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Is the Current Communion Fast Really Enough?

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A few months ago I walked into my parish, and I was a little tired. I had spent a few hours in the middle of the night praying at our local abortion clinic for an end to abortion, as a part of our local 40 Days for Life effort (which I encourage you to check out, and be a part of this upcoming lent, beginning Ash Wednesday).
As I walked into the narthex, I went against what I would typically do, and quickly grabbed some coffee that was sitting out from the previous Mass, which had just finished out 15 minutes beforehand. I drank it as quickly as one can drink hot coffee, before heading into the sacristy to put on my cassock and prepare for Mass in the 10 minutes I had before it began. Being Catholic, I knew what to do: as soon as I swallowed the last sip, I looked at my watch, and made a mental note of the time, so I could check an hour later if I could receive communion or not. I know you all have done this at one time or another. It’s a regular part of life for busy people trying to make it to Mass.



My parish's principal OF Mass on Sunday morning is celebrated as a high Mass each week, with the celebrant singing his parts, with incense and the roman canon used, and when combined with a fair length homily, Mass typically takes about 1:15 most weeks, which is all well and good. In other words, it is celebrated faithfully, with the solemnity that is properly due to the worship of God, particularly on Sunday.

As I looked to the clock after the canon had finished, I realized I had already reached the hour mark from when I finished that coffee just before Mass, and I began thinking about how utterly useless our current fasting requirements are on a practical level: I was eating in the back of church just a few minutes before Mass at church, and still fulfilled the fasting requirements. Can you really consider what you're doing a fast if you can eat as you're walking out of the house on the way to Mass? I would hardly call that a fast.

Please hear me loud and clear: I am not accusing anyone of doing anything wrong if they eat breakfast, go to Mass, and receive communion and hour or more later. People who do that are following the legitimate laws given to us by the church, and we need not be scrupulous about this. I am not calling their motives or actions into question, rather, I am calling the motives and actions of those who wrote and enacted this law.

Traditionally, the fast always began at midnight, which made afternoon and evening Masses very impractical for priests or even impossible for those with health issues or who are aging, as they would not be able to eat all day. Likewise, it made it difficult for the faithful to receive communion at these times as well, so for good reasons, Pope Pius XII modified the fast to three hours, which is a much more reasonable number, allowing Mass to be easily celebrated anytime, particularly in the afternoon and evening, yet still retaining a fast of at least 1-2 hrs before a typical Mass began.

If you were to attend a 5pm low Mass following work, you might not be able to eat after 2:30pm, which would be much of your afternoon. That's a fast. Here's what's not a fast: drinking a coffee in the narthex before walking into church. Instead of a fast, it has, for all intents and purposes, been turned into a moratorium on eating during Mass, which is far from a fast, and already a given as a baseline standard of reverence.

Fasting, a refraining from food and drink as an expression of interior penance, is something we do which should be a mortification, something at least a little difficult, as a sacrifice to offer to the Lord. This sacrifice of mortification helps prepare us to receive communion by uniting us closer to the Lord. The very concept of fasting requires some level of difficulty and suffering, even if it is small. I strongly believe a 3 hour fast before communion would make much more sense for the church today.

Music for the Eucharistic Sacrifice (Part 1)

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The most common argument I’ve heard over the years for why we should allow Christian “pop” music in Church is the consequentialist or utilitarian argument: “Look how well it works. It gets people to Mass and keeps the youth involved.” Interestingly, I’ve never heard a Catholic try to defend the folksy or pop-style music on purely artistic or liturgical grounds, and only rarely have I seen Protestants try to do that. The baseline for the entire discussion seems to be a rough-and-ready pragmatism.

The problem with this argument is twofold. First, even on a practical level, it’s not really true, or very unevenly so. The total number of Catholics attending Mass is in steady decline and has been for decades, especially in the category of young people. The music we have cobbled together after the Council just doesn’t seem to be so appealing, broadly speaking, as to turn the tide. It seems to put off as many people as the number it may appeal to, if not far more.

Second and more importantly, a popular style of music, complete with guitars and pianos and that distinctive rock-ballad or easy listening feel, is not at all compatible with the Church’s understanding of the Mass as a true and proper sacrifice offered to God. Let’s admit (for the sake of argument) that we could pack a building full of people by using that kind of music. Would this music be able to convey to the worshipers what the Mass actually is, how they should be disposed to it, and how they should think of what they are doing? Or would it subtly or openly inculcate a different doctrine that would eventually result in heterodoxy?

