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Corpus Christi at St. Peter's Basilica, 1933

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The Italian blog Cantuale Antonianum posted the following video from the archives of the Istituto Luce, showing the Corpus Christi Procession at St. Peter’s Basilica in the year 1933. The opening title of the video reads, “Corpus Domini (the usual Italian name for Corpus Christi) in Rome. Escorted by the Pontifical Gendarmes and the Palatine Guards, accompanied by 17 Cardinals, His Holiness Pius XI blesses the crowd in St. Peter’s Square from the ‘talamo’ (‘thalamus’ in Latin) of silver and gold.” At 1:21 we see the umbracula of the Patriarchal Basilicas emerging from the church, and one of the tintinnabula, bells which were suspended in a decorative frame and often rung during processions. At 2:17, we first see Pope Pius XI on the ‘talamo’, which is described by the poster at Cantuale Antonianum as “...a portable structure used by the Pope during the Corpus Domini procession. It was made of a base with rings on its side, into which beams (of wood) could be inserted, holding a small platform on which a monstrance and stool were mounted. The Pope could sit on the stool during the long procession, and the great papal mantle was wrapped around the support of the monstrance. The Pope however would always appear to be kneeling before the Holy Sacrament as he was carried in procession in the square.”


It should be remembered that 1933 was also the year of an Extraordinary Jubilee, proclaimed by Pope Pius XI on Epiphany of that year, and running from Passion Sunday of 1933 to Easter Monday of 1934, (both occurring on April 2 of their respective years.) Assuming 33 A.D. as the year of Our Lord’s Death and Resurrection, it was held to honor the 19th centenary of Human Redemption. This was the first Jubilee to be held with the full public ceremonial in over a century; in 1850, no Jubilee was held because of the chaos in Rome brought about by the Roman Republic, and although Jubilees were proclaimed in 1875, 1900 and 1925, they were kept with minimal ceremony due to the occupation of Rome and the Papal States by the Kingdom of Italy. (It is not an accident that the Bull of Indiction for the Jubilee of 1875 begins with the words, “(Moved) by the grave calamities of the Church and this age”!) The full celebration of the Extraordinary Jubilee of 1933 was made possible by the Lateran Treaties in 1929, finally bringing peace between the Italian State and the Papacy after 59 years. Pope Pius XI also elevated the feast of the Most Precious Blood to the highest rank (Double of the First Class) as the annual liturgical commemoration of the Jubilee. It may be supposed that the incredibly large crowds which are seen in the Piazza in this video are due at least in part to the fact that it was both Corpus Christi and a Jubilee. (In 1983, Pope John Paul II proclaimed a second such Extraordinary Jubilee, for the 1950th anniversary of our Redemption; the original Jubilee cycle began in the same way, so hopefully there will be another in 2033.)

Corpus Christi is a medieval latecomer to the Church year, and this may be the reason why different languages have different names for it. In English and Spanish, it is traditionally called ‘Corpus Christi’, but in Italian ‘Corpus Domini’, (as we see in the opening title of the video), in French, ‘Fête-Dieu - God-feast’, or more freely ‘feast of God,’ and in Polish ‘Boże Ciało - Body of God’. In German, it is called ‘Fronleichnam’, a literal translation of ‘Corpus Domini’. This is a compound of the Old German word ‘Vrone - Lord’, and ‘Leichnam - body’, and has been retained as a traditional name for the feast even though ‘Leichnam’ has come to mean ‘corpse’ in Modern German: not the result of theological carelessness, but a reminder that the Eucharist is also a “memorial of the death of the Lord”, as St. Thomas says in the hymn Adoro te devote. In the Ordinary Form, the formal Latin title of the feast was changed to ‘The Solemnity of the Body and Blood of Christ’; the words ‘and Blood’ were added when the Feast of the Precious Blood was removed from the General Calendar, the most widely protested such removal.

New Online Articles from Antiphon Journal

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FYI, the liturgical journal Antiphon has made a number of articles from volume 15 of that journal now available online. Do go and take a look.

