred up, affections aroused, a shapeless shape is given to devotion, and we quietly give way to God’s glory.

***
There is a poignant scene in Willa Cather’s Death Comes for the Archbishop where Bishop Latour hears the confession of an old beaten-up maidservant who has not been allowed by her Protestant employers to go into the church for nineteen years. When parting, the Bishop gives her a medal as a keepsake:
Happily Father Latour bethought him of a little silver medal, with a figure of the Virgin, he had in his pocket. He gave it to her, telling her that it had been blessed by the Holy Father himself. Now she would have a treasure to hide and guard, to adore while her watchers slept. Ah, he thought, for one who cannot read—or think—the Image, the physical form of Love!
“The Image, the physical form of Love.” On Sundays in Norcia, many local people come to the basilica for Vespers and Benediction. I, too, have attended, and have been moved to the depths of my soul by what I have witnessed; I have seen how attentive and quiet the people are, gazing intently upon the Blessed Sacrament. There are doubtless not a few who cannot understand the Latin or think “high” theological thoughts—but the majesty and mystery of the reality of God is powerfully evident to them in a way that no amount of discourse in their own language about the Faith could have produced, and in a way that exceeds the finest flights of intellect. We are immersed in the very activity that the arch-rationalist Georg Wilhelm Friedrich Hegel dismisses as “the unhappy consciousness”:
[I]t is only a movement towards thinking, and so is devotion. Its thinking as such is no more than the chaotic jingling of bells, or a mist of warm incense, a musical thinking that does not get as far as the Notion, which would be the sole, immanent objective mode of thought. . . . What we have here, then, is the inward movement of the pure heart which feels itself, but itself as agonizingly self-divided, the movement of an infinite yearning . . . . At the same time, however, this essence is the unattainable beyond which, in being laid hold of, flees, or rather has already flown. (Phenomenology of Spirit,§217)
Unlike Hegel and his latter-day rationalist disciples, Catholics have not forgotten that symbolic actions and ancient melodies are a language of their own, with a power to touch the soul immediately, at a level far beyond words. Not everything has to be explained; not everything admits of explanation; and words, after a point, are boring. The deeper need is to see the beautiful and to hear the beautiful: these remind me of Him whom my soul loves. For Him, I long with an infinite yearning, and yet I know He is attainable. The incense flees and has already flown, like my soul, to God, who is not some abstract Notion, but our Father in heaven.

Peter Paul Rubens (1557-1640), The Miracles of St. Ignatius of Loyola (ca. 1617)
Kunsthistorisches Museum, Vienna

Liturgical Notes on the Commemoration of St Paul

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The joint commemoration of the Apostles Peter and Paul is one of the most ancient customs of the Roman Church, attested already in the oldest surviving Roman liturgical calendar, the Depositio martyrum, written in 336 A.D. A verse of the hymn Apostolorum passio, agreed by most authorities to be an authentic work of St Ambrose († 397), and still used in the Ambrosian liturgy, says that “the thick crowds make their way through the circuit of so great a city; the feast of the sacred martyrs is celebrated on three streets.” These “three streets” are the via Cornelia, the main street running up to and over the Vatican hill; the via Ostiensis, where the burial and church of St Paul are; and the via Appia, on which sits the cemetery “in Catacumbas”.

This last is the ancient Christian cemetery now called the Catacomb of St Sebastian; the word “catacomb” was in fact originally the name of the site of this cemetery specifically, and only later came to be used as a generic term for ancient subterranean Christian burial grounds. The basilica over the cemetery, now also entitled to St Sebastian, was originally known as the “Basilica Apostolorum”, in memory of a tradition that the bones of Peter and Paul were kept there for a time, probably to save them from destruction in the era of persecutions. This is referred to in various ancient sources, including the Depositio martyrum, and confirmed by modern archeological research. The celebration of the feast “on three streets” would refer then to a procession to visit the site of St Peter’s burial at the Vatican, that of St Paul on the via Ostiensis, and the cemetery where their remains were once kept.

