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Pontifical Solemn Mass in Lithuania

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The annual Ad Fontes Academy for study of Liturgy and Gregorian Chant opened with Pontifical Solemn Mass at the Throne celebrated by Bishop Eugenijus Bartulis of Šiauliai on 29 July 2013 in Kražiai, Lithuana. Dom Alcuin Reid was amongst the lecturers at the event which attracted over sixty participants. The Ad Fontes Choir, directed by Adrija Čepaitė (Director of the international women's ensemble Graces&Voices) and Romualdas Gražinis (Director of the Schola Cantorum Vilnensis), sang Gregorian Chant during the seven liturgical offices and Mass each day. More information is available on this website. Thank you to the organisers for sending these photographs:















"Christ, not the priest and not anyone else, is the centre"

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Dom Alcuin Reid was a lecturer in Ad fontes 2013, the 12th annual conference on sacred liturgy and Gregorian chant, which took place in Kražiai, Lithuania, on July 27-August 4. Here is a translation of the interview with Dom Alcuin Reid which was published in the Lithuanian news website lzinios.lt.

Several years ago at least in one Lithuanian diocese, Archdiocese of Kaunas, crucifixes appeared in the middle of altars of all the churches. At that time, similar happened in many dioceses and churches around the world. Why?


That is an idea that was expressed by Cardinal Joseph Ratzinger in his book “The Spirit of the Liturgy”, where he talks about the importance of orientation in liturgical prayer. He reminds that it is Christ who is the centre of the liturgy, not the priest, not the community itself. He says that in many churches that have been reordered, where a new altar is put in, it is not possible to celebrate facing eastward, ad orientem, one solution might be to place crucifix in the centre of the altar as a focus of the entire liturgical celebration.

Naturally enough, once he was elected Pope in 2005, his ideas received more attention. Once Msgr. Guido Marini became papal master of ceremonies this started to happen in the papal liturgical celebrations which everybody could see through the media. Many people imitated this very good practice which helps in the modern rite to remind us that it is Christ, not the priest and not anyone else, is the centre of what we are doing.

During the pontificate of Benedict XVI many things changed in the papal liturgies – not only he celebrated either towards the East or with a crucifix put in the middle of the altar, but also he distributed Holy Communion to the faithful only on the tongue and kneeling, Latin was used for the most parts of the Masses. What was wrong with the liturgy as celebrated last 40 years that such changes were deemed necessary by the Pope?


Papal liturgy is in many occasions very international. It is very rare for the Pope to celebrate simply in a parish or in the small context. As Pope Benedict explained in Sacramentum Caritatis, it is quite appropriate that in major international celebrations the language of the Church is used, so that instead of everybody listening to Italian and trying to understand that, you can sing and pray in Latin, with which there is possibly more familiarity across the globe, especially in terms of ordinary parts of the Mass like Creed, Gloria and so on.

Kneeling for Holy Communion was, as I understand it from the interview that Msgr. Guido Marini gave shortly after that practice was reintroduced, to remind us that kneeling for the reception of Holy Communion, and reception on the tongue, is the norm in the Roman rite, even in the modern rite. Permission was given for the reception of Communion in the hand in many countries – this never happened here in Lithuania – and it seems to have become the norm.

I think it is true to say from my own experience that it is very easy for people to receive Communion in the hand and standing without enough recollection or reflection of what they are doing. Communion kneeling and on the tongue reminds us that it is an act of adoration, an act of worship.

It also reminds that the Church feeds us as the mother would feed us. We don’t take Holy Communion ourselves, we are given that by the Church, it is ministered to us, it is something we are fed as spiritual children. That is why those bodily gestures are more than appropriate. I think Pope Benedict wished to remind people not through any great document or imposing something, but by his own example that this is a valid and valuable ritual gesture in our tradition which is of importance today.

But why are bodily gestures or, generally, the way in which a priest celebrates the Mass important for the life of the Church? Isn’t Faith, aren’t good works more important?


Faith and good works are not disembodied. We are body and soul together in this life and we discipline and train our bodies for so many things, for sport, athletics, and so on.

We must discipline and train our bodies also spiritually. As in certain circumstances we would behave with our bodies with respect and attention towards other people, so when we come for Christ in the liturgy, we too have certain bodily gestures.