There’s a lot that can be said and has been said about these matters, but it seems to me that one helpful approach is to ponder certain passages of Pope Pius XII’s great encyclical on the sacred liturgy, Mediator Dei, which was a major source for the authors of the Second Vatican Council’s Sacrosanctum Concilium, and to use its insights to illuminate the issues at hand, which are not issues peculiar to our time but ones that arise in every age where secular music has invaded the sanctuary. I will offer the quotations and, after each, make some comments.
47. The entire liturgy, therefore, has the Catholic faith for its content, inasmuch as it bears public witness to the faith of the Church.
Note well: the entire liturgy has the Catholic faith for its content. This entirety, then, includes the music of the liturgy, in both its words and its strictly musical attributes. Pope Pius XII is saying that the texts, melodies, rhythms, all of these should bear public witness to the Church’s faith. It comes as no surprise that Pius X, Pius XI, Pius XII, Vatican II, John Paul II, and Benedict XVI pointed to Gregorian chant and polyphony as pinnacles of this public witness, and underlined the need for new compositions to imitate the spirit of these exemplars.
68. The august sacrifice of the altar, then, is no mere empty commemoration of the passion and death of Jesus Christ, but a true and proper act of sacrifice, whereby the High Priest by an unbloody immolation offers Himself a most acceptable victim to the Eternal Father, as He did upon the cross.“It is one and the same victim; the same person now offers it by the ministry of His priests, who then offered Himself on the cross, the manner of offering alone being different” (Council of Trent).
The Mass is not a social gathering with a humanitarian aim, it is not even a symbolic drama in which we play-act the death of Jesus. It is a true and proper sacrifice, the unbloody re-presentation of the sacrifice of Calvary. Our Lord Jesus Christ’s once-for-all immolation on the Cross is made present and active for us sinners, who would otherwise be lost forever. He comes to be present in this awe-filled, world-changing, life-shaking, heaven-rending sacrifice. For our part, do we appreciate what is happening on the altar? Do our actions, attitudes, responses, artistic expressions, accurately convey our interior awareness of this great mystery, before which we should fall in total self-abnegation, profound humility, trembling adoration? Or does the music (for example) lead us to feel, think, and act as if this mystery and miracle wasn’t happening?
152. While the sacred liturgy calls to mind the mysteries of Jesus Christ, it strives to make all believers take their part in them so that the divine Head of the mystical Body may live in all the members with the fullness of His holiness. Let the souls of Christians be like altars on each one of which a different phase of the sacrifice, offered by the High Priest, comes to life again, as it were: pains and tears which wipe away and expiate sin; supplication to God which pierces heaven; dedication and even immolation of oneself made promptly, generously and earnestly; and, finally, that intimate union by which we commit ourselves and all we have to God, in whom we find our rest. “The perfection of religion is to imitate whom you adore” (St. Augustine).
Does our music convey that we are falling down in worship before the all-holy Lord, the God of heaven and earth—the serving of whom leads to eternal life, the offending of whom leads to eternal death? And is this God truly an aweful mystery for us, in our midst, or has He been domesticated into a kind of friendly atmosphere within which our self-referential ceremonies take place? Are the souls of the people like altars of immolation? Is the unspeakably pure and demanding holiness of God the dominant note of what we are doing and singing?

Some Notes on the Suppression of Septuagesima, by Amy Welborn

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We are just about half-way through the brief but liturgically rich period of Septuagesima; today I happened to stumble across an excellent series of considerations of the season by Amy Welborn on her blog Charlotte Was Both. I would encourage you to go over there and read the article, as she notes a couple of very important points, particularly in regard to its suppression in the post-Conciliar reform. I think it fair to say that this is now generally admitted to be a mistake for a variety of reasons. The first such reason which she points out is the ecumenical problem, since, as even the committee that ultimately brought about the suppression noted, Septuagesima is maintained by many Anglicans and Lutherans, and the Eastern rites also all have a Fore-Lent.
It’s bizarre for many reasons having to do with the normal reasons of upending tradition via committee work, but also because it’s such an unecumenical move, and, on paper at least, Vatican II was, we hear, informed by ecumenical concerns.
The article continues with a nice summary of the meaning of Septuagesima, quoted from a middle-school religion textbook printed in 1947; scans of the relevant pages are included in her post. And then she sums up in a single sentence what is, I would argue, one of the most problematic aspects of the whole post-Conciliar reform, the contempt in which the reformers held the run of the Catholic faithful: “As usual, it was determined that all this was too hard for us.”