The building of which this wall is a part was constructed over the Catacomb of St Sebastian about 250 A.D., and is covered with dozens of devotional graffiti like the one seen here. “Paule ed (et) Petre, petite pro Victore - Paul and Peter, pray (lit. ‘ask’) for Victor.” 
The poet Prudentius, writing in the very early fifth century, calls the day “bifestum – a double feast”, and attests that on that day the Pope would say a Mass at the Basilica of St Peter, and then hasten to say another at St Paul’s. He does not refer to a visit to the Catacombs on the via Appia, but assuming this visit was made on the way back to the Papal residence at the Lateran, the total circuit is nearly nine-and-half miles, to be made at the height of the Italian summer. However, only seven years after Prudentius visited Rome in 403, the city was sacked by the Goths, then sacked again by the Vandals in 455; over the sixth and seventh centuries, it was largely reduced to ruins and depopulated by the long wars between the Goths and Byzantines, and the invasion of the Lombards.
It should not be surprising, then, that at a certain point the double feast was divided, and kept in a more manageable way as two separate feasts. In the Gelasian Sacramentary, we find three Masses of Ss Peter and Paul assigned to June 29th; the oldest copy of the Gelasianum dates to roughly 750, but much of the material is considerably older, some of it reaching back even to the days of St Leo the Great 300 years earlier. In some manuscripts, however, one of the three, “the proper Mass of St Paul”, has already been assigned to June 30th. In the Gregorian Sacramentary, written roughly a century later, we find the feast of St Peter on June 29th, and that of St Paul on the 30th; each Mass contains references to the other Apostle, but they are nevertheless clearly distinct. Thus, by the time of Charlemagne, the “bifestum” of Prudentius had already been separated into a two day feast.
At the traditional Mass of June 29th, the majority of the texts refer either to St Peter alone (Introit, Epistle, Alleluia, Gospel, Communion) or to Apostles generically, as in the Gradual “Thou shalt make them princes over all the earth.” The sole reference to St Paul is in the Collect, “O God, who hast consecrated this day by the martyrdom of Thy Apostles Peter and Paul, grant Thy Church to follow in all things the teaching of those through whom she first received the faith.” The Office is likewise dedicated almost entirely to St Peter, the notable exceptions being the hymns of Vespers and Lauds, and the antiphon of the Magnificat at Second Vespers. This latter is in both the structure of its text and in its Gregorian melody very similar to the Magnificat antiphon at Second Vespers of Pentecost, to indicate that the mission of the Holy Spirit is fulfilled in the lives and deaths of the Apostles, and thereafter in their successors.

Ant. Hodie * Simon Petrus ascendit crucis patibulum, alleluia: hodie clavicularius regni gaudens migravit ad Christum: hodie Paulus Apostolus, lumen orbis terrae inclinato capite pro Christi nomine martyrio coronatus est, alleluia.

On this day, Simon Peter ascended the gibbet of the cross, alleluia: on this day, he that beareth the keys of the kingdom of heaven passed rejoicing to Christ: on this day, Paul the Apostle, the light of the world, inclining his head, for the name of Christ was crowned with martyrdom, alleluia.

The following day, therefore, the whole of the liturgy is dedicated to St Paul, and is not called a day within the octave of the Apostles, but rather “the Commemoration of St Paul.” The variable texts of the Mass all refer to him, but a commemoration of St Peter is added to the feast, in accordance with the tradition that the two are never entirely separated in the veneration paid them by the Church. (The same is done on the feast of St Paul’s Conversion, and commemorations of him are added to the feasts of St Peter’s Chairs and Chains.) The Office is likewise dedicated entirely to him; both the Mass and Office, however, make use of St Paul’s own testimony in Galatians 2 to the mission of the two Apostles: “For he who worked in Peter for the apostleship of the circumcision, worked in me also among the gentiles; and they knew the grace of God that was given to me.” In the 1130s, a canon of St Peter’s Basilica named Benedict writes that it was still the custom in his time for the Pope to keep the feast of St Peter at the Vatican, but then celebrate Vespers at the tomb of St Paul in the great Basilica on the Ostian Way, “with all the choirs” of the city.

