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1792 Mozarabic Omnium Offerentium (Full Scan)

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Some of you may be interested in this, which I've referenced before and which I've shown some images from before, which comes from the Biblioteca Digital de Castilla La Mancha. It is a full scan of a Mozarabic Missal of 1792:



Ascension, Simple English Propers

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It is arguably regrettable that Ascension is transferred from Thursday to Sunday in the ordinary form calendar in most jurisdictions in the United States. Nonetheless, it makes sense to sing the proper text of the Mass at least. These are from the Simple English Propers 





Carmelite Rite, Ascension Thursday

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A few days back we mentioned that a Carmelite Rite Mass was due to be celebrated on Ascension Thursday.

We are pleased to be able to present some photos of this historic event, celebrated by Fr. Romaeus Cooney O. Carm.





In the Carmelite rite, the bread and wine are offered concurrently; hence the paten on top of the chalice at the Offertory



Those who would like to see some historic stills of the Solemn Mass in the Carmelite rite, may wish to see our post here. These stills are taken from a video recording which you may begin to watch here.

Crisis on the EF and the Canons Regular of the New Jerusalem

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Some of our readers may have seen this article in Crisis Magazine already, but for the sake of those who haven't, here is a brief excerpt:

The Traditional Mass is Not a Spectator Sport

by Steve Skojec


“The Traditional Mass is not a spectator sport.”

The statement rings out like a shot in the quiet, muggy, non-descript church. Oscillating fans buzz from various strategic locations. Incense wafts up from the thurible tucked away to the right of the altar. The congregants sit quietly, attentive. The women’s heads are covered, and everyone is dressed modestly. Nobody throws holy water at the rather oddly-garbed priest standing at the pulpit. Nobody gets up and indignantly walks out. It’s only my third time at the Priory of the Annunciation of the Blessed Virgin Mary, but I already know that as far as Traditional Latin Mass enclaves go, this place is different.

Don Daniel Augustine Oppenheimer has made the statement confidently, peering intently over his small, frameless glasses at the small group of assembled faithful before him. His tonsure is an anachronism that brings to mind the monks of old. His habit is distinctly Augustinian, although I initially mistake it for Dominican, because how many of us ever see a religious in a habit anymore? (Up close, you can see the wear and tear on the fabric, the quiet but telltale signs of true vows of poverty.) His comfortable-looking cork and leather sandals are, I surmise, probably worn in the cold months of the year as well as the warm. His face is kind, his manner of speaking academic. Referencing his desire for the faithful to participate in the Offertory chant and instructing them how to do so, he is making a case that I’ve never heard in eight years attending the traditional Latin liturgy of the Roman Rite.

“Historically, liturgically,” he says, “the people have participated in the Mass. When they stopped participating, the old Mass went away. And by then, it was in such a state that nobody missed it.”

Read the rest of the article.

Chasuble, Segovia Cathedral

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We have shown you the dalmatic from this vestment set of Segovia Cathedral before, and Davis d'Ambly very kindly pointed us toward a photo of the chasuble:


Splendid craftsmanship to say the least.

Subdiaconal Ordination at the Russicum

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This past Sunday, the Pontifical Russian College celebrated the ordination of one of its seminarians, Mr. Andrew Summerson, to the minor orders and subdiaconate at the hands of his bishop, His Excellency John Kudrick of Parma, Ohio. The Ruthenian metropolitan of the United States, His Excellency William Skurla of the Archeparchy of Pittsburgh, and His Excellency Gerald Dino of the Eparchy of Phoenix were also present. The Divine Liturgy was sung by the choir of the Pontifical Ukrainian College, joined by a group of seminarians from the Pontifical North American College.
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The bishop presents the ordinand with a candle, and says the following prayer. "Lord, you have enlightened all creation with the light of your wonders. You know all human designs and intentions before they are formed, and strengthen those who desire to serve you. Adorn your servant, who has chosen to carry a candle before your holy mysteries, with your pure and spotless garment, that shining with light, he may greet you in the age to come, and receive the incorruptible crown of life, rejoicing with the elect in eternal happiness." The acolyte then turns to altar and recites a number of prayers.
He is then tonsured, with the hair cut in the form of a cross, as is also the case in the traditional Western rite of tonsure.
After praying over him again, the bishop consigns the book of Apostolic Readings (the epistulary) to the reader, who sings in the customary manner the account of the institution of the diaconate from the Acts of the Apostles, chapter 6, 1-7. The choice of reading derives from the fact that the subdiaconate and minor orders were instituted by the Church to provide assistance to the deacons, as the diaconate was instituted by the Apostles to assist the priests and bishops. (Bishop Athanasius Schneider spoke about this at the Summorum Pontificum conference held last year in Rome.)  
The bishop then places upon the reader the orarion, which is worn crossed over the back by subdeacons in the Byzantine tradition.
The bishop then lays a towel on the shoulders of the ordinand, who pours water over his hands, as "Elisha poured water over the hands of Elijah."