Lest this seem too harsh a judgment, Welborn then gives a link to an article by Dr Lauren Pristas, who, inter alia, has done so much important work on the reform of the Prayers of the Mass; Dr Pristas quotes the preparatory work of the reform committee that revised the Calendar, to the effect that “Septuagesima should be abolished for pastoral reasons: so that the faithful may see the progress of the liturgical year clearly and not be confused by diverse ‘anticipations’... The penitential character of the time of Septuagesima ... is difficult for the faithful to understand without many explanations.”

And finally, a nice summary of the problem of “organic development,” or rather, the lack thereof.
...liturgy develops, and while “organic development” is practically impossible to define, it’s also obvious that a handful of scholars from a particular place and time sorting through options for transforming a thousand year-old set of traditions in a way that will profoundly impact hundreds of millions of Catholics, present and future…ain’t it.

Snow Drops for the Feast of the Presentation

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Snow drops are the flower for the Feast of the Presentation, so here are some photos. They were snapped on the feast day, February 2nd, and that is why they appear a little later - it took me a few days to get them loaded up.
They are growing up in a garden in England and, true to their designation, they were in full bloom on the feast day, leading the way for the other later blooming early spring bulbs, the crocuses and the daffodils. 
I had initially thought of adding some smug comment such as ‘these are the only snow drops we see in England’ to antagonize American readers from New England and the Midwest who are currently under feet of show. Then I heard that the forecast was for snow in northern England too and we had a good covering the next day. It was only an inch or two, but that’s enough to cause mayhem in England. Serves me right!
The house I am staying in has a modestly sized front garden, typical of English gardens. It just shows how you don’t need much to plant something beautiful to tie us into the sacred time as well as the ordinary passing seasons.
Below the pictures of the bulbs I add a beautiful painting of the feast by Fra Angelico, and a painting of Mary at the Fountain by Jan Van Eyck, depicting Her as the Garden Enclosed - hortus conclusus - with what I am hoping are snow drops on the lawn in front of her. I can’t get a detailed enough picture so perhaps someone out there can confirm?







Fota VIII Conference Speakers Announced

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St. Colman’s Society for Catholic Liturgy is pleased to announce a provisional list of speakers and topics for the Fota VIII International Liturgy Conference to be held in Cork, Ireland, July 4-6, 2015, on the subject of the priesthood of the baptized, entitled A chosen race, a royal priesthood, a holy nation: Aspects of the Priesthood of Baptism.

1.   Professor Dieter Böhler, Sankt Georgen, Frankfurt (Germany)
A Kingdom of Priests (Ex 19,6). Priesthood and Royalty of God’s People in the Old and New Testament

2.   Fr. Joseph Briody, St. John’s Seminary, Brighton, Mass. (USA)
The Priesthood of the Faithful in Sacred Scripture

3.   Fr. Sven Leo Conrad, FSSP, (Germany)
Ministry as an expression of the common priesthood or of the ordained ministry? A review of the minor orders.

4.   Fr. Jao-Paolo Mendanca Dantas, Fortaleza (Brazil)
The new movements in the service of the unity of the Church. Reflections on the charismas of laity in the light of the thought of Joseph Ratzinger.

5.   Professor Manfred Hauke, Lugano (Switzerland)
The “sensus fidei” of the laity according to John Henry Newman and contemporary theology.

6.   Professor Helmut Hoping, University of Freiburg im Breisgau (Germany)
The priesthood of Christ in the baptismal and ministerial priesthood

7.   Fr. Thomas McGovern, (Ireland)
The Priesthood of the Laity and the Challenge of the Secular

8.   Dr. Johannes Nebel FSO, Administrator of the Leo-Scheffczyk Centre in Bregenz (Austria)
Sacra potestas and the participatio actuosa of the Faithful

9.   Dr. Ann Orlando, St. John’s Seminary, Brighton, Mass. (USA)
The Faithful’s Sacrifice as Priestly Service in St. Peter Chrysologus

A Visit to the Monastery of Camaldoli

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As a follow-up to my recent piece on the feast of St Romuald, our own Nicola de’ Grandi sent me some photos he took during a recent visit to the Monastery and Hermitage of Camaldoli, the mother house of the Saint’s order, just under 30 miles to the East of Florence.

The church of the hermitage
Part of the screen which divides the monks’ choir, the bulk of the church, from the rest of it.