Compendium of the 1961 Revision of the Pontificale Romanum - Part 11: The Blessing of an Image of the Virgin Mary (1595 & 1961)

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In the Pontifical of 1595, the bishop wears a white cope and simple miter for the solemn blessing of an image of the Virgin Mary, which begins as usual with “Adjutorium nostrum” and “Dominus vobiscum”, followed by the collect of the Annunciation.
Let us pray. O God, Who didst will that Thy Word should, by the message of an Angel, take flesh in the womb of the Blessed Virgin Mary, grant unto us, we beseech Thee, that all we who do believe her to be truly the Mother of God, may be helped by her intercession before Thee. Through the same Christ our Lord. R. Amen.
The bishop sprinkles the image with holy water, and then intones the following antiphon; while it is being sung the choir, he incenses the statue three times. (As my colleague Henri has written, this antiphon is the oldest prayer to the Virgin Mary in existence. In the Roman Rite, it was traditionally sung as the antiphon of the Nunc dimittis at Compline in the Little Office of the Virgin.)
Ant. Under thy protection we seek refuge, Holy Mother of God; despise not our petitions in our needs, but deliver us always from all dangers, glorious and Blessed Virgin.
The antiphon is sung with Psalm 86 Fundamenta ejus, the sixth of Matins of the Virgin; in Eastertide, the antiphon is substituted by another, which is simply the words “Alleluia, alleluia.” There follows a second antiphon, the second of Lauds of the Annunciation, which is sung with Psalm 122 Ad te levavi.
Ant. Hail Mary, full of grace, the Lord is with thee; blessed art thou among women, alleluia.
The bishop says the following prayer, the collect of the vigil of the Assumption.
Let us pray. O God, Who deigned to choose for Thy dwelling-place the virginal palace of the Blessed Mary, grant, we beseech thee, that Thou may shield us by her protection, and make us glad in her commemoration. Who livest and reignest etc.
He then intones another antiphon, which is finished by the choir, and sung with the Canticle of the Virgin Mary, the Magnificat. (This antiphon is not in the Roman Breviary, but is found in many other Uses; the Dominicans sing it as the antiphon of the Benedictus in their version of the Little Office.)
Ant. O glorious Mother of God, ever Virgin Mary, who didst merit to bear the Lord of all, and alone of all virgins suckle the King of Angels, kindly remember us, we beseech thee, and pray for us to the Lord Jesus Christ; that we, supported by thy patronage, may merit to come to the kingdom of heaven.
The bishop then says two prayers; the first is a repetition of the collect of the Annunciation noted above, the second is as follows. At the places marked with crosses, he makes the sign of the Cross over the image with his hand.
Let us pray. Almighty and eternal God, by Whose most clement dispensation all things are created from nothing; deign Thou to bless + and sancti + fy this image venerably fashioned unto the honor of the most holy Mother of Thy Son, our Lord Jesus Christ; and grant, most merciful Father, through the invocation of Thy name, and that of the same Thy Only-begotten Son, our Lord Jesus Christ, whom Thou didst will to become incarnate for the salvation of the human race, while preserving the integrity of the Virgin Mary, that by the prayers of the same most holy Virgin, all who shall strive to honor the same Queen of mercy and our most gracious Lady before this image, may be delivered from impending danger, and in the sight of Thy divine majesty receive forgiveness of their sins, whether of commission or omission; and merit in the present life the grace which they wish to obtain: and in the future, be able to rejoice with Thy elect in perpetual salvation. Through the same our Lord etc. (long conclusion)
Finally, he sprinkles the image with holy water again.

In the revision of 1961, the bishop wears a white cope and the “auryphrigiata” miter, rather than the simple miter. The blessing begins as usual with “Adjutorium nostrum” and “Dominus vobiscum”, and the following prayer. The words noted here in italics are omitted from the previous version in the Pontifical of Clement VIII.
Let us pray. Almighty and eternal God, by Whose most clement dispensation all things are created from nothing; deign Thou to bless +and sancti + fy this image venerably fashioned unto the honor of the most holy Mother of Thy Son, our Lord Jesus Christ; and grant, most merciful Father, through the invocation of Thy name, and that of the same Thy Only-begotten Son, our Lord Jesus Christ, whom Thou didst will to take on the flesh for the salvation of the human race, while preserving the integrity of the Virgin Mary, that by the prayers of the same most holy Virgin, all who shall strive to honor the same Queen of mercy and our most gracious Lady before this image, may be delivered from impending danger, and in the sight of Thy divine majesty receive forgiveness of the sins they have committed, (whether of commission or omission;) and merit in the present life the grace which they wish to obtain: and in the future, be able to rejoice with Thy elect in perpetual salvation. Through the same our Christ Lord. R. Amen. (short conclusion)
The words “take on the flesh” noted in bold represent the change of “incarnari” in the previous version to “carnem assumere” in Latin; the word “image” noted in bold is changed in Latin from “effigie” to “imagine”, but means the same thing. The words noted in parentheses are in Latin “de commissis et omissis” in the 1595 version, which is changed to simply “de commissis”.