The bishop then lays the towel over the head of the ordinand, who is lead by one of the priests to stand outside the iconostasis until the bishop enters the sanctuary.
At the appropriate time, the newly ordained subdeacon sings the Epistle of the Divine Liturgy. (A similar custom is followed in the Latin Rite of ordination of both subdeacons and deacons.)  
He also performs the washing of the bishop's hands during the Divine Liturgy.
Although the ordination rite itself was done almost entirely in English for the benefit of the many non-Byzantine guests who were present, the Divine Liturgy that followed was mostly in Old Church Slavonic, with several parts in the vernacular. I was able to make two less-than-perfect video recordings of the seminarians of the North American College singing some of the ordinary parts of the Liturgy in English; the first is the end of the Creed (from "I believe in the Holy Spirit...") and the second is the Lord's Prayer. I would dare say that Catholics of the Latin Rite could learn much from our Byzantine brethren about how to incorporated the vernacular into a very ancient form of the Liturgy without compromising its tradition and its sacred character. - Congratulations to Andrew, and my heartfelt thanks to Bishop Kudrick and all those who sang and served for one of the most beautiful ordination liturgies I have every seen.
 Ἄξιος!  Ἄξιος! Ἄξιος!

 

Cardinal Burke in Bologna for Ascension

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Further to the Feast of the Ascension, Messainlatino.it publish photos of a Pontifical Mass (Ordinary Form) celebrated by Cardinal Burke this past Sunday in the Cattedrale Metropolitana di S. Pietro, Bologna.

Here are some of photos they provide:







EF Events at 50th International Eucharistic Congress, Dublin

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The 50th International Eucharistic Congress is set to take place in Dublin, Ireland this June 10th-17th and the Latin Mass Chaplaincy of Dublin have made known to NLM some interesting events which will be taking place around the Congress at St. Kevin's -- both liturgically as well as talks being given.

Some highlights include:

- Solemn Pontifical Mass celebrated by Archbishop Terrence Prendergast, Archbishop of Ottawa, with Palestrina's Missa Papae Marcelli sung by the Lassus Scholars (who will also sing Palestrina's Missa Brevis at another Mass during this course of events)

- “Beauty and the Sacred” by Dr. Mark Dooley

- “The Mass as Sacrifice: Old Testament Perspectives” by Fr Gerard Deighan, LSS

- “The Presence of Christ in the Eucharist” by Fr Armand de Malleray, FSSP

- “Eucharistic Spirituality” by Dom Mark Daniel Kirby, OSB

- “Prayers and Religious Folktales from the Irish Oral Tradition” by Dr Pádraig de Paor (Dept. of Irish and Celtic Languages, Trinity College Dublin)

Here is an image from their brochure showing the full series of talks and events. (You will have to click on it to enlarge it if you are to make it legible.) You can also visit their website for more information.



Attempts to Revive Gregorian Chant?

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From Sandro Magister this morning: Gregorian Chant. The Revival Announced.

Here is an excerpt:

Gregorian Chant. The Revival Announced

The congregation for divine worship wants to put itself in the lead of the rebirth of great sacred music. Here is its program, made public for the first time by one of its officials. But the secretariat of state has its own musicians, and is putting on the brakes

by Sandro Magister

ROME, May 23, 2012 – At the Mass that Benedict XVI will celebrate in Milan next June 3 in front of an immense crowd of faithful, on the occasion of the world meeting of families, the performance of the Gregorian chants will be entrusted to the choir directed by Maestro Fulvio Rampi.

It is one of the most justly esteemed choirs in Gregorian chant. In the study and practice of which, the "prince" chant of the Latin liturgy, Rampi has for years played a role of the highest importance.