Internal view of the choir.
A side chapel

A view of the forests which surround the monastery. 
The entrance to the hermitage 
St Romuald’s cell


The hermitages of the monks, seen through the gate that divides this part of the complex from the rest.
The entrance to the cloister 
The monastery church

Votive Vespers (EF), Chair of St. Peter

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Readers living in or near New York City may be interested to know that the Basilica of Saint Patrick’s Old Cathedral (263 Mulberry Street, Manhattan) will celebrate its bicentennial with votive Vespers (Extraordinary Form) for the Feast of St. Peter’s Chair on Sunday, February 22nd, at 4:00 pm. The music dates from approximately 200 years before the basilica was founded; composers include Viadana, Anerio, and other great innovators who enriched the western Church with artistic output fitting the reforms of the Council of Trent. The schola will be supported by continuo played on organ and theorbo, making for a unique and gorgeous sound. Father Peter Stravinskas, Ph.D., S.T.D., will be the celebrant. More details are provided HERE.

Music from the Golden Age of Spain

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San Lorenzo de El Escorial
As a chorister at Westminster Cathedral during the 1980s, I was fortunate enough to be involved in a number of recordings of some of the most wonderful liturgical music in the repertoire. A particular highlight was Treasures of the Spanish Renaissance, released by Hyperion in 1985, which included a number of stunning masterpieces from the golden age of Spanish polyphony by three of its greatest masters: Francisco Guerrero, Alonso Lobo and Sebastián de Vivanco. Amongst the choristers, a particular favourite on that recording was Versa est in luctum by Lobo. It is an absolutely remarkable piece of polyphony, a setting of a responsory from the Office of the Dead: ‘My harp is turned to mourning and my music to the voice of those who weep. Spare me, Lord, for my days are as nothing.’ It was a text which seems to have had particular significance to Iberian composers at the time, and indeed the greatest of them all, Tomás Luis de Victoria, included a beautiful setting in his Requiem music for the Dowager Empress Maria who he served as Chaplain at the Monastery of Las Descalzas Reales in Madrid. Lobo’s setting was written for the funeral of her brother, Philip II, and there is a definite sense that the composer saved something extra for this commission, attaining new heights of the greatest beauty, achieving something truly worthy of one of the greatest Catholic monarchs.

The Reredos at Toledo Cathedral
This Friday I will be travelling to Spain with my choir, the Schola Cantorum of the London Oratory School, and amongst the Masses and recitals planned, it will be especially wonderful to direct the boys in performances of the Lobo at two places of great significance: the first will be the magnificent Basilica at the Monastery of San Lorenzo at El Escorial. Philip II, for whose funeral it was written, lies in the Royal Mausoleum under the High Altar at El Escorial. He built the magnificent foundation, incorporating a monastery, basilica and palace, in thanksgiving for the Spanish victory at St Quentin in 1557. The battle took place on the Feast Day of St Laurence, 10 August, which is why El Escorial was built in a gridiron layout, in honour of St Laurence’s mode of martyrdom. The king had his own chambers carefully positioned so that he could see the Holy Sacrifice of the Mass from his bed to which he was confined towards the end of his life, through an internal window to the right of the altar. The second performance will be at the magnificent Cathedral in Toledo where Lobo served as Maestro de Capilla. The cathedral's stupendous reredos must be one of the finest in Christendom and simply has to be experienced.

The boys will also be singing music by the Spanish composers Esquivel, Vivanco, Guerrero and Victoria, as well as music by English and Italian composers. You can read more details here, and you can follow their progress through Escorial, Madrid, Segovia, Toledo and Salamanca on Facebook and Twitter. Wish us luck and keep us in your prayers.


Music for the Eucharistic Sacrifice (Part 1)

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The most common argument I’ve heard over the years for why we should allow Christian “pop” music in Church is the consequentialist or utilitarian argument: “Look how well it works. It gets people to Mass and keeps the youth involved.” Interestingly, I’ve never heard a Catholic try to defend the folksy or pop-style music on purely artistic or liturgical grounds, and only rarely have I seen Protestants try to do that. The baseline for the entire discussion seems to be a rough-and-ready pragmatism.

The problem with this argument is twofold. First, even on a practical level, it’s not really true, or very unevenly so. The total number of Catholics attending Mass is in steady decline and has been for decades, especially in the category of young people. The music we have cobbled together after the Council just doesn’t seem to be so appealing, broadly speaking, as to turn the tide. It seems to put off as many people as the number it may appeal to, if not far more.

Second and more importantly, a popular style of music, complete with guitars and pianos and that distinctive rock-ballad or easy listening feel, is not at all compatible with the Church’s understanding of the Mass as a true and proper sacrifice offered to God. Let’s admit (for the sake of argument) that we could pack a building full of people by using that kind of music. Would this music be able to convey to the worshipers what the Mass actually is, how they should be disposed to it, and how they should think of what they are doing? Or would it subtly or openly inculcate a different doctrine that would eventually result in heterodoxy?