It is very unusual for us in our modern culture to kneel. But to kneel in the presence of Christ in the liturgy tells us that we are doing something not usual, it speaks to us. To genuflect, to bow profoundly, to sing the Church’s chant in a disciplined way, all these things remind us physically that we are doing something different to a normal way of behaving, relaxing. So, too, the Church’s liturgical vesture reminds us that this is not a priest, a human person that is doing his thing. He is doing Church’s thing, he is putting on Christ, which is symbolised by the vestments.

These things are not part of Divine Law themselves, they are human traditions coming out of love and worship for the Church. They are not absolute, but they are tried and tested means of expressing our Faith and worship.

In one of your lectures here in Kražiai you said that people sometimes complain the Mass is boring to them. What should be done in order that it isn’t so? Some priests try to encourage young people to bring their guitars, drums, play the music they like to listen in concerts. Is it the way to make Mass more interesting?


It’s absolutely the wrong way, because if we try to entertain people at Mass, we simply run out of ideas to entertain them. We run out of stimuli. The Mass is not entertainment, it’s worship, so what we need to do for young people is not provide an imitation of the culture we think they might like, but to introduce them to the person of Christ active in the liturgy. The Mass is boring if I look at it as some form of stimulation which must keep me entertained. The Mass is not boring if I enter into it as encounter with, communication with the person of Christ to whom I give all that I can and who gives me all that I need.

Your monastery chose as its rite the usus antiquior. Why such a decision?


The usus antiquior, the older Roman rite, is very rich. When we were looking at the commencement of our monastic community this is what we believed is most sustaining for the monastic life. It is a rich spiritual diet for every day. The rites, the chants are, as Summorum Pontificum says, a treasure for the whole Church, of today and of tomorrow. We wish to preserve that treasure, to share it with others and to make it available as much as possible.

What should the Catholics who don’t have access to the Traditional Latin Mass or to any reverently celebrated Mass do?


I think this is, first and foremost, the question for the pastors of the Church. All of the Christ’s faithful – lay faithful, clerics and religious – have a right to the liturgy of the Church celebrated with that ars celebrandi that Pope Benedict spoke of in Sacramentum Caritatis.

Certainly, Summorum Pontificum and Universae Ecclesiae established that the faithful have the right to the usus antiqiuor celebrated for them, if they wish. They may request this from their parish priest, if that’s not possible – request their bishop who has a duty to ensure that they receive the spiritual care – that is indeed their right.

If somebody finds that his parish has not just poor liturgy, but actually bad liturgy, liturgical abuses taking place, than, again, it is the question for the pastors of the Church to correct that, and for those who encounter that – to respectfully and charitably, but nonetheless clearly, report that to the pastors responsible, because the liturgy is too important.

The liturgy is the nourishment for our spiritual life, for our Christian life in the world. We all know that we would not feed children bad food because they will grow up malnourished. Spiritually we must not give the people of the Church bad liturgical diet, as it were, otherwise, again, they will be malformed, spiritually malnourished. That means very simply that our Christian life in the world will be much less sustained and that the New Evangelization, which has been called for by several Popes, will be less successful because we will not have the fuel to support us in that important work.

But even if the Church provides us with good liturgy, we still have some work to do ourselves. Since the reign of Saint Pius X there has been a lot of talk about the actual participation in the Mass. What does it mean and what should we do to get as much as we can out of the Mass?


I think the first thing to say is that the liturgy is not the affair of the clergy. Therefore, the lay faithful who are able to assist in the preparation and celebration of the liturgy, whether that be musically, ceremonially, serving at the altar and so on, they should offer their services to priests and I am sure that they find priests and bishops who will be very welcoming all the service.

In terms of actual participation, it means being connected to the action of Christ in the liturgy. It doesn’t mean doing things, it means being connected with what is going on in my mind and my heart. This is an attitude, a disposition and it requires a certain amount of formation, it requires that we understand what the liturgy is.

Again, if I think that liturgy is entertainment or should be entertaining people, then I might be very busy making all sorts of music and doing other things. In some parts of the world the priests are dressed-up in clown outfits to entertain, to stimulate. That’s activity, but it’s not actual participation, it has got nothing to do with what the Second Vatican Council, or the Liturgical Movement, or Pope Pius X wanted. What they wanted and what is so desperately necessary is that we come to the liturgy and draw from its riches, its texts, its rites, its chants, its beauty all that we need for our Christian life and that we meet the person of Christ, and that sustains us.

One month ago in Rome an international conference, Sacra Liturgia 2013, took place. You were one of the persons who organised it, many cardinals and bishops were in attendance, so there certainly was a possibility to discuss the prospects of the Liturgy of the Church. What are the expectations? Is there still any chance that the “reform of the reform” initiated by Pope Benedict will be formalised in some way?