Last May 19, in Lecce, he gave a compelling talk precisely on this form of chant, as part of a day of study on sacred music fifty years after Vatican II and in the light of the magisterium of Benedict XVI:

> Il canto gregoriano: un estraneo in casa sua

It is common knowledge that Gregorian chant is not in its finest hour. It has been practically banned everywhere, in spite of the fact that Vatican Council II, in the constitution on the liturgy, reaffirmed its primacy in the clearest of terms:

"The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services."

If Gregorian chant has been banned, it is because of complete amnesia concerning its nature. Its rebirth therefore demands in the first place that it be rediscovered and understood.

Rampi defined it with five traits, in his talk in Lecce:

1. Gregorian is the chant "proper" to the Latin liturgy. In it, the Church speaks its thought on the Word of God in song.

2. Gregorian is the "sonorous" expression of the interpretation that the Church makes of the Word.

3. Gregorian is not ornamentation, but is itself liturgy.

4. Gregorian is liturgy in its proper times and forms: from the introit to the gradual to the "communio," from the Kyrie to the Agnus Dei.

5. Gregorian is a whole that marks out and embraces the entire liturgical year, intelligible only in its unified vision, like the Sacred Scriptures. It is the musical form of the "lectio divina" of the Church.

Read the entire article.

First Mass of a New Young Priest

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The Society of St. Hugh of Cluny reports on the first Mass of a newly ordained priest of the Archdiocese of New York, Fr. Patric D'Arcy -- a native of Ontario, Canada. The Mass was offered in the usus antiquior in Blessed Sacrament Church. (Wonderfully, they report that amongst the sacred music sung by the schola was Allegri's haunting Miserere as well as parts from Palestrina's Missa Brevis.)

You can get all of the particulars on their site, but I wanted to not only show our readers some photos from the joyous event, I also wished briefly comment on the vestments which were used for the Mass. Without seeing them in person, certainly the photos tell the story of a qualitative set of noble beauty, further demonstrating the potential of various styles and forms of vestments within the context of the Roman rite. In that regard, I think they also represent one manifestation of the new liturgical movement.

There used to be more talk of priests and faithful of the "John Paul II generation"; clergy and faithful particularly influenced by that particular Pope. As I see photos like these and others of new young priests I find myself wondering, are we seeing the "Benedict XVI generation"?

Specifically with regard to the seminarians and the ordinands of recent years, my mind turns to the fact that Pope Benedict XVI has now been reigning as Pope for just over seven years; what that means in terms of seminary education is that we are now seeing the first graduating classes who have either had Benedict as the reigning pontiff for the entirety of their seminary career, or at least for the significant majority of it. (In the same way, amongst younger aged lay Catholics we likewise are beginning to see more and more of those for whom this pontiff will be particularly defining for them.) So again, I wonder, are we seeing the Benedict XVI generation; a generation which has been particular defined by the thought, not least of which the liturgical thought and practice, of Pope Benedict XVI?

If photos and stories such as these tell any story, the future looks hopeful indeed.












Pentecost Resources and Preparations

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We sit on the cusp of the great feast of Pentecost and Corpus Christ Watershed has put together a variety of resources that may yet not be too late to use in your parish this coming Sunday.

The resources include:

1. More than 20 pages of organ accompaniments for the VENI SANCTE SPIRITUS Sequence.

2. Special practice videos for the Veni Sancte Spiritus by different scholas.

3. Specially formatted scores for the Pentecost Sequence (English / Latin / Running Translations)

4. More than 25 practice videos (Gregorian chant, Simple English Propers, Simple English Psalm Tones, etc.)

5. Specially "simplified" chant scores by Solesmes (Chants Abrégés, Richard Rice, etc.)

6. Organ accompaniments, 1-page printable scores with translations for all the Propers, etc.


See here: Pentecost Resources

Solemn Mass of Superior General of FSSP in Mexican Cathedral

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The following short video excerpt comes from a Mass in the usus antiquior offered by Fr. John Berg, the Superior General of the FSSP, in the Cathedral of Guadalajara in Mexico on May 11th.


Other Modern? Christ the King Cathedral, Johannesburg

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Normally as part of our Other Modern series, when we've featured entire churches they have often shown an Art Nouveau or Art Deco influence, or if not that, then at least something in a similar vein. (Our considerations of particular liturgical arts has perhaps been a bit more broad yet.)