There’s a lot that can be said and has been said about these matters, but it seems to me that one helpful approach is to ponder certain passages of Pope Pius XII’s great encyclical on the sacred liturgy, Mediator Dei, which was a major source for the authors of the Second Vatican Council’s Sacrosanctum Concilium, and to use its insights to illuminate the issues at hand, which are not issues peculiar to our time but ones that arise in every age where secular music has invaded the sanctuary. I will offer the quotations and, after each, make some comments.
47. The entire liturgy, therefore, has the Catholic faith for its content, inasmuch as it bears public witness to the faith of the Church.
Note well: the entire liturgy has the Catholic faith for its content. This entirety, then, includes the music of the liturgy, in both its words and its strictly musical attributes. Pope Pius XII is saying that the texts, melodies, rhythms, all of these should bear public witness to the Church’s faith. It comes as no surprise that Pius X, Pius XI, Pius XII, Vatican II, John Paul II, and Benedict XVI pointed to Gregorian chant and polyphony as pinnacles of this public witness, and underlined the need for new compositions to imitate the spirit of these exemplars.
68. The august sacrifice of the altar, then, is no mere empty commemoration of the passion and death of Jesus Christ, but a true and proper act of sacrifice, whereby the High Priest by an unbloody immolation offers Himself a most acceptable victim to the Eternal Father, as He did upon the cross.“It is one and the same victim; the same person now offers it by the ministry of His priests, who then offered Himself on the cross, the manner of offering alone being different” (Council of Trent).
The Mass is not a social gathering with a humanitarian aim, it is not even a symbolic drama in which we play-act the death of Jesus. It is a true and proper sacrifice, the unbloody re-presentation of the sacrifice of Calvary. Our Lord Jesus Christ’s once-for-all immolation on the Cross is made present and active for us sinners, who would otherwise be lost forever. He comes to be present in this awe-filled, world-changing, life-shaking, heaven-rending sacrifice. For our part, do we appreciate what is happening on the altar? Do our actions, attitudes, responses, artistic expressions, accurately convey our interior awareness of this great mystery, before which we should fall in total self-abnegation, profound humility, trembling adoration? Or does the music (for example) lead us to feel, think, and act as if this mystery and miracle wasn’t happening?
152. While the sacred liturgy calls to mind the mysteries of Jesus Christ, it strives to make all believers take their part in them so that the divine Head of the mystical Body may live in all the members with the fullness of His holiness. Let the souls of Christians be like altars on each one of which a different phase of the sacrifice, offered by the High Priest, comes to life again, as it were: pains and tears which wipe away and expiate sin; supplication to God which pierces heaven; dedication and even immolation of oneself made promptly, generously and earnestly; and, finally, that intimate union by which we commit ourselves and all we have to God, in whom we find our rest. “The perfection of religion is to imitate whom you adore” (St. Augustine).
Does our music convey that we are falling down in worship before the all-holy Lord, the God of heaven and earth—the serving of whom leads to eternal life, the offending of whom leads to eternal death? And is this God truly an aweful mystery for us, in our midst, or has He been domesticated into a kind of friendly atmosphere within which our self-referential ceremonies take place? Are the souls of the people like altars of immolation? Is the unspeakably pure and demanding holiness of God the dominant note of what we are doing and singing?

Some Notes on the Suppression of Septuagesima, by Amy Welborn

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0
0
We are just about half-way through the brief but liturgically rich period of Septuagesima; today I happened to stumble across an excellent series of considerations of the season by Amy Welborn on her blog Charlotte Was Both. I would encourage you to go over there and read the article, as she notes a couple of very important points, particularly in regard to its suppression in the post-Conciliar reform. I think it fair to say that this is now generally admitted to be a mistake for a variety of reasons. The first such reason which she points out is the ecumenical problem, since, as even the committee that ultimately brought about the suppression noted, Septuagesima is maintained by many Anglicans and Lutherans, and the Eastern rites also all have a Fore-Lent.
It’s bizarre for many reasons having to do with the normal reasons of upending tradition via committee work, but also because it’s such an unecumenical move, and, on paper at least, Vatican II was, we hear, informed by ecumenical concerns.
The article continues with a nice summary of the meaning of Septuagesima, quoted from a middle-school religion textbook printed in 1947; scans of the relevant pages are included in her post. And then she sums up in a single sentence what is, I would argue, one of the most problematic aspects of the whole post-Conciliar reform, the contempt in which the reformers held the run of the Catholic faithful: “As usual, it was determined that all this was too hard for us.”