When we planned the conference, obviously, Pope Benedict was reigning, and conference was very much based on his teaching, on initiatives inspired by him. His resignation in February came as something of a shock, but the conference became, if you want, a testimonial to his liturgical principles. But actually I am wrong – they are not his liturgical principles, it’s more his teaching of good liturgical principles, reminding us of the importance of the liturgy and of how to celebrate it correctly and how to have the appropriate internal attitude towards this.

As a cardinal, in “The Spirit of the Liturgy” he spoke of his desire for a new liturgical movement. He described that as a way of finding the proper celebration of the liturgy inwardly and outwardly.
So Sacra Liturgia 2013 became a sort of testimonial to his work and, given his resignation, perhaps it has become something of a stepping stone towards the future of the liturgical movement without, sadly, the leadership of Pope Benedict XVI as Pope.

If you ask about the reform of the reform, it’s difficult to say how or when such things will be formalised. But as people grow in the awareness of what the liturgy is, of the importance of the liturgy in the life of the Church as the necessary foundation for the New Evangelisation, as bishop Dominique Rey often said during the conference, also, as historical scholarship looks again at the Second Vatican Council and the following reform of the liturgy, at the lights and shadows of that reform, to use the phrase of Blessed John Paul II, an awareness is growing that some of the modern rites need enrichment, some of them may need correction. And that the older liturgical rites have so much to offer which is of value.

As I said, it is hard to say exactly when such things will be formalised, but this new liturgical movement, which continues very much today because the principles Benedict XVI laid down were sound liturgical principles and not merely his personal preferences, will in God’s time bear that fruit, I’m sure.

So the Church needs such initiatives as Ad fontes here in Kražiai?


Yes, the new liturgical movement is constituted by many small groups celebrating the liturgy, praying the liturgy, forming people in the liturgy, leading people to discover its riches, and those groups are not by any means groups of old people with grey hair. They are young, many vocations will come from these groups, many of these people will enter into vocation of marriage and raise families.

We are talking here about a movement which is not going to be accomplished in five or ten years, but in decades. I think, it is a happy fact that the worst liturgical abuses that followed the Second Vatican Council are now part of history, many people do not know what you are speaking about if you talk about some of the terrible liturgical abuses that took place in the 1970’s or 1980’s – thanks be to God!

Those who attend Mass now are looking not for gimmicks, but for Christ, and as the new liturgical movement spreads they will discover his splendour, his beauty all that much more in the richness of the liturgy. I think we need to be encouraged by the example Pope Benedict gave us, by his writings as cardinal.

We need to take hard that even though a great liturgical Pope has now retired and is no longer teaching us as Pope, his principles are the Church’s principles, they sustain us still. Perhaps, we need to grow up a little bit and walk on our own two feet, get on and do the work ourselves. He has a right to retire, he has the right to some rest. He has given us a job to do and we should get on and do it.

Book Notice: Lauren Pristas's "Collects of the Roman Missals"

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For the last ten years or so, the research of Dr Lauren Pristas (Professor of Theology, Caldwell College, New Jersey) on the post-Vatican II revisions of the collects of the Mass has thrown much light on the theological suppositions and policies of revision that underpin the Missal of Paul VI. The first half of the previous decade saw the publication of four well-received essays by Pristas on the subject:
  • Missale Romanum 1962 and 1970: A Comparative Study of Two Collects,” Antiphon 7:3 (2002) 29-33;
  • “Theological Principles that Guided the Redaction of the Roman Missal (1970),” The Thomist 67 (April 2003) 157-95;
  • “The Orations of the Vatican II Missal: Policies for Revision,” Communio 30:4 (Winter 2003) 621-53; 
  • “The Collects at Sunday Mass: An Examination of the Revisions of Vatican II,” Nova et Vetera 3:1 (Winter 2005) 5-38.
I am pleased to note the recent publication by Bloomsbury T&T Clark of Pristas’s much-anticipated book, Collects of the Roman Missals: A Comparative Study of the Sundays in Proper Seasons before and after the Second Vatican Council. This latest volume of the "T&T Clark Studies in Fundamental Liturgy” Series examines the collects assigned to the Sundays and major feasts of the proper seasons in the Roman Rite’s ordinary and extraordinary forms. The original Latin collects assigned to each day in the missals of John XXIII (1962) and Paul VI (1970/2002) are compared and contrasted both with their respective sources and with each other. Pertinent discussions and decisions of the Consilium study groups responsible for the revisions of the Roman calendar and Mass collects are also presented and considered. The goal of this study, as the book’s flyer explains, is “to determine whether the two sets of collects present the same picture of the human situation, approach God in the same way, seek the same things from him [sic] and, where they do not, to identify significant changes in theological and/or spiritual emphases.”