The apsidal mosaic of the St Paul’s Outside-the-Walls, executed in the 1220s, and heavily repaired after most of the ancient church was destroyed by fire in 1823. To the left of Christ are St Luke and St Paul, on the right St Peter and his brother St Andrew.
Originally, the Gospel for the feast was St Matthew 19, 27-29, and from this passage are taken the antiphon of the Benedictus and the Communion of the Mass. This same Gospel is used on several other feasts of Apostles, including the days within the octave of Ss Peter and Paul, and the feast of St Paul’s Conversion. It was changed in the Tridentine liturgical reform to St Matthew 10, 16-22, evidently because of the words “you shall be brought before governors, and before kings for my sake, for a testimony to them and to the gentiles,” an eminently appropriate choice for this feast. It also used on the feast of St Barnabas, who, after Paul’s conversion, when the members of the Church feared that it was perhaps a ruse to further the persecution, “took him, and brought him to the Apostles, and told them how he had seen the Lord, and that he had spoken to him.” (Acts 9, 27) The Epistle of the Mass, Galatians 1, 11-20, has been added to the traditional readings for the vigil of Ss Peter and Paul as the Epistle of the vigil Mass in the new rite.
The Apostles Paul and Barnabas at Lystra (Acts 14, 5-18), by Jacob Jordaens, 1645; Akademie der bildenden Künste, Vienna 
The liturgical tradition of Milan was not formed in reference to the Roman Basilicas and the tombs of the Apostles, and never adopted the Commemoration of St Paul. Both the Mass and Office of June 29th in the Ambrosian Rite give more space to St Peter, often referring to him without mentioning Paul, and elsewhere referring to them both, but never to Paul alone, with the sole exception of the Epistle of the Mass. The first reading is the same as that of the Roman Rite, Acts 12, 1-11, telling of the liberation of Peter from prison in Jerusalem; the Gospel is that of the Roman vigil, John 21, 15-19, in which Christ prophesies the manner of his death. The Epistle between them is the Roman Epistle of Sexagesima Sunday, on which the Roman Station is kept at the Basilica of St Paul. This is Saint Paul’s apologia for his status as an Apostle in Second Corinthians; the church of Milan adds two verses to the beginning of the longest Sunday Epistle of the year from the Roman lectionary. (2 Cor. 11, 16 – 12, 9) The Ambrosian Preface, however, beautifully redresses this inequality.
Truly it is fitting and just, right profitable to salvation to give Thee thanks always, here and everywhere, in honor of the Apostles Peter and Paul. Whom Thy election did so deign to consecrate, that it might change blessed Peter’s worldly trade as a fisherman into divine teaching; so that he might deliver the human race from the depths of hell with the nets of Thy precepts. And then Thou didst change the mind of his fellow Apostle Paul, along with his name; and whom the Church at first feared as a persecutor, She now rejoices to hold as the teacher of divine commandments. Paul was blinded that he might see; Peter denied, that he might believe. To the one Thou gave the keys of the kingdom of heaven, to the other, knowledge of the divine law, that he might call the nations; for the latter brought them in, as the other opened (the door of heaven). Therefore both received the rewards of eternal virtue.
In the Novus Ordo, the Commemoration of St Paul has been abolished, and the texts of both Mass and Office for June 29th rewritten to give equal space to both Apostles. So for example, of the two responsories in the Office of Readings, the first refers to Peter, and the second to Paul. (Inexplicably and unjustifiably, the Magnificat antiphon “Hodie” cited above was not retained.) June 30th is now the feast of the “Protomartyrs of the Roman Church”, the Christians whose martyrdom at the hands of the Emperor Nero is described in a famous passage of the Annals of Tacitus.
But all human efforts … did not banish the sinister belief that the conflagration (which destroyed much of Rome in July of 64 A.D.) was the result of an order. Consequently, to get rid of the report, Nero fastened the guilt and inflicted the most exquisite tortures on a class hated for their abominations, called Christians by the populace. Christus, from whom the name had its origin, suffered the extreme penalty during the reign of Tiberius at the hands of one of our procurators, Pontius Pilatus, and a most mischievous superstition, thus checked for the moment, again broke out not only in Judaea, the first source of the evil, but even in Rome, where all things hideous and shameful from every part of the world find their center and become popular. Accordingly, an arrest was first made of all who pleaded guilty; then, upon their information, an immense multitude was convicted, not so much of the crime of firing the city, as of hatred against mankind. Mockery of every sort was added to their deaths. Covered with the skins of beasts, they were torn by dogs and perished, or were nailed to crosses, or were doomed to the flames and burnt, to serve as a nightly illumination, when daylight had expired.
Nero offered his gardens for the spectacle, and was exhibiting a show in the circus, while he mingled with the people in the dress of a charioteer or stood aloft on a car. Hence, even for criminals who deserved extreme and exemplary punishment, there arose a feeling of compassion; for it was not, as it seemed, for the public good, but to glut one man’s cruelty, that they were being destroyed. (Book XV, chapter 44)
The Torches of Nero, by Henryk Siemiradzki, 1876
Despite the early and explicit attestation of this martyrdom by an historian with no bias in favor of the Christians, there is no historical tradition of devotion to this group of martyrs “whose number and names are known only to God”, as we read in Donald Attwater’s revision of Butler’s Lives of the Saints. A notice of them was added to the Roman Martyrology in the post-Tridentine revision of Cardinal Baronius, but their feast was not added to the calendar of the diocese of Rome until the early 20th century, by Pope Benedict XV.

The “circus” to which Tacitus refers as the site of the martyrdom was a chariot racing facility that sat immediately to the south of the via Cornelia, next to where St Peter’s Basilica is today. It was allowed to fall to ruins after the death of Nero, and apparently razed to the ground by Constantine to make space for the original basilica. Left in place, however, was the Egyptian obelisk brought to Rome by Caligula, and set up on the “spine” of the circus, as the Romans called it, the wall down the middle around which the chariots raced. The turning posts on the end are called “metae” in Latin, and the apocryphal Acts of Peter, a work of the mid-2nd century, say that Peter was crucified “inter metas”; the obelisk, then, would have been among the last things St Peter saw in this world. After sitting next to the old Basilica for over 12 centuries, it was moved in 1586 to the area in front of the new church, then still under construction, later to be surrounded by Bernini’s Piazza. Its former location is marked by a plaque in the ground to the side of the modern basilica; the surrounding area was renamed by Benedict XV “Piazza of the First Martyrs of Rome.”

The Basilica of St Peter in 1450, according to the reconstruction of H.W. Brewer, 1891. The obelisk is seen immediately in front of the first rotunda on the left side of the basilica.
Gratias quam maximas refero Bono Homini, quo sagacior et diligentior consulendus non invenitur!

Neo Beuronese Sacred Art from Los Angeles County

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Thanks to NLM reader Roberto who sent me pictures of this work by Enzo Selvaggi who is based in Orange County, California. Enzo is an artist based in the US who has a team of designers and artisans in his atelier. (While the work is impressive, I would make the comment that the website is hi-tech to the point of being confusing - I got lost in trying to negotiate it, but then again I am a techno-dunce.)