Lest this seem too harsh a judgment, Welborn then gives a link to an article by Dr Lauren Pristas, who, inter alia, has done so much important work on the reform of the Prayers of the Mass; Dr Pristas quotes the preparatory work of the reform committee that revised the Calendar, to the effect that “Septuagesima should be abolished for pastoral reasons: so that the faithful may see the progress of the liturgical year clearly and not be confused by diverse ‘anticipations’... The penitential character of the time of Septuagesima ... is difficult for the faithful to understand without many explanations.”

And finally, a nice summary of the problem of “organic development,” or rather, the lack thereof.
...liturgy develops, and while “organic development” is practically impossible to define, it’s also obvious that a handful of scholars from a particular place and time sorting through options for transforming a thousand year-old set of traditions in a way that will profoundly impact hundreds of millions of Catholics, present and future…ain’t it.

Snow Drops for the Feast of the Presentation

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Snow drops are the flower for the Feast of the Presentation, so here are some photos. They were snapped on the feast day, February 2nd, and that is why they appear a little later - it took me a few days to get them loaded up.
They are growing up in a garden in England and, true to their designation, they were in full bloom on the feast day, leading the way for the other later blooming early spring bulbs, the crocuses and the daffodils. 
I had initially thought of adding some smug comment such as ‘these are the only snow drops we see in England’ to antagonize American readers from New England and the Midwest who are currently under feet of show. Then I heard that the forecast was for snow in northern England too and we had a good covering the next day. It was only an inch or two, but that’s enough to cause mayhem in England. Serves me right!
The house I am staying in has a modestly sized front garden, typical of English gardens. It just shows how you don’t need much to plant something beautiful to tie us into the sacred time as well as the ordinary passing seasons.
Below the pictures of the bulbs I add a beautiful painting of the feast by Fra Angelico, and a painting of Mary at the Fountain by Jan Van Eyck, depicting Her as the Garden Enclosed - hortus conclusus - with what I am hoping are snow drops on the lawn in front of her. I can’t get a detailed enough picture so perhaps someone out there can confirm?







Fota VIII Conference Speakers Announced

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0
0
St. Colman’s Society for Catholic Liturgy is pleased to announce a provisional list of speakers and topics for the Fota VIII International Liturgy Conference to be held in Cork, Ireland, July 4-6, 2015, on the subject of the priesthood of the baptized, entitled A chosen race, a royal priesthood, a holy nation: Aspects of the Priesthood of Baptism.

1.   Professor Dieter Böhler, Sankt Georgen, Frankfurt (Germany)
A Kingdom of Priests (Ex 19,6). Priesthood and Royalty of God’s People in the Old and New Testament

2.   Fr. Joseph Briody, St. John’s Seminary, Brighton, Mass. (USA)
The Priesthood of the Faithful in Sacred Scripture

3.   Fr. Sven Leo Conrad, FSSP, (Germany)
Ministry as an expression of the common priesthood or of the ordained ministry? A review of the minor orders.

4.   Fr. Jao-Paolo Mendanca Dantas, Fortaleza (Brazil)
The new movements in the service of the unity of the Church. Reflections on the charismas of laity in the light of the thought of Joseph Ratzinger.

5.   Professor Manfred Hauke, Lugano (Switzerland)
The “sensus fidei” of the laity according to John Henry Newman and contemporary theology.

6.   Professor Helmut Hoping, University of Freiburg im Breisgau (Germany)
The priesthood of Christ in the baptismal and ministerial priesthood

7.   Fr. Thomas McGovern, (Ireland)
The Priesthood of the Laity and the Challenge of the Secular

8.   Dr. Johannes Nebel FSO, Administrator of the Leo-Scheffczyk Centre in Bregenz (Austria)
Sacra potestas and the participatio actuosa of the Faithful

9.   Dr. Ann Orlando, St. John’s Seminary, Brighton, Mass. (USA)
The Faithful’s Sacrifice as Priestly Service in St. Peter Chrysologus

A Visit to the Monastery of Camaldoli

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As a follow-up to my recent piece on the feast of St Romuald, our own Nicola de’ Grandi sent me some photos he took during a recent visit to the Monastery and Hermitage of Camaldoli, the mother house of the Saint’s order, just under 30 miles to the East of Florence.

The church of the hermitage
Part of the screen which divides the monks’ choir, the bulk of the church, from the rest of it.