The bishop sprinkles the image with holy water, and then places incense in the thurible and incenses it. The Magnificat or “a popular song” is sung as he does this. All the other prayers and chants noted above in the Pontifical of Clement VIII are suppressed. 

The fragmentary papyrus, dated to about 250 A.D., which contains the earliest version of Sub tuum praesidium. It was discovered in Egypt, and is now kept at the John Rylands Library at the Univ. of Manchester, England. (Rylands Greek Papyrus 470)

Hortus Conclusus - The Garden Enclosed

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In today's Office of Readings, on this day of the Feast of the Visitation, the first reading is from the Song of Songs. It seems to have been a common theme  in late medieval art to portray Mary interpreted as the 'Garden Enclosed' as referred to in the Song of Songs. As someone who loves gardens I like the idea of the garden having a place in sacred art. (I am talking here of the garden grown for beauty, the 'flower garden' as it would be called here in the US).

I am not aware of this being a common subject for artists to paint today and one wonders why? The first answer that comes to mind, almost as a kneejerk response, is that genuine piety for Mary has declined and this is just one more casualty in the devotional lexicon.

It might be this, but also, I wonder if it is not a reflection also of a different attitude to gardens and to man's place in creation. Here are some personal thoughts about this in this regard. As ever when I stray into personal thoughts, I expect there will be NLM readers who are more knowledgeable and wise and so would love to see comments on the place of this genre in sacred art today.

Historically, as I understand it, the wilderness was seen the place of untamed nature which is the home of the devil. Christ went to meet him there for 40 days and when monks and hermits went out to the desert, it was not, so I have have been told, to escape the city, but rather to engage in spiritual battle in the wilderness, the lair of the enemy. In the painting below by the Flemish artist Robert Campin, we see the father of monasticism, Anthony Abbot (with St Catherin of Siena, John the Baptist and, I think, St Barbara), now resting in the garden having completed, one presumes his spiritual battles in the Egyptian wilderness.


Today, however, the beauty of nature as wilderness sometimes seems to be recognized more readily that
the beauty of nature cultivated. Here in the US where people particularly prize their national parks as places of wilderness unaffected by man. They are wonderful places to visit and very well run. but I am always struck by the fact that they do not preserve the beauty of farmed land. In the UK, where I come from there is no part of the land, as far as I am aware, that is not man-affected, yet I miss the beauty of its countryside very much. Our national parks, such as the Lake District, are preserving traditionally farmed beauty. The wilderness is beautiful, but it is part of a fallen world and we know objectively that by God's grace man can raise the beauty of nature up to something higher than the wilderness (he is also capable of destroying its beauty too we must remember when attempting to make a judgement on this).

The second point that arises in my consideration of this is the question as to whether or not gardening is a male or a female passtime? Talking to many here in the US, the impression I get is that people see planting vegetables or rearing animals for food as a masculine thing; but growing a garden for its beauty? Definitely not. As a general rule, amongst the students, here, the young men are interested in activities linked to rearing chickens, keeping bees or growing vegetables, but growing flowers? No.

In response to this I would say that Adam was a gardener and Christ, the new Adam, was mistaken for a gardener; and the garden was the place that He went to to pray to his Father. Also, while Mary is identified with the garden, it was the man in the Song of Songs who cultivated the garden and gathered lilies for his love. Furthermore, my great grandfather was head gardener of the Duke of Northumberland (so the family lore goes); my grandfather was and my dad still is a very keen amateur gardener (my father's garden was even featured once on national television). I don't expect my citing of family members to persuade many, but it speaks eloquently to me - all were men!