For this particular post, I wanted to open up the discussion to our readers, because it falls into a slightly different genre than we have shown before. The question I would ask of our readers is this: is this, in your own estimation, also an example of the "Other Modern"?

Please let me be clear: I am not asking you whether this is your own preferred style, nor whether you like other styles better, nor even whether this is to your own personal taste. What I am asking is whether you think this particular example carries the various qualities that give an example of modernity that is in continuity with our tradition, and which is well suited to the sacred liturgy?


Now, I know what my own thoughts are, but I thought it would be interesting to hear yours without expressing mine.

In view of that, please use the comments -- and please, try as best you can to give your reasoning.

Gregorian Chant Colloquium in Montreal this August

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The Gregorian Institute of Canada is organizing their 7th annual colloquium in Montreal this August 16th-19th:

Montreal will host the 7th annual colloquium of the Gregorian Institute of Canada from August 16 to 19, 2012, at the Centre de créativité du Gesù (1200 de Bleury, Montreal) as well as in the magnificent Gesù Church (http://www.legesu.com/). Program will include chant workshops, led by Philippe Lenoble, Director of the Choeur grégorien du Mans (France), as well as lectures and liturgical offices. A gala concert of French baroque plain-chant will be performed by the singers of the Schola Saint Grégoire of Montreal, accompanied by serpent and ophicleide player Gary Nagels. Colloquium will end with the celebration of a mass in the ordinary form, completely sung in Latin.


You can view their preliminary itinerary.

Pope on Hermeneutic of Continuity and of Reform

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Rorate Caeli picked up on -- and translated -- the following remarks made by the Pope on May 24th in an address to the Italian episcopal conference:

[M]ay the 50th anniversary of its beginning [of Vatican II], which we will celebrate in the fall, be an occasion to deepen the study of its texts, the condition for a dynamic and faithful reception. "That which above all concerns the Council is that the sacred deposit of the Christian faith be kept and taught in a more efficacious way," Pope Blessed John XXIII affirmed in his opening address. And it is worthwhile to meditate and read these words.

The Pope charged the Fathers to deepen and present such a perennial doctrine in continuity with the millennial Tradition of the Church: "to pass on the doctrine, pure and whole, without attenuations or distortions," but in a new way, "according to what is required by our times." (Address of solemn opening of the Ecumenical Council of the Vatican II, October 11, 1962). With this key for its reading and application - according to a view, certainly not of an unacceptable hermeneutic of discontinuity and of rupture, but of a hermeneutic of continuity and of reform -, listening to the Council and making ours the authoritative indications are the path to ascertaining the ways with which the Church may offer a significant response to the great social and cultural transformations of our time, which have visible consequences also on the religious sphere.

Here is the original in Italian.

As an aside, I was glad to see yet another variation of this principle put forward as regards this matter of "continuity" and "reform": ermeneutica della continuità e della riforma...

Paul Jernberg: The Logos of Sacred Music

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A composer tells us his approach in composing works that are fresh and new, while reflecting the timeless principles that constitute sacred music. Listen also to his beautiful newly composed Mass.

The following is an essay written by the composer Paul Jernberg. Paul has composed his Mass of St Philip Neri for the new translation of the Mass, you can hear MP3s of this through links at the bottom. In the essay he discusses the principles that guide him in composition and which enable him to compose new music in accordance with timeless principles. We have been singing his compositions at Thomas More College and I can attest firstly to how simple his works are for relatively inexperienced choristers to sing and how much those who hear his work respond to is. In addition to - I have been working with him in creating psalm tones for the vernacular that are modal and so sit within the tradition.This has enabled us to chant, for example, the traditional Latin proper for communion and then a communion meditation in English without any sense of disunity.

What characterises both the compositions you can hear here and the music he has composed for us at Thomas More College of Liberal Arts is how simple it is to perform, yet how good it sounds. In my opinion, he really has hit that standard of noble simplicity - music that is so beautiful that you want to sing it, and so simple that you can. Furthermore, there is not even a hint of sentimentality in his music. You can decide for yourselves by listening.