Anyway, website aside, here are photos of murals in St John Chrysostom Church, Inglewood, CA in Los Angeles County. It clearly draws on Egyptian art for inspiration and reminds me strongly of art from the Beuronese school which did the same. 

The Beuronese school of art was a movement that flourished briefly in the latter half of the 19th century and it drew its inspiration from Egyptian, hieratic art. It was a reaction to the over naturalistic sacred art of the period that dominated (artists such as Beaugeureaux) and sought to redress the balance between naturalism and symbolism that all Christian art must have. Rather than looking to traditional forms of Christian art to do this, the monks based in the abbey at Beuron in Germany looked to the idealised forms of Egyptian art. These were praised by Plato and it has been suggested that they were the inspiration for the highly idealised classical Greek style typified by art of the period of the 5th century BC and has been an inspiration for many Christian artists over the centuries (you can see it in the work of Raphael and Michelangelo, for example).

First we have pictures of the church and mural in Inglewood, and then at the end some examples of 19th century Beuronese art.




Here is the only photo of the exterior I could find, sorry its so small!


Here is an example of work from the 19th century.

Photos of the opening Mass of the CMAA Colloquium in Indy

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The Church Music Association of America's 2014 Colloquium is now underway in Indianapolis. This evening's opening Mass at St John the Evangelist was celebrated by the CMAA's Chaplain, Fr Robert Pasley. The photographs also show some of the conductors: Scott Turkington, Melanie Malinka, Jonathan Ryan and Horst Buchholz. Further photographs will follow over the course of the week. [Photographs: Charles Cole]






























Historic Murals in Providence, RI and a Restored Tabernacle in Cambridge, MA

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Some years ago, the excellent devotional magazine Magnificat published a feature on a painting, Sacré-Cœur, protecteur des familles by the French painter George Desvallières (1861-1950), a striking if somewhat unconventional treatment of the subject in, as the magazine put it a very "non-Sulpician" manner. My parents, who were visiting me at the time, discovered that Desvallières had done a series of murals at a church in Pawtucket, just outside Providence, the old French-Canadian parish of St. John the Baptist. The church is itself worth a visit for the architecture alone, being an exercise in restrained classicism by distinguished Canadian art deco architect Ernest Cormier, but the murals, with their unusual mixture of post-Impressionist fluidity and traditional subject matter, are fascinating instances of yet another forgotten path of twentieth century art. Sacré-Cœur, protecteur des familles is in some respects a rather murky work, in terms of color and brushstrokes, even if there is an appealing vigor to it, but the Pawtucket murals are fascinating exercises in color and stylization, and certainly unique among New England churches. For my own part, I wish the facial features in the figures were somewhat more distinct, but from a compositional perspective, they contain a surprising power, both harmonizing and contrasting with the more conventional classicism of their surroundings.
As I said before, the church itself is a monument to early twentieth-century design and construction, and also features some superb period stained glass, including an image of the Espousal of the Virgin that was probably my favorite piece in the entire church. The marble and mosaic furnishings are particularly good, and the chancel features, somewhat unusually, twin ambones, something often discussed in periodicals of the Twentieth-Century Liturgical Movement but seldom seen in practice. If you are in the area, please drop in; when we stopped by back in 2012, the pastor greeted us with great hospitality and spent an hour or more showing us all the church's architectural delights. I only regret not having had time to write about my visit before now.


***
In other news, coinciding with an ongoing restoration of the church's interior, the tabernacle has been restored to the old high altar at St. Paul's in Harvard Square in Cambridge, Massachusetts, the site of April's extraordinary Eucharistic Procession and my own adopted home parish. A new sedilia had been installed earlier this year at the floor level of the sanctuary as part of the transition.

EF Mass at the Colloquium in Indy

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Our coverage of the CMAA Colloquium in Indianapolis continues with photographs of Mass of the Visitation of the Blessed Virgin Mary in the Extraordinary Form. Mass was celebrated by Fr Francisco Nahoe OFM Conv, the Deacon was Edward Schaefer and the Subdeacon was Edward Olsen. The conductors featured below are David Hughes, Scott Turkington and Wilko Brouwers. The organist was Paul Weber, whose stunning liturgical improvisations included a scherzo based on the Ave maris stella in the style of Duruflé. [Photos: Charles Cole]



























A guest review: The Music of Charles Tournemire

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Professor Ann Labounsky, chair of the programs in organ and sacred music at Duquesne University, offers her review of a new volume about Charles Tournemire.  Mystic Modern brings together essays about the French composer in a collection edited by Jennifer Donelson and Stephen Schloesser. Prof. Labounsky writes:

Mystic Modern: The Music, Thought, and Legacy of Charles Tournemire

Charles Tournemire (1870-1939) died in the year I was born. Naturally, I have always found that year fascinating, and I often have felt a connection to this man. He was a modern composer who influenced Messiaen, Langlais, and many other 20th-century French composers. While the extent of his “modernism” led many to dismiss his music as obtuse, his mysticism was a reason for others to dismiss his music as unapproachable.