Internal view of the choir.
A side chapel

A view of the forests which surround the monastery. 
The entrance to the hermitage 
St Romuald’s cell


The hermitages of the monks, seen through the gate that divides this part of the complex from the rest.
The entrance to the cloister 
The monastery church

Votive Vespers (EF), Chair of St. Peter

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0
0
Readers living in or near New York City may be interested to know that the Basilica of Saint Patrick’s Old Cathedral (263 Mulberry Street, Manhattan) will celebrate its bicentennial with votive Vespers (Extraordinary Form) for the Feast of St. Peter’s Chair on Sunday, February 22nd, at 4:00 pm. The music dates from approximately 200 years before the basilica was founded; composers include Viadana, Anerio, and other great innovators who enriched the western Church with artistic output fitting the reforms of the Council of Trent. The schola will be supported by continuo played on organ and theorbo, making for a unique and gorgeous sound. Father Peter Stravinskas, Ph.D., S.T.D., will be the celebrant. More details are provided HERE.

Music from the Golden Age of Spain

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0
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San Lorenzo de El Escorial
As a chorister at Westminster Cathedral during the 1980s, I was fortunate enough to be involved in a number of recordings of some of the most wonderful liturgical music in the repertoire. A particular highlight was Treasures of the Spanish Renaissance, released by Hyperion in 1985, which included a number of stunning masterpieces from the golden age of Spanish polyphony by three of its greatest masters: Francisco Guerrero, Alonso Lobo and Sebastián de Vivanco. Amongst the choristers, a particular favourite on that recording was Versa est in luctum by Lobo. It is an absolutely remarkable piece of polyphony, a setting of a responsory from the Office of the Dead: ‘My harp is turned to mourning and my music to the voice of those who weep. Spare me, Lord, for my days are as nothing.’ It was a text which seems to have had particular significance to Iberian composers at the time, and indeed the greatest of them all, Tomás Luis de Victoria, included a beautiful setting in his Requiem music for the Dowager Empress Maria who he served as Chaplain at the Monastery of Las Descalzas Reales in Madrid. Lobo’s setting was written for the funeral of her brother, Philip II, and there is a definite sense that the composer saved something extra for this commission, attaining new heights of the greatest beauty, achieving something truly worthy of one of the greatest Catholic monarchs.

The Reredos at Toledo Cathedral
This Friday I will be travelling to Spain with my choir, the Schola Cantorum of the London Oratory School, and amongst the Masses and recitals planned, it will be especially wonderful to direct the boys in performances of the Lobo at two places of great significance: the first will be the magnificent Basilica at the Monastery of San Lorenzo at El Escorial. Philip II, for whose funeral it was written, lies in the Royal Mausoleum under the High Altar at El Escorial. He built the magnificent foundation, incorporating a monastery, basilica and palace, in thanksgiving for the Spanish victory at St Quentin in 1557. The battle took place on the Feast Day of St Laurence, 10 August, which is why El Escorial was built in a gridiron layout, in honour of St Laurence’s mode of martyrdom. The king had his own chambers carefully positioned so that he could see the Holy Sacrifice of the Mass from his bed to which he was confined towards the end of his life, through an internal window to the right of the altar. The second performance will be at the magnificent Cathedral in Toledo where Lobo served as Maestro de Capilla. The cathedral's stupendous reredos must be one of the finest in Christendom and simply has to be experienced.

The boys will also be singing music by the Spanish composers Esquivel, Vivanco, Guerrero and Victoria, as well as music by English and Italian composers. You can read more details here, and you can follow their progress through Escorial, Madrid, Segovia, Toledo and Salamanca on Facebook and Twitter. Wish us luck and keep us in your prayers.


Bishop Schneider To Visit Washington D.C. for Lecture and Mass This Weekend

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We have received word of the following event from the Paulus Institute and Juventutem D.C.
The Paulus Institute for the Propagation of the Sacred Liturgy is very pleased to announced that Bishop Athanasius Schneider is coming to Washington D.C. to give a lecture at Annunciation Parish on Saturday, February 14th at 2:00 pm - and celebrate a Mass in the Extraordinary Form at Old St. Mary’s downtown (5th and H Sts., NW,) at 9:00 am on Sunday, February 15. (See flyer below.)

The Most Reverend Athanasius Schneider, O.R.C. was born in 1961 in Kirghistan (Central Asia) of German parents. In 1973, he emigrated to Germany, and was ordained a priest in 1990. In 1997, he received his doctorate in Patrology from the Augustinianum in Rome; and in 1999, he was appointed professor in the Major Seminary in Karaganda, Kazakhstan, in central Asia. In 2006, he was named auxiliary bishop of the Roman Catholic Archdiocese of Maria Santissima in Astana, Kazakhstan, and titular bishop of Celerina. Since 2010, he has been the the general secretary of the Kazakh bishops’ conference.