The attached audio files have been recorded by members of the Parish Choir of St. John's in Clinton, MA and of the Chorus of Trivium School, a Catholic high-school in Lancaster, MA (plus myself and Dr Tom Larson from Thomas More College of Liberal Arts and an additional member of Tom's amateur chant and polyphony choir, the Schuler Singers). Please bear in mind as you listen to them that they are not professional recordings and precisely because it is sung by amateur singers, it represents an endeavor to incarnate the ideal articulated in the essay on the Parish level:

The Logos of Sacred Music

An introduction to the Mass of Saint Philip Neri

The composition of this work has been my response to the need for a fitting musical setting of the Ordinary from the new English translation of the Roman Missal. In the creation of this music it has been my goal to fulfill three essential criteria, namely, that it have a true sacred character, that it be imbued with the qualities of authentic artistry, and that it possess a noble accessibility will allow it to be received into the hearts of ordinary people of good will throughout the English-speaking world.

Sacred Character

Music in the Liturgy of the Catholic Church should by its nature have a distinct identity that is contemplative, vibrant, and rooted in ancient tradition. In the perennial Catholic vision of the Liturgy, all of its sensible elements are intended to provide a sacred space that is worthy to welcome the sacramental Divine Presence. This intention would seem to surpass the reasonable scope of ordinary human creativity, as the finite aspires to welcome the infinite, the creature to create a worthy space for the Creator. And yet, both faith and aesthetic sensitivity perceive that an inspired tradition has indeed developed over the course of the centuries – including aspects such as architecture, visual arts, and music - which has fulfilled this task in a marvelous way.

In the West, this inspired musical tradition has as its foundation a vast repertoire commonly known as Gregorian Chant. Any composer who wishes to approach the task of composing music for the Roman Catholic Liturgy in a serious way, should thus be thoroughly versed in the study and performance of this repertoire, realizing the littleness of his own efforts in relation to the greatness of the tradition. The composer should also seek to understand and apply those musical principles of Gregorian Chant that have allowed it to serve its purpose so aptly. As expressed by the authors of the post-conciliar Church document, Musicam Sacram:

Musicians will enter on this new work with the desire to continue that tradition which has furnished the Church, in her divine worship, with a truly abundant heritage. Let them examine the works of the past, their types and characteristics, so that “new forms may in some way grow organically from forms that already exist,” and the new work will form a new part in the musical heritage of the Church, not unworthy of its past.[1]

And furthermore:

Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be sung only by large choirs, but providing also for the needs of small choirs and for the active participation of the entire assembly of the faithful.[2]

Along these same lines Pope Benedict XVI recently pointed out:

It is possible to modernize holy music, but this cannot happen outside the great traditional path of the past, of Gregorian chants and sacred polyphonic choral music… [3]

What are the “qualities proper to genuine sacred music” that need to be followed attentively in the composition and performance of new works? This is in fact a crucial question which requires much more space than the scope of this introduction would allow, in order to be answered adequately. However, a few first principles can be briefly articulated here:

  • The human voice is always the primary instrument, and often the only instrument. Being an integral part of man, rather than his exterior creation, the voice has a unique capacity for intimate expression of the depth and breadth of human feeling and experience. It is equally accessible to all people and all cultures. When the organ or other instruments are used, it is for the purpose of supporting or enhancing, rather than dominating or supplanting, the voice.
  • The rhythm of the music is united with the natural rhythm of the given sacred text, either through assuming the textual rhythm as its own, or by engaging in a gentle interplay with it. Any strong metrical or rhythmic effects that might overshadow the meaning of the text are avoided. With a few exceptions, Gregorian chant is characterized by a non-metered rhythm that allows great freedom in respecting the meaning and flow of the Word.
  • Melodic lines and harmonies are carefully chosen to evoke dispositions and emotions that are appropriate to liturgical worship and interiority, and which steer clear of secular associations. This distinction is not meant in any way to demean the multifarious beauty that belongs to secular life and art, or to deny its transcendent dimension, but rather is meant to facilitate the flourishing of each - the sacred and the profane[4], divine worship and social intercourse - in its own proper time and place.

Authentic Artistry

It does not do justice to the nature of the Liturgy for its music to be merely correct, even according to the above-mentioned principles. In order for sacred music to reach its full stature, composers and musicians need to exercise true artistry, in which knowledge, inspiration, and skill all play a vital role.