My first exposure to this modern mystic was during the 1950s upon hearing my first organ teacher, Paul Sifler, play some Tournemire on several occasions. I remembered it as a strange, exotic-sounding music, like the works of Olivier Messiaen which he played, music that as a teenager I did not understand. It was later, when I was a pupil of Jean Langlais in Paris during the early 1960s, that I came to know Tournemire’s music in a different way.

Langlais often played Tournemire’s works at Sainte-Clotilde on the organ that Tournemire knew and loved. He played the Eli, eli, lama Sabacthani from the "Seven Words", and taught me that movement and the last--Consummatum est-- on late Wednesday evenings when the church was dark and we were alone in Sainte-Clotilde with those incomparable sounds.

He spoke about Tournemire as someone he knew well--telling me little things about how Tournemire had taught and how his personality was particularly quirky and unpredictable. Langlais encouraged me to meet Mme. Alice Tournemire in her apartment, the apartment where her husband had lived and taught. She read to me portions of his journal regarding the Symphonie–Choral, which I was planning to play at Sainte-Clotilde.

The more I played and heard Tournemire’s music, the more fascinated I became with it--for his music is not the type that has instant appeal, but rather gets inside your being slowly and compellingly.

Now, through the efforts of Jennifer Donelson and the CMAA, this august organization has expanded its academic outreach and sponsored two Tournemire conferences, the first in Miami in 2011 and the second at Duquesne University in 2012. Mystic Modern is the first publication in this outreach that builds upon the academic papers given at the first Miami conference.

Edited by Jennifer Donelson and Stephen Schloesser, this 456-page book is divided into three sections: Tournemire the Liturgical Commentator, Tournemire the Musical Inventor, and Tournemire the Littéraire. Whether you are a long-time devotee of Tournemire or someone who is interested in liturgy, music, and theology, this book is a must.

Drs. Donelson and Schloesser are to be complimented on the physical beauty of the book, not to mention the depth of scholarship it represents. The book's cover has been chosen to reflect the mystical character of its subject. It is a surrealistic picture of the Basilica of Sainte-Clotilde, with dramatic blood-red clouds in the background. The typesetting and illustrations are exquisitely reproduced. 

The contents of the book


Five contrasting articles discuss the liturgical aspects of Tournemire’s compositions:

  1. The Organ as Liturgical Commentator—Some Thoughts, Magisterial and Otherwise, by Monsignor Andrew R. Wadsworth 
  2. Joseph Bonnet as a Catalyst in the Early-Twentieth-Century Gregorian Chant Revival, by Susan Treacy 
  3. Tournemire’s L’Orgue Mystique and its Place in the Legacy of the Organ Mass, by Edward Schaefer 
  4. Liturgy and Gregorian Chant in L’Orgue Mystique of Charles Tournemire, by Robert Sutherland Lord 
  5. The Twentieth-Century Franco-Belgian Art of Improvisation: Marcel Dupré, Charles Tournemire, and Flor Peeters, by Ronald Prowse

The second section deals with Tournemire’s music and that of his contemporaries in the liturgy:

  1. Performance Practice for the Organ Music of Charles Tournemire, by Timothy Tikker 
  2. Catalogue of Charles Tournemire’s “Brouillon” [Rough Sketches] for L’Orgue Mystique BNF, Mus., Ms. 19929, by Robert Sutherland Lord 
  3. Creating a Mystical Musical Eschatology: Diatonic and Chromatic Dialectic in Charles Tournemire’s L’Orgue Mystique by Bogusław Raba 
  4. From the “Triomphe de l’Art Modal” to The Embrace of Fire: Charles Tournemire’s Gregorian Chant Legacy, Received and Refracted by Naji Hakim, by Crista Miller 
  5. From Tournemire to Vatican II: Harmonic Symmetry as Twentieth-Century French Catholic Musical Mysticism, 1928–1970, by Vincent E. Rone.  

The last section deals with the literary aspects of Tournemire’s music:

  1. The Composer as Commentator: Music and Text in Tournemire’s Symbolist Method, by Stephen Schloesser 
  2. Messiaen’s L’Ascension: Musical Illumination of Spiritual Texts After the Model of Tournemire’s L’Orgue Mystique, by Elizabeth McLain 
  3. Desperately Seeking Franck: Tournemire and D’Indy as Biographers, by R. J. Stove 
  4. How Does Music Speak of God? A Dialogue of Ideas Between Messiaen, Tournemire, and Hello, by Jennifer Donelson 
  5. Charles Tournemire and the “Bureau of Eschatology” by Peter Bannister. 
All of the articles will be of interest, but this review will focus on those of the editors and Dr. Robert Lord.

”How Does Music Speak of God?” by Jennifer Donelson compares in great depth the approaches of the address of God through music in the writings of Tournemire, Messiaen, and the mystic writer from Brittany, Ernest Hello (1828-1885). She explains how the work of Hello, particularly his 1872 composition L’Homme: La Vie--La Science--L’Art, “encapsulates an understanding that was friendly to the Symbolist and anti-positivist tendencies of both composers.”