The necessity and magnitude of a liturgical “reform of the reform,” as well as the validity (from a liturgico-historical perspective) of the notion of “one rite, two forms,” depend largely on the question whether the reformed liturgical rites—in this case, specifically the orations of the Missal of Paul VI—are in substantial continuity with the preceding liturgical and theological tradition. The results of Pristas's important research, taken together with related theological analyses (e.g., that of Fr Uwe Michael Lang on the reform of the section on blessings in the Roman Ritual) merit serious attention. 

Feast of St. Anne - Juventutem Michigan

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This news from Juventutem Michigan:

On July 26th, Juventutem Michigan gathered for a Solemn Mass for the Solemnity of St. Anne (patroness of the Archdiocese of Detroit). Friday's Mass brought together more than 100 young adults (dozens of whom were attending the TLM for the first time) for the first public Traditional Latin Mass to be celebrated at Our Lady of Good Counsel since the Plymouth parish moved to its current sanctuary in September 2000.

Fr. Lee Acervo, the Clerical Guide of Juventutem Michigan and a former associate pastor of OLGC, celebrated the Solemn Mass, which was prayed for the recovery of Thomas Peters. Fr. Acervo (blog) was assisted by Fr. Clement Suhy, OSB, a current associate pastor at OLGC, and Fr. David Bechill, the associate pastor at Church of the Divine Child in Dearborn. Fr. Steve Mateja, another associate pastor at OLGC, assisted in choir, as did Fr. Ben Hawley, SJ.

Fr. Acervo preached on St. Anne and encouraged us young adults to follow her example of living life with Christian patience and of welcoming Jesus into our lives courageously. After the homily, Father led the faithful in the prayers for the Year of Faith plenary indulgence (pdf: Archbishop Vigneron’s explanatory letter).

The Mass was beautifully assisted by members of the choir from Windsor’s St. Benedict Tridentine Catholic Community, under the direction of Joseph Balistreri, pastoral music director for the Archdiocese of Detroit. At the end of August, Juventutem is headed to the Cathedral of the Most Blessed Sacrament (Facebook), where Joe will once again direct the sacred music.






After Mass, many of the young adults gathered in the parish hall for a fun social, a celebratory meal, and an introduction to the mission of Juventutem Michigan and various other activities for young adults in the southeast Michigan area.
 
More pictures here.

The month of August will see Juventutem Michigan come together with auxiliary bishops of the Archdiocese on at least two different occasions:

On Saturday, August 3rd, Bishop Michael Byrnes, episcopal vicar for the Northeast Region of the archdiocese, joined members of Juventutem for an 8:00 a.m. First Saturday parish Mass celebrated by Fr. Lee Acervo at St. Edward, Lakeport, in the northeast region. Facebook

On Friday evening, August 30th, at 7:00 p.m. at Detroit's Cathedral of the Most Blessed Sacrament, Bishop Donald Hanchon, episcopal vicar for the Central Region, will celebrate his first Traditional Latin Mass for members of Juventutem. Clerics and faithful of all ages are welcome to attend this Mass. Facebook

Feast of St. Anne - FSSP in Ottawa

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News of another Mass for the Feast of St. Anne comes to us from Ontario:
 
His Grace, Archbishop Terrence Prendergast of Ottawa celebrated a solemn pontifical high Mass on the 140th anniversary of the church, Ste. Anne, which the FSSP parish in Ottawa, St. Clement, occupies.
 
He was assisted by Fr. Eric Flood, district superior of the FSSP in North America, and by Fr. Arnaud Devillers, a former superior general of the FSSP. Fr. Philip Creurer FSSP, Fr. Garrick Huang FSSP, and Fr. Brian Austin FSSP also assisted.
 