Many may object here, saying that liturgical music is meant for “prayer rather than performance,” implying that prayer, being a humble, intimate communication with God, excludes or minimizes the need for artistry, which by its nature demands a focus on the externals of music-making. There is an element of truth in this, namely, that the relational dimension of the Liturgy is of immeasurably more importance than the artistic dimension. However, it is this very relational dimension which should motivate and empower composers and musicians as they devote all of their skill to create something as beautiful as possible for God, the Beloved. In addition, a certain level of artistry in composition and choral performance provides a foundation from which the other participants in the Liturgy can more fully interiorize the meaning of the words and more prayerfully join in the singing of their parts.

In the context of sacred music, compositional artistry will be manifested in gracefulness and dignity of melodic line, harmony, and dynamics, rather than in striking effects or grandiosity. The artistic performance of this music by cantors and choirs requires, among other things, diligent attention to precision of pitch and rhythm, natural resonance, lively and sensitive dynamics, appropriate tone quality, and clear diction. Qualities such as interiority and unity of sound among voices should preclude any harsh effects or displays of virtuosity, however appropriate these latter might be in other contexts.

Composers and performers of all kinds of music bear witness to the fact that the phenomenon of inspiration is a mysterious but important element in their creative process. How much more should the composer of sacred music, conscious of the dignity of the Liturgy, prayerfully seek that inspiration which will give his music a living, joyful, peaceful identity, beyond the mere notes on the musical score? When this gift is skillfully cultivated, choirs and congregations can in their turn participate in an experience of inspired beauty, which is directed toward the praise and glory of God.

Noble Accessibility

One of the clearest messages from the Second Vatican Council to composers of sacred music, was the need to create music that would facilitate the “full, conscious, and active” participation of the faithful:

In the restoration and promotion of the sacred liturgy, this full and active participation by all the people is the aim to be considered before all else, for it is the primary and indispensable source from which the faithful are to derive the true Christian spirit…[5]

How can music help to achieve this goal, while faithfully maintaining the other foundational qualities listed above? On the one hand, unceasing and genial efforts should be made to help priests and lay people to re-discover the great traditions of sacred music that are in fact their rightful patrimony. Too often this heritage has been ignored or rejected on the false premise that it is no longer relevant to modern man. On the other hand, the legitimate development of culture, as well as the authorized use of the vernacular in the Liturgy, beg for the conception of worthy new music to accompany both Latin and translated Liturgical texts. And in order for this music to fulfill its purpose, it needs to be imbued with a noble accessibility that allows it to be not only admired, but also deeply welcomed by “ordinary” people so as to become a fitting and authentic expression of their faith.

When this quest for full participation has been separated from the need for true sacred character and authentic artistry in liturgical music, as has often been the case over the decades since Vatican II, the results have been deeply disturbing for those sensitive to the musical, psychological and spiritual dimensions of the Mass. As world-renowned maestro Riccardo Muti recently observed:

The history of great music was determined by what the Church did. When I go to church and I hear four strums of a guitar or choruses of senseless, insipid words, I think it's an insult… I can't work out how come once upon a time there were Mozart and Bach and now we have little sing-songs. This is a lack of respect for people's intelligence. [6]

This interview, in which Muti praised the efforts of Pope Benedict to promote a renewal of sacred music, was a tremendous encouragement to me in my composition of the Mass of St. Philip Neri. He speaks authoritatively on behalf of all great musicians and all devout Catholics when he pleads for the renewal of sacred music in the Church’s Liturgy. At the same time he understands the need for accessibility:

Rather than obsess over creating masterpieces, contemporary composers should “prepare the future for a new language in the world of music - not one but several languages - that are more closely connected to the needs of people.” [7]

In searching for compositional models that do integrate sacred character, authentic artistry, and noble accessibility, I have in fact found two wonderful sources of inspiration. The first is the harmonized liturgical chant of the Russian Orthodox Church, developed by composers such as Smolensky, Chesnokov, and Rachmaninoff. The second is the music of Jacques Berthier written for the ecumenical Taizé Community in France, which has brought an elegant simplicity and power to the singing of sacred texts by very large groups of people. In each of these cases, composers with highly sophisticated skills have deliberately set aside the kind of harmonic and rhythmic complexity appropriate to the concert hall, in order to bring intense depth and beauty to simpler forms that thus become nobly accessible to “common” people from a wide variety of backgrounds. Both of these sources have been my constant companions in the composition of this musical setting of the Mass.