Tournemire’s influences from Hello are found in his writings, particularly in his unpublished memoirs and correspondence between these two composers. With great care, Donelson explains the differences in philosophy between Messiaen as seeking a perfect expression of the Catholic faith and that of Tournemire. In conclusion, she sums up the answer to the title of her essay in quoting Hello:
In a “clear vision of the role of the Catholic faith in art and culture. Hello saw spiritual realities as more real than material (indeed, as their source) and concluded that, for art to be truly beautiful or ‘sincere,’ the artist must have a clear vision of the world as redeemed by God with the Incarnate Christ at the center of God’s plan for salvation.” 
Stephen Schloesser’s chapter is titled “The Composer as Commentator: Music and Text in Tournemire’s Symbolist Method.” Schloesser is well-known for his important book with a somewhat misleading title: Jazz Age Catholicism: Mystic Modernism in Postwar Paris 1919–1933, which may have inspired the title for Mystic Modern.

He shows the importance of the texts in Dom Guéranger’s L’Année liturgique to Tournemire as he composed l’Orgue mystique. So what then is the symbolist method Schloesser describes? He describes it simply as: “. . . an essential relationship between a work and the literary text upon which it is based.”
Robert Lord studied the 1,282 pages of rough sketches of Tournemire’s l’Orgue mystique found in the Bibliothèque Nationale after he had written an extensive article on this seminal work of Tournemire. In his conclusion he stated:
After having completed the manuscript catalogue, we can verify that the “Rough Sketches” document—in sharp contrast to the “Plan” considered in my 1984 study—is far more than a mere framework for L’Orgue mystique. The “Rough Sketches” provide the harmonies, the rhythms, and the paraphrases for forty-two of the fifty-one offices. The BNF Ms. 19929 remains the only evidence we have of Tournemire’s musical preparation for any work he composed. 
Dr. Lord’s article “Liturgy and Gregorian Chant” is a reprint of his 1984 article published in The Organ Yearbook, in which he describes Tournemire’s original plan for the composition of l’Orgue mystique and the ways in which Tournemire departed from his plan in the choice of chants. It is fortunate to have these two seminal articles within the same book for easy comparison.

Look for this impressive new volume at the Sacred Music Colloquium in Indianapolis (in progress this week through midday July 6). The price is only $40, and if you buy it at the Colloquium, you can save the postage and can get Jennifer Donelson to autograph it for you!

Looking for more Colloquium Coverage? Check out The Chant Cafe!

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For you readers at home following the Chuch Music Association of America's annual Colloquium in Indianapolis on NLM with the Charles Cole's liturgy pictures, I'd encourage you to check out one of the CMAA's other sites, the Chant Café, where you can find posts about topics discussed, as well as daily videos that I am doing from here to give you a little taste of what the Colloquium is like. I'd encourage you to check it out every day this week for all the information you could want about the Colloquium!
A part of one of my videos I've been doing this week

Talk on Sacred Music by Fr. Cassian Folsom, O.S.B.

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On behalf of Fr. Cassian and the Monks of Norcia, I am pleased to be able to share with NLM readers a splendid talk that Fr. Cassian gave at St. Wilfrid's Catholic Church in York, England, in mid-May. The title of the 45-minute talk is "Sacrosanctum Concilium on Sacred Music." The audio and video quality are superb, I might add.



In addition to the full-length video, five short excerpts on "hot topics" (2 to 5 minutes each) have been helpfully separated out, in order to facilitate sharing and distribution. About these excerpts, the playlist says:
These are clips from a longer talk about Sacrosanctum Concilium and sacred music, given by Fr. Cassian Folsom at St. Wilfrid's church in York, England. Covering topics from the true meaning of 'active participation' to the role of the choir, to the history of the chant books of the Roman Rite, Fr. Cassian shows how to interpret these 8 paragraphs of Sacrosanctum Concilium in the 'hermeneutic of continuity'.
If you've not yet had the edifying and enlightening experience of hearing one of Fr. Cassian's talks, I highly recommend this one (or at least the short clips) as a place to begin!


Chant for the Readings at Dominican Rite Mass Now Available

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I am very happy to announce that the long-awaited volume with themusic for the readings of the Dominican Rite Masses for all Sundays and major feasts of the year is now available from the Dominican Liturgy Publications Shop or directly from the Project Page. The title of this new volume isCantus Lectionum Missarum S.O.P. pro Dominicis et Festis Maioribus.

The entire table of contents and a sample of the music (the Epistle of the First Sunday of Advent-- p. 16 of the preview) may be viewed on the Project Page. by pressing the "preview" button. The cover may be viewed at the right. The price of this 757 page hard-back volume is $33.25.

 The volume contains all Masses of the Temporale except the weekdays of Lent, as well as all first class feasts, many second class feasts, and all major Dominican saints.  A supplement includes other useful Masses, including the Nuptial Mass and the Mass of the Holy Spirit. Each reading is set to the traditional chant neumes, not just pointed.

Photos of Mass for the Feast of St Thomas the Apostle at the CMAA Colloquium

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Mass for the Feast of St Thomas the Apostle was celebrated today in the Ordinary Form at the CMAA Colloquium in Indianapolis by Fr Michael Earthman. The organ was played by Horst Buchholz and the conductors featured below are William Mahrt, Edward Schaefer and Paul Weber. 


