Aristotle it seems to suggest that the natural home for man is the city in close association with others and scripture seems to support this. In psalm 106 the city is the place of culture from which the wilderness is banished and in the Book of Revelation, our final home will be the city of the New Jerusalem; but this is a garden city in which the Tree of Life flourishes and Eden has been restored by Christ the Head Gardener. So perhaps we can conclude from this that the garden is a place of beauty, a retreat for relaxation and contemplation for city dwellers.  In the biblical references I have found it is a place in which everything is grown for its beauty and to delight the senses - taste, smell, vision - rather than simply sustenance. The little bit of reading  about medieval gardens seems to suggest that, consistent with this, they were designed with both utility and beauty in mind (just as with architecture it seems, utility and beauty are seen as two aspects of what is good). By this the work of man adds harmony to the hymn of the cosmos in proclaiming the glory of God.

Leo XIII said in his encyclical Rerum Novarum, that men  (I assume here in the sense of all humanity) should be encouraged to cultivate the land and in so doing will, 'learn to love the very soil that yields in response to the labor of their hands, not only food to eat, but an abundance of good things for themselves and those that are dear to them [my emphasis].'  In advocating that men grow flowers I am not suggesting that this is part of discover of their 'feminine side'; rather, that the cultivation of beauty for contemplation should be seen as much a masculine occupation as a feminine one. Perhaps there are parallels here with the feminization of prayer and contemplation that has lead to a drop in the number of vocations. Maybe the antidote lies with fathers - what we need here is fathers who not only lead the family in prayer, but are happy once again cultivate natural beauty as an example to their sons...even if it is only watering a window box to grow the flowers to give to his wife!

Pictures below is  Noli me tangere by John of Flanders, 14th century - Christ with holy spade! And below that: Martin Schongauer, Madonna in Rose Garden, 15th century; and below: Gerard David, and Robert Campin, both late gothic Flemish. Picture above are from 14th century English psalters.

juan_de_flandes_prado_noli_me_tangere


417px-Martin_Schongauer_Madonna_in_Rose_Garden_

800px-Gerard_David_-_The_Virgin_and_Child_with_Saints_and_Donor_-_Google_Art_Project






Consummatum Est

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Time and tide are moving on and while Jeffrey and Gregory now step forward to take on their new roles here on NLM, for me it is the time for farewells.

Over these past eight years I have written many words, but in this, my last post, I will only write a few and they are simply this:

Thank you. Thank you to all who have given your support and encouragement over the years. Thank you to all of my fellow contributors. Thank you to all of you who have collaborated behind the scenes with me (you know who you are).

I wish each and all of you all the very best, and I bid you all a fond farewell.

UK Sacred Music Workshop

James MacMillan and Westminster Cathedral Choir

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T
oday a new recording is released of the Choir of Westminster Cathedral under its Master of Music, Martin Baker, singing music by the leading Catholic composer James MacMillan. The recording includes MacMillan’s Tenebrae Responsories as well as other choral works including the Tu es Petrus which opened the Papal Mass at the Cathedral on the occasion of Pope Benedict XVI’s visit in 2010. The CD can be downloaded from Hyperion Records using the following link which includes the booklet and sleeve notes.

James MacMillan was present at Westminster Cathedral yesterday for the first performance of his Mass since he adapted it to use the new English translation. Solemn Mass of Corpus Christi at Westminster coincided with the thirteenth anniversary of the first performance of MacMillan’s Mass in its original version. The Mass is inscribed:
Commissioned for the glory of God in the Millennium Year of Jubilee, and was first performed on the Feast of Corpus Christi by the Choir of Westminster Cathedral, London with Andrew Reid (organ), directed by Martin Baker. The setting was adapted to the new English translation in 2012. The first performance of this version was given on the Feast of Corpus Christi 2013 by the Choir of Westminster Cathedral, with Peter Stevens (organ), directed by Martin Baker.
The Celebrant, Archbishop Vincent Nichols, sang the Preface as well as the entire Eucharistic Prayer to original tones by the composer, with a dramatic crescendo from the organ during the Elevation. The congregational responses at the Memorial Acclamation and after the Doxology also drew on some of the same thematic material which unifies the whole work giving it a great sense of unity and integrity. The Mass is imbued with chant derived from the Alleluia for Corpus Christi, Caro mea.


Archbishop Vincent Nichols, Martin Baker and James MacMillan

At a reception after Mass hosted by Archbishop Nichols, James MacMillan spoke about the important relationship he has with the Cathedral Choir and emphasized the unique nature of liturgical composition: ‘Composing liturgical music requires a completely different mindset from writing secular music: the music needs to be a vehicle for prayer.’