St. Philip Neri

I have chosen to name this work in honor of Philip Neri, because his life and apostolate, which effected such a great spiritual and cultural renewal in 16th century Rome, have also been an ongoing inspiration to me and the choirs that I have had the privilege of directing. Through his Oratory movement, which combined prayer, study, works of mercy, joyful fellowship, and the cultivation of the arts, he became a patron to great composers such as Palestrina and Animuccia. Influenced by the contagious holiness and joy of St. Philip, they were able to create a magnificent new repertoire of sacred polyphony, rooted in the ancient tradition of Gregorian chant, but also responding to the new needs and inspirations of their day. My hope and prayer is that the Mass of St. Philip Neri might be one small flame in a similarly authentic renewal of sacred music, faith and culture that is so needed in the Catholic Church today!

Paul Jernberg Clinton, Massachusetts February 24, 2012

For any further information, sheet music or instructional CDs contact Paul at cathedralchoirschool@gmail.com

You shall sprinkle me, listen here

Lord, have mercy, listen here

Glory to God, listen here

Alleluia

Mystery of Faith

Holy, Holy, Holy

Lamb of GodLink


[1] Musicam Sacram, Art. 59; quote from Sacrosanctum Concilium, Art. 23

[2] Sacrosanctum Concilium, Art. 121

[3] Comments by Pope Benedict during a concert conducted by Dominico Bartolucci, June 24, 2006.

[4] The word ‘profane’ here is used in its first meaning, which is ‘outside the temple’ (Gr. pro - fanus)

[5] Sacrosanctum Concilium, Art. 14

[6] Ricardo Muti interview with ANSA.IT, May 27, 2011

[7] John von Rhein interview with Muti in the Chicago Tribune, January 29, 2012

Pentecost Simple English Propers

First Images and Reports from the Chartres Pilgrimage

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With this past weekend seeing the celebration of the great feast of Pentecost that also means that this past weekend saw the occurrence of another annual event we look forward to covering here each year: the Chartres Pilgrimage organized by Notre Dame de Chretiente (NDC).

Initial reports by NDC tell us that over 190 chapters are participating in this year's pilgrimage. Additionally, Mgr. Eric Aumônier, the Bishop of Versailles, made a walkabout visit at the beginning of the pilgrimage, greeting many of the pilgrims.

The Mass which opens the pilgrimage was hosted at Notre-Dame de Paris with Bishop Jean-Yves Nahmias, the auxiliary bishop of Paris, giving the homily. In his homily, the bishop called the pilgrims to the "heroic witness of holiness... relying on Christ and the Holy Spirit."

Here are just a few images so far:




Here also is some local video coverage from this year's pilgrimage:



NLM will be providing more coverage of this pilgrimage as more becomes available.

Primary School Children and the Usus Antiquior

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Melanie Bullivant sent in to NLM this past weekend the following story which I am sure will be of interest to a number of readers.

* * *

Extraordinary Form Mass for Primary School Children


by Melanie Bullivant

On Thursday 24th May 2012, Fr. George Grynowski celebrated Mass according to the usus antiquior for the Junior school children of St. John Fisher Primary School, West Heath, Birmingham. It was our second annual Extraordinary Form Mass with the children and was preceded by an assembly in school the day before, during which Fr. George gave the children a short talk about the history of the Mass and explained the differences between the Ordinary and Extraordinary forms. Today’s Low Mass included three commentaries, which the children read before the Offertory, before the Canon and after Holy Communion. The Regina Caeli was sung after Mass, following a request from one of the children in the assembly. The children completed a written reflection about the Mass when they returned to school. The many positive comments included, “I liked that it was spoken in Latin, how it should be all the time”; “It is silent and more peaceful” and “It was quiet which gave me more time to pray”. One third of the children in Year 5 said they preferred Mass in the Extraordinary Form.


School children receiving Holy Communion at EF Mass
in St. John Fisher Church, West Heath

A Teaser from the London Oratory

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As some of you know, we noted on here a little bit ago that Cardinal Burke was going to be at the London Oratory for the feast of St. Philip Neri. Official photos will be forthcoming, but here are a couple of "teasers" sent to us by one of our readers, taken at the end of the Mass. Certainly looks to have been a splendid occasion -- and from all accounts that have thus far come my way, was.


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