Vespers in Indianapolis

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Here are a few photographs of Vespers which took place earlier today at the CMAA Colloquium in Indianapolis. The CMAA's Chaplain, Fr Robert Pasley was the celebrant and the organist was Paul Weber. The conductors featured in the photographs are Melanie Malinka and Scott Turkington.







Corpus Christi - Eleventh Hour Photopost

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A few last submissions from Corpus Christi, in no particular order. Photos of your celebrations on the feast of Ss Peter and Paul will be posted this Sunday. Thanks to all those who sent in these pictures.

Cathedral of St Paul, Birmingham, Alabama
photos by Beth Anne Maier




Holy Family, Cubao, Philippines





Holy Name, Providence, Rhode Island







Penang, Malaysia
Eucharistic Procession from the former Cathedral of the Assumption to the Church of Our Lady of Sorrows





Santissima Trinità dei Pellegrini, Rome (FSSP)







TLM Community. St Fidelis Friary, Guam 

Friday at the Colloquium: Votive Mass of the Sacred Heart

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Mass today at the Colloquium in Indianapolis was a Votive Mass of the Sacred Heart, celebrated by Fr Christopher Smith. The musicians featured in the photographs below are Wilko Brouwers (Conductor), Ann Labounsky (Organist) and Melanie Malinka (Conductor). The final photograph shows Jeffrey Morse giving one of his hugely popular early morning solfege sessions at the hotel.



















EF Requiem Mass in Indianapolis

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Here are photographs of today's Requiem Mass celebrated in the Extraordinary Form by Fr Robert Pasley, Chaplain to the CMAA, at the CMAA Colloquium in Indianapolis. The Requiem was for deceased members of the Church Music Association of America. The conductors in the photographs below are Horst Buchholz, Jonathan Ryan and Melanie Malinka.



















Ss Peter and Paul Photopost - 2014

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Once again, our thanks to all those who sent in photographs. Evangelize through beauty!

Madison, Wisconsin
EF Pontifical celebrated by His Excellency Robert Morlino, Bishop of Madison, in the chapel of the Bishop O’Connor Center (and our own Ben Yanke's schola!)





St. Michael’s Russian Catholic Chapel - New York City
To visit their website click here.





Quezon City, Philippines - EF Community of Holy Family Parish, Diocese of Cubao





La Londe-Les-Maures, France (procession)


Oratory of Ss. Gregory and Augustine - St Louis, Missouri 

Hong Kong - Tridentine Liturgy Community at Mary Help of Christians Parish




Chapelle Saint-Augustin - Lausanne, Switzerland (FSSP)



St. Joseph Catholic Church - Detroit, Michigan
The reader who sent in these pictures informs us that the St. Joseph’s Men Schola sang the Mass of the Sacred Heart by Rheinberger, Tu Es Petrus by Refice, and Exsultate Justi by Viadana; the Chant Choir sang the Gregorian propers of the day, and the Ss. Cyril & Methodius Women’s Schola sang works by Rheinberger, Mendelssohn, Remondi, and Elgar. The Mass in the OF (Latin and English) was standing-room only, with 900 people in attendance. Two articles about the event can be read here and here.



St Joseph Church, Carlisle, England (Diocese of Lancaster)
Mass celebrated by His Excellency Michael Campbell O.S.A., Bishop of Lancaster, with the Canons of Ss. Ambrose and Charles, followed by a procession for the anticipated Solemnity of St Thomas the Apostle with the Syro-Malabar Catholics at the church of St. Maria Goretti in Preston.






The closing Mass at the Colloquium in Indianapolis

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Archbishop Tobin celebrated the closing Mass of the CMAA Colloquium this morning at St John the Evangelist in Indianapolis. The organ was played by Jonathan Ryan and the conductors shown below are Jeffrey Morse, Mary Jane Ballou, Paul Weber, Melanie Malinka and Horst Buchholz.






















Seven Years of Summorum, from Juventutem DC

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On this day in 2007, I was toasting the good news from Rome with close friends, while overlooking a cow pasture in suburban Ireland. It's hard to believe it's been seven years since the promulgation of Summorum Pontificum, though I've been intrigued to notice, among my friends in their early twenties, there are now young people who have lived much of their formative years under its rule. Even if the Extraordinary Form may not have been as widely-available as one might prefer in some places, to them it has been for a good stretch of their recent memory, always one of the two forms of the single Roman rite, rather than something which had a curious (if, for me, exciting, even invigorating) edginess to it, as I remember from my own days in college only a few years before the Motu Proprio. It is now once again part of our heritage as Catholics, restored to the glorious sunlight of the open life of the Church, rather than a historical appendix, and this shift in attitudes as much of the genius and spirit of Summorum as the beauty and theological heft of the Extraordinary Form itself. Certainly, while we must not rest on our laurels, we have still come quite a way in such a short time.

Our good friends at Juventutem DC have compiled this lovely thank-you video to the Pope Emeritus. Watch it, say a prayer, and rejoice.

Seven Years of Summorum Pontificum

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I remember distinctly the day of July 7, 2007.