The Cathedral Choir’s recording of the Mass in its original form, released in 2000, can be downloaded here, as well as all of the Choir’s recordings going back to the early 1980s.

Bibliography of the Carmelite Rite


Ad Orientem in the Ordinary Form

Is There Any Case for Pop Music at Mass?

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Here is my new piece at Crisis.

It is a long reflection on this important topic of the role of pop music as something we need to appeal to the young.

An excerpt:
What is the standard by which we should judge the music we hear or sing at liturgy? That’s a huge and controversial question, but a recent experience revealed to me something interesting. It suggest an answer that is completely different from what you hear from the defenders of pop music at Mass, especially when it is pushed as a way of appealing to teens.

Here’s the story. In preparing music for this past Sunday, the schola at my parish ran out of time to prepare the authentic Gregorian Introit. There is nothing wrong with that. We are all volunteers and there’s only so much practice time. Gregorian chant should be given “first place” at Mass but it is not always possible.

Plus, aside from this, we sang two pieces of Renaissance polyphony, the Gregorian communion, an English proper chant for Offertory, a Psalm and Alleluia, plus all the ordinary chants of the Mass and the dialogue chants. That is actually a gigantic amount of music for an amateur group that sings with no instruments. We’ve been working together more than ten years now, and this is the fruit of that long-term work.

The feast was Corpus Christi, and the liturgical books assign the entrance Cibavit Eos. I had to find a replacement for the procession. My first thought in finding one, after years of doing this and feeling rather comfortable with the genre nowadays, was: what does the real entrance sound like? There are many options out there today, thankfully, and to select among them requires that you have some grounding in the character of the ideal music of the Roman Rite.

At least, I can only say that I would no longer feel comfortable replacing a Gregorian chant without having some familiarity with the thing for which the replacement is substituting. It’s taken a long time but I feel like I’m finally getting and practicing what the Church has long taught, that the appointed chants are the standard by which we measure whatever we end up doing. I ended up choosing a simple choral number by the composer Richard Rice, very beautiful and stately with a clean presentation of the text.

The translation of Cibavit Eos, the original text of the introit for this day, reads as follows: “He fed them from the fullness of the wheat, alleluia. And sated them with honey from the rock, alleluia.” It’s hard to imagine a better text for the day. It’s the first thing you hear at Mass, and it should be just right. Fortunately, as Catholic singers, we don’t have to make up texts or choose among them. It is given to us right there in our music books for the Roman Rite and often even printed in the Missal itself.

I’m grateful for this. It keeps our singing grounded. It provides a challenge. And when we can’t do the Gregorian, or when we are seeking to introduce more variety in styles, we are at least in a position to choose some rooted alternative that is part of the structure of the liturgy itself. This doesn’t remove personal discretion entirely, but at least when we exercise our own judgment over something as important as an entrance song, it is tethered to tradition and expressive of the embedded liturgical Word itself.

The very day that I was going through these exercises in my mind, I bumped into the transcript of a speech by Fr. Robert Schreiner, who is a powerful voice in the Life Teen movement that recommends singing “praise and worship” music at Mass. The text is from a speech he gave in 2010. This speech has become the canonical defense used by the rock group in your parish, the one that sings music with repetitive words that have nothing to do with what’s in the liturgical books and accompanies that music with pop rhythms. You know the type, so I don’t need to go on with my description.

Read the entire article at Crisis

Corpus Christi Procession at the London Oratory

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hotographs taken yesterday at the Corpus Christi Procession at the London Oratory. (Photo credit: Breandan McGrath)


The Renewal of Sacred Music and the Liturgy in the Catholic Church: Movements Old and New

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T
he Church Music Association of America has announced a conference honouring the legacy of Msgr. Schuler at Saint Agnes Church in Saint Paul, Minnesota. The conference will include the celebration of Vespers (featuring Mozart’s Vesperae Solennes de Confessore) and Missae Cantatae at the Cathedral of Saint Paul and Church of Saint Agnes, featuring an orchestral Mass (Paukenmesse by Franz Joseph Haydn), classical works for organ, chanted Gregorian propers, and a modern polyphonic setting of the Mass ordinary (Messe Salve Regina by Yves Castagnet). Keynote speakers include Dom Alcuin Reid, Dr. William Mahrt and Jeffrey Tucker. The conference will be held October 13-15, 2013 and the registration deadline is September 13. More details over at the Chant Cafe.