His 2009 book Dominus Est - It is the Lord (Newman House Press, 2008) makes a powerful case for the importance of the traditional manner of receiving Communion. English liturgical scholar and commentator Alcuin Reid, in his review of the book (republished by NLM in 2008), wrote that Bishop Schneider “has raised his voice in prophetic call for the Western Church to recall the importance, if not the necessity, of returning to the previous discipline of the reception of Holy Communion kneeling and on the tongue.”

The Paulus Institute was established for the purpose of propagating the Sacred Liturgy of the Roman Catholic Church, and seeks to do this by undertaking events of impact and significance in the Church. Most recently it sponsored the Pontifical Mass for Nellie Grey celebrated by Bishop Thomas Paprocki, after the March for Life last month at St. Mary’s in Washington, D.C..To learn more about the Paulus Institute and its mission, please visit https://www.thepaulusinstitute.org/. If you live in the greater Washington-Baltimore region, this is a great opportunity to hear one of the Church’s most courageous prelates. For more information and updates on Bishop Schneider's visit, please visit Juventutem DC’s event page.

Pictures of the Recent Missa Cantata at Princeton University Chapel

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On February 3rd, the feast of St Blaise, Fr Carlos Hamel celebrated the first public traditional Latin Mass at the Princeton University Chapel. In attendance were Fr Bryan Page, the University chaplain, and Fr Brian Woodrow, the Diocese of Trenton’s liaison to the Extraordinary Form. Students from Westminster Choir College sung in the schola; Br. Gerhard Eger, a 2014 Princeton graduate, was the Master of Ceremonies. The Mass was followed by the traditional blessing of throats. (Photographs courtesy of the Fraternidad de San José Custodio.)












Juventutem NYC Inaugural Event

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On Saturday, January 31, Juventutem New York held its inaugural Mass and talk at the Church of the Holy Innocents on W 37th St. The Missa Cantata was celebrated by Juventutem NY's chaplain and new administrator of Holy Innocents, Fr. Leonard Villa. Following the Mass was a social attended by young people from all around the metro area, and Fr. Villa gave a talk entitled "Exploring Our Liturgical Heritage," discussing his thoughts on the "mutual enrichment" between the ordinary and extraordinary forms of the Roman rite. The talk was an excellent synthesis of many of the ideas that have developed over recent years, as well as some thoughtful new suggestions.






6-Week Summer Latin Course

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The Philology Institute in Wilmore, Kentucky will offer an intensive, six-week summer course in Latin from June 15 to July 24, 2015. The cost of the course is $2500 (for the equivalent of 2 or more semesters of college-level coursework), and there are a limited number of $500 scholarships. Applications are currently being accepted.


Sacra Liturgia Summer School, July 4-19, 2015

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This coming July, Sacra Liturgia will once again hold a two week (three Sunday) English-language liturgical summer school, following on from the international conference Sacra Liturgia 2013 and the successful 2014 summer school, organised by the Monastère Saint-Benoît of the Diocese of Fréjus-Toulon, France, in association with the Ad Fontes Institute of Lithuania.

The summer school is designed for families, individuals and groups of clergy and laity who wish to holiday in Provence in the South of France whilst having the opportunity to participate in liturgical celebrations according to the usus antiquior. This will include Solemn Pontifical Vespers celebrated by Bishop Dominique Rey, the Bishop of of Fréjus-Toulon, and Solemn Pontifical Mass and Vespers celebrated by Bishop Athanasius Schneider, Auxiliary Bishop of Maria Santissima in Astana, Kazakhstan. Pilgrimages and visits to historic sites, including the Royal Basilica and relics of St Mary Magdalen at St Maximin-La-Sainte-Baume, the chapel and relics of St Roseline of Villeneuve (†1329), and the ancient Cistercian Abbey of Le Thoronet form part of the programme, as do celebrations of Vespers with organ in the parish churches of the nearby villages of Grimaud and Saint-Tropez.

The summer school includes practical and academic liturgical formation and discussion. Presenters include Bishop Athanasius Schneider and Dom Alcuin Reid; the names of other presenters and their topics will be announced in due course. Training in Gregorian chant and in the ceremonies of the usus antiquior will be available for participants (including beginners).

For information about transport and accommodations, a list of the practical training sessions and required texts, and the complete schedule of classes and events, please visit the Sacra Liturgia website:
http://www.sacraliturgia.org/2015/01/sacra-liturgia-summer-school-4-19-july.html. For the registration form, please click here.

Solemn Mass in the Basilica of St Mary Magdalene, during the 2014 Sacra Liturgia summer school
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