Over the course of the preceding year, there had been a number of amicable but highly tentative discussions about the extent to which the traditional Latin Mass should find a place in the life of our newly established college, which was to open its doors in August 2007. At that time, the Gregorian rite was the preserve of a vibrant minority of Catholics gratefully receiving the fruits of Ecclesia Dei communities, along with the occasional lone priest who had managed to secure episcopal permission or who had been tapped to provide this service for a group of the faithful. Adherence to the old Mass was slowly growing, but the movement dwelt in the margins, in the shadows.

For our college as for so many communities, Summorum Pontificum simply changed the whole nature of the conversation, forcefully and yet peacefully. There was no longer any question of whether the old Mass would be welcome at our school; it was a foregone conclusion for those who wished to be obedient to the Magisterium, as we did. Rather, we began working out a practical plan for making it available to all who desired it.

For Catholics loyal to the Church’s Tradition, this motu proprio meant the end of a sort of Thirty Years’ War of outrageously mismatched armies. It was a surprising triumph for the faithful who had insisted that the ancient liturgy, the Mass of the Saints, has and will always have an important place in the Church’s life, and who begged to be able to worship God as so many generations had done before. Pope Benedict XVI established equal canonical rights for the OF and the EF. He did not say they were altogether equal in every way; he noted that the OF is more prevalent, while the EF “must be given due honor for its venerable and ancient usage.” Nevertheless, for the immediate peace of the Church, what matters most is that, canonically speaking, they are equal. After Pope Benedict, the EF can never be seen as the ugly duckling, the unwanted stepchild, the nutty aunt of the family, or a radioactive material to be encased in lead. It is part of the living heritage of every Roman Catholic priest, every Roman Catholic believer.

In the United States alone, the growth of the TLM is impressive indeed: from about 20 Sunday Masses in 1988, to 220 in 2006, to over 500 today. The religious communities that either serve the faithful in active ministry or utilize the old liturgical books in their contemplative life have prospered and grown, with a vastly disproportionate number of vocations for their size. There is no vocations crisis within this traditional realm—only in the larger Church whose leaders are still all too often wandering in the desert of modernism, wondering what happened to the once-filled churches and seminaries, and thinking that “more of the same” has got to be the solution. In reality, it’s time for “something completely different”—something altogether different from the postconciliar modus operandi. Something so different ... it is, thankfully, the same as the Roman Church has always had for all her centuries, with the natural growth and flux of an organic reality.

The New Evangelization will stand or fall on the strength of authentic liturgical renewal, and this renewal will stand or fall depending on whether or not it is rooted in the traditional Latin Mass as an immense good in itself and as a constant point of reference for the Ordinary Form.

No, the motu proprio and its accompanying letter are not perfect; even taking Universae Ecclesiae into account, some thorny theoretical and practical difficulties remain. For example, if the explicit requirement in Canon Law that seminarians be well instructed in Latin is routinely ignored, how much hope is there that, on the basis of a papal commendation, they will be taught the traditional Mass, Office, and sacramental rites as a component of their comprehensive training in the Roman Rite? And when little or no effort is made to enforce the Church's standing law or to protect clergy from well-intentioned but misguided superiors, will a mere legislative framework adequately defend the rights of priests and the faithful? Disciplinary actions of incredible harshness against traditional religious communities and individual priests continue to make headlines. We are far, alas, from the peaceful resolution Pope Benedict wished and worked for; in fact, it would be no exaggeration to say that the Pope’s impassioned invitation to his brother bishops has been culpably rejected by many:
Let us generously open our hearts and make room for everything that the faith itself allows. … What earlier generations held as sacred, remains sacred and great for us too, and it cannot be all of a sudden entirely forbidden or even considered harmful. It behooves all of us to preserve the riches which have developed in the Church’s faith and prayer, and to give them their proper place. (Benedict XVI, Letter to Bishops, July 7, 2007)
And yet, in spite of this mixed reception and internecine strife, have we not abundant cause for rejoicing in all that the Lord has done through his servant Benedict and through this courageous incentive to the modern Counterreformation? For there can be no doubt that Summorum Pontificum has reshaped the liturgical landscape profoundly and permanently.

The most important thing right now is for priests everywhere to live confidently according to what Pope Benedict established as their canonical right—that is, to celebrate the Extraordinary Form for the glory of God in communion with His saints, for their own priestly benefit, and for the spiritual nourishment of their flocks. And to do this means learning the old Mass if they have not already done so—a challenging task, but by no means insurmountable. I have known and worked with several priests who started from scratch and who, having achieved their goal, feel privileged and blessed to be able to offer this venerable rite of the Mass. The resources and opportunities have only multiplied with the passing of these seven years.

Priests, men of God, shepherds ordained for the altar and the flock: take courage, be stouthearted! Respond as generously as you can to this great invitation, this movement of grace sweeping through the Church.

Here are some contacts:

From the Vatican website:
Apostolic Letter Summorum Pontificum| Accompanying Letter to Bishops

Training with the Fraternity of Saint Peter

Training with the Canons Regular of St. John Cantius

The Canons’ online resources

Altar missals: Benzinger; RCB
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