Corpus Christi Photos 2013 - Louisville and Madison

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These photographs are from the processions at St. Martin of Tours parish in Louisville, KY (EF), and The Cathedral Parish of St. Raphael in Madison, WI (OF).

Many readers may know of Dr. Paul Weber, who recently moved on from his tenure in the music department at Franciscan University of Steubenville. I am told he just began his first weekend at his new job, St. Martin's.

Also, you probably do not know me. I am the newest face on the NLM team, in the new position of NLM intern. I'll be helping Jeffrey with administrative tasks, at least for the time being. If you would like to get in touch, I have been added to the sidebar along with the other authors.

Feel free to send me your Corpus Christi photos this week, and I will likely do one more photo post for the feast near the end of the week.

Without further ado, the photos, first from Louisville (update: more photos here).





And from Madison (Photos by Tom Reitz):




Corpus Christi Procession at Santissima Trinità dei Pellegrini

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It makes me very happy that my first piece as managing editor of NLM should be a set of photographs from the most impressive Corpus Christi procession I have ever seen, which took place this Sunday at the F.S.S.P.’s church in Rome, Santissima Trinità dei Pellegrini. The procession had all of the elements of a truly traditional Italian Corpus Christi. Congratulations to the Fraternity of Saint Peter, and all those who serve and sing at the church, on a truly magnificent ceremony.

The deacon sings “Benedicamus Domino” at the end of the Mass.
A special float was made for the occasion, decorated with candles, flowers and wooden carvings of vases in the corner. Into each of the latter were inserted a few ostrich feathers and a plume of a peacock. The float was carried during the procession by four priests in white chasubles.

The canopy held over it was carried by eight seminarians in copes. (This particular canopy has long been nicknamed “the dragon” from its tendency to bounce around like a Chinese New Year dragon puppet, and these young men are to be commended for managing it perfectly!)



A member of the parish carried a banner with an image of the Holy Trinity at the very head of the procession, followed by a small musical band.

The other priests in the procession wore chasubles over their surplices.

In addition to the normal two thuribles, the Sacrament was also preceded by six young boys and girls who strew flowers along the processional route.


A temporary altar was set up on the façade of the nearby Monte di Pietà, about half way along the route, where a brief Benediction was held, before returning to the church.





At the main door of the church, as the float came to the door, some very loud fireworks were set off. (This is the noise heard starting at 0:44. Unfortunately, the sound was not really caught properly by my camera; it was really very much louder.)


The Sacrament was then brought back to the high altar of the church for the second Benediction.

The Bishop of Fréjus-Toulon, Dominique Rey and the “liturgical renewal”

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"Instead of anxiously wondering what Pope Francis personally thinks about every liturgical detail, we would do better to get on with the work we ourselves have to do,” Bishop of Fréjus-Toulon, Dominique Rey, said in a recent interview with Vatican Insider.

Towards the Sacra Liturgia 2013, a major international conference on liturgy that will take place in Rome June 25-28

ALESSANDRO SPECIALE
ROME
Liturgy was one of the main concerns of Pope Benedict’s pontificate. But with the election of Francis the priorities have clearly changed, shifting the focus of the Church from its internal concerns to the world and especially those many who live at its “periphery.”

Yet, the Bishop of Fréjus-Toulon, Dominique Rey, wants to reassure those Catholics who think that the moment for “liturgical renewal” – a shorthand definition for a return to a more solemn style of celebration hopefully ushered in by Benedict’s legalization of the pre-Second Vatican Council Latin Mass – is now over.

“Instead of anxiously wondering what Pope Francis personally thinks about every liturgical detail, we would do better to get on with the work we ourselves have to do,” he said in a recent interview with Vatican Insider.

Bishop Rey is the main organizer of Sacra Liturgia 2013, a major international conference on liturgy that will take place in Rome June 25-28, bringing together a wide range of renowned scholars and churchmen, including Cardinals Ranjith and Burke and monsignor Guido Marini, the papal master of ceremonies.

Bishop Rey, what do you hope to achieve with this conference?
Sacra Liturgia 2013 will promote and continue the liturgical renewal desired by the Second Vatican Council, and emphasise the fundamental role of the liturgy in Christian life. I hope that it will show that the liturgy is the “source and summit” of all the Church’s activity, especially of the New Evangelisation.
I hope that the Conference will underline this and support better formation in and celebration of the liturgy in the future. That is why I have invited prominent cardinals, bishops and liturgical scholars to share their expertise with us. And of course we will celebrate the liturgy in both forms―both have riches to give us―because before we talk about the liturgy, we need to be liturgical ourselves!

Pope Francis has been criticized for his distinctly different liturgical style from Pope Benedict. Is this criticism fair? What do you respond to these critics?
Many bishops and priests have different ‘styles’ but all of us who are called to be ordained ministers of the Church promise to celebrate the Church’s liturgy as it has been handed on to us. Pope Benedict showed us this, as did Blessed John Paul II and so too today does Pope Francis. The Holy Father is a different person to his predecessor: we should not expect him to be identical to Pope Benedict. But Pope Francis celebrates the liturgy of the Church, as handed down to us, with dignity and beauty. I thought that the Mass and procession for the feast of Corpus Christi yesterday evening was very beautiful and an excellent example for us all. I have concelebrated at his morning Mass: that too was beautiful and correct.

With so many problems ailing the Church today in its relation with the world (lack of vocations, the sex abuse scandal, financial troubles, decline in the number of believers in the West...) does it make sense to focus on a very intra-Church issue such as liturgy?
All of these are very important questions and we need to address them seriously and systematically. But if I do not have the proper relationship with Christ, if that is not where I begin―just like Pope Francis begins his day with 7.00am Mass―then I do not have the correct foundation in my Christian life to deal with the issues and problems facing me and facing the Church today. The quality of my Christian life and my ability to carry out my mission in the world are based on my relationship with Christ, which is begun liturgically in Baptism and strengthened and nourished by the other sacraments and liturgical rites. We have to have good foundations if we are going to build!

Do you think the path of liturgical renewal set out by Pope Benedict can continue under Francis? How?

The Sacred Liturgy was one of the great themes of Pope Benedict’s pontificate, and he did much to teach us about the ars celebrandi and to allow the riches of the old liturgy once again to be available freely. We owe him a lot, and in some ways our conference will be a tribute to his work. 
Pope Francis does not have to do Pope Benedict’s work all over again. He can put his energies into making progress in other areas.

Read the full interview

Solemn Profession at Farnborough Abbey

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arlier this year, Dom Michael Vician made his Solemn Profession at St Michael’s Abbey, Farnborough, where he has been a monk for five years. During ceremonies lasting more than two hours, Brother Michael lay prostrate on the sanctuary floor, covered with the funeral pall whilst the Litany of the Saints was chanted, a sign of his death to the world. He then sang the three-fold Suscipe me Domine chant, (uphold me, Lord, according to your promise, and I shall live…) read his chart of profession and was clothed, in accordance with ancient custom, in the monastic cowl and presented with the monastic office book as a sign that he should ‘put nothing before the Work of God’.
St Michael’s Abbey is a small community of Benedictine monks, with an average age of 36. They have no school or parish, but live a classic contemplative Benedictine life with a strong emphasis on the Liturgy, which they celebrate in Latin with Gregorian Chant.
The community welcomed many friends for the occasion. Among them were the Prior and Premonstratensian Canons of Chelmsford, The Provost of the Birmingham Oratory and a confrere, Carmelites, Dominicans, Blessed Sacrament Fathers, and Benedictines of other monasteries, including enclosed nuns of Tyburn who were given special permission to be present. The Abbot of Farnborough, Dom Cuthbert Brogan, has served as confessor to the Tyburn community for many years.
Bishop Philip Egan attended as a guest of the monks and spoke at the end of the Mass:
“In today’s culture,  organised  religion and in particular Christianity, is often side-lined or relegated to the private domain.  Even some of those who do profess a religion, tend to treat their faith in the manner of an ‘added-extra’, a  hobby,  something extrinsic  to the rest of  their  living. Yet  as we saw symbolised  so  powerfully in Bro. Michael’s prostration on the floor of the sanctuary,  covered with the funeral pall, not only for him but  for anyone whom Jesus has called to be his disciple, faith can never be an added-extra. Our love for God, our discipleship of Christ, our Catholic Faith is never just a hobby. It  has to be  the most important thing in life.  My faith is the most important thing in my life.  My love for Jesus Christ has to be the most important thing in my life.  –Because  Jesus Christ and His Gospel is the only way to true, genuine, lasting human happiness and fulfilment. Indeed, as St. Augustine taught, the human heart is restless until it rests in God.  This is why being a disciple of Christ, being a friend of Jesus, being in love with God and giving myself entirely to him, is the most exciting adventure a human being can ever undertake….We wish you, Bro. Michael, every happiness in your vocation and we promise to pray for you that every day you will be faithful to your vows and grow deeper and deeper in love with the Sacred Heart of Jesus.”











Sacred Music Conference in Scotland

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he inaugural one-day Conference of Musica Sacra Scotland has been announced and will take place on November 9, 2013 at Glasgow University. Full details will be announced in due course, however the day will run from 10.00am till 5.00pm followed by Mass in Glasgow University Chapel at 6.00pm, where some of the prepared music will be used. Main speakers and session leaders are James MacMillan CBE, Fr Guy Nicholls (Blessed John Henry Institute of Liturgical Music), Joseph Cullen (conductor, choral trainer and organist) and Rebecca Tavener (Cappella Nova).


James MacMillan, who is convening the Conference, recently wrote in the Catholic Herald that "the new papacy is a welcome opportunity for us to renew and revitalise our our attempts at maintaining and continuing the sacred dimension of our liturgical celebrations." He also wrote about the importance of Gregorian Chant:
Gregorian chant is universal as it is supra national and thus accessible to those of any and every culture equally. It rises above those musics which are either associated only with localized cultural experience on the one hand, and operates separately from those other musics which are associated with high, artistic, classical derivation and aspiration on the other. Therefore it is essentially anti-elitist and simultaneously pure. Gregorian chant is for all.

The Gregorian sound, and the practice of chanting, whether by specialist or non-specialist, gives the most perfect context for the hearing of the words of the sacred scripture. It provides an elevated tone of voice that takes the texts out of the everyday and confirms them as sacred. It provides a goodness of form, which is in itself beautiful, which in turn adds a sense of delight to prayer. It takes our divine praises into the realm of the transcendent and the eternal, and it is the music’s sacred character which enables this. There is a melodic and rhythmic freedom in chant which is hard to find in any other music. Chant not only enhances the text, but it also breaks free from the restraints of metre. It is the antithesis of “rock” and pop with its incessant and insistently mind-numbing beat. It embodies the ethereal and spiritual aspects of the liturgy. It is the free-est form of music.

The Church would stop being the Church without its liturgy. The liturgy is the pinnacle and summit of our entire Christian life. It has to be of our highest and best, whatever the circumstances. Our liturgical music has to be more than mere utility music. Before he was Pope Joseph Ratzinger said; “A Church which only makes use of “utility” music has fallen for what is, in fact, useless. . . . For her mission is a far higher one. As the Old Testament speaks of the Temple, the Church is to be the place of “glory,” and as such, too, the place where mankind’s cry of distress is brought to the ear of God. The Church must not settle down with what is merely comfortable and serviceable at the parish level, she must arouse the voice of the cosmos and, by glorifying the Creator, elicit the glory of the cosmos itself, making it also glorious, beautiful, habitable, and beloved.”

He went on to say; “The other arts, architecture, painting, vestments, and the arts of movement each contribute to and support the beauty of the liturgy, but still the art of music is greater even than that of any other art, because it forms a necessary or integral part of the solemn liturgy, because it is so intimately bound to the sacred action, defining and differentiating the various parts in character, motion, and importance.”
The full article and details of the conference are available at the Choir of St Columba's website.

Sacred Music Colloquium 2013 Packet Online

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Registration for the Colloquium is closed (is there a chance to get in still? Possibly but I can't say for sure). Still, have a look at this wonderful thing. The music packet for Sacred Music Colloquium XXIII has been posted and is available for download.

The National Youth Choir

St Philip's School Pontifical Mass at the Little Oratory in London

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onsignor Keith Newton of the Ordinariate celebrated Pontifical High Mass for St Philip's School in the Little Oratory to mark the Patronal Feast and afterwards gave the boys a blessing with the relic of St Philip Neri in the Oratory Church after Mass. The Schola sang chant, polyphony and a motet by the school chaplain, Father Dominic Jacob Cong. Orat. After Mass Monsignor Newton presented every boy in the school with a prayer card of St Philip. The photos show the Entrance Procession, Gospel, Monsignor Newton preaching and the blessing with the relic at St Philip's Altar in the London Oratory. 


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