 
 

 
 

 
 

 


Compendium of the 1961 Revision of the Pontificale Romanum - Part 12.1: The Blessing of Sacred Vessels and Ornaments (1595 & 1961)

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The blessing of sacred vessels and ornaments begins with the versicles “Our help is in the name of the Lord.” and “The Lord be with you,” followed by these two prayers.
Let us pray. Hear our prayers, o Lord, most clement Father, et deign Thou to purify, bless + and sancti+fy these vessels and ornaments that have been prepared for the use at the sacred altar and the sacred ministry of Thy Church. Through Christ, Our Lord. R. Amen.
Let us pray. Almighty and eternal God, by Whom all unclean things are purified, and in whom all things that are purified become bright, we humbly invoke Thy omnipotence, that every unclean spirit may be confounded and depart far from these vessels and ornaments, which Thy servants offer to Thee, and through Thy bless+ing remain sanctified for the use and ministry of the holy altar, and of Thy Church. Through Christ, Our Lord. R. Amen. 
The bishop then sprinkles the blessed objects with holy water.

In the revision of 1961, the first of the two prayers is suppressed. The blessing is otherwise unchanged.

A peacock-shaped aquamanile, i.e. a vessel for pouring water on the hands. Such vessels were commonly used for the washing of the hands at the Offertory of Mass, especially in great abbeys and cathedrals. This particular example, made of bronze by a Christian in Islamic Spain, is dated by the inscriptions on it 972 A.D.; it is now kept in the Louvre.

Populus Summorum Pontificum Pilgrimage to Rome

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The Populus Summorum Pontificum Pilgrimage to Rome takes place 24-27 October 2013. Pontifical Mass at Trinità dei Pellegrini Church will be celebrated by Bishop Athanasius Schneider (Auxiliary of Astana, Kazakhstan) with Gregorian Chant sung by the Schola Sainte Cécile from Paris. There will also be a Pontifical Mass celebrated by Bishop Rifan (Apostolic Administrator of the Saint Jean-Marie Vianney community of Campos, Brasil). The Pilgrimage also includes the Via Crucis (Way of the Cross) in the streets of Rome and a Procession to St Peter's followed by Pontifical Mass at the Altar of the Chair in the Basilica. Here is a link to the Pilgrimage website and also the Facebook page.


Fr Claude Barthe, Pilgrimage Chaplain, writes:
The ever-young and ardent liturgy of all time, which is peacefully spreading into almost all the Catholic world, breathes its own spirit into the work of the New Evangelisation. It attracts many of the young people who come to know it thanks to its powerful identity and the way it expresses sacredness, and for these reasons it is one of the main planks in the New Evangelisation. It is also intrinsically one of the best ways of teaching catechesis about the Real Presence, what it means to be a Priest, and the value of the Eucharistic Sacrifice.
He goes on to talk about vocations arising out of the Extraordinary Form:
Last year, Cardinal Cañizares, in his homily during Mass at St. Peter’s, insisted on the fecundity of the Extraordinary Form in giving rise to priestly and religious vocations. It is clear that Religious Orders, associations, seminaries, schools, and Traditional Scouts all have an important role to play in what we have come to know as the “New Catholicism”. Indeed, it has a very missionary impulse, whether among the communities born just after the Council or the works for young people and large families. Let us not forget that in many countries with very few vocations, more and more seminarians are being called by the Extraordinary Form. In France now, 15% of all new vocations come from the Extraordinary Form, and this gives a clear idea of the effects it has on the clergy.
You can read the full text of Fr Claude Barthe's introduction to the pilgrimage here. Details of a special offer for pilgrims are here. The full programme is below.

Thursday, October 24
7.30pm: Solemn Vespers of Saint Raphael and welcome of the pilgrims at Trinità dei Pellegrini Church.

Friday, October 25
8.30am: Rosary followed by cultural and spiritual visits divided up among the language groups.
11.30am: Meeting for priests and clerics
4.45pm: Via Crucis in the streets of Rome, led by members of Don Riccardo Petroni’s Opera Familia Christi, the organization in charge of the Sunday Mass at the Altemps Palace chapel.
7pm: Pontifical Mass at Trinità dei Pellegrini Church, celebrated by Bishop Athanasius Schneider, auxiliary of Astana (Kazakhstan) and chanted by the Schola Sainte Cécile (Paris).

Saturday October 26
from 8.30am: Eucharistic adoration followed by the procession to Saint Peter’s Basilica
11am: Pontifical Mass at the Altar of the Chair, St Peter's
4pm: Conference for lay people on the Summorum Pontificum

Sunday October 27
9.30am: Pontifical Mass for the Solemnity of Christ the King, celebrated by Bishop Rifan, Apostolic Administrator of the Saint Jean-Marie Vianney community of Campos (Brasil) at the Altemps Palace Chapel

Why the Close Study of Mosaics Helps Painters to Learn About Colour

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When I was learning to paint icons with Aidan Hart he gave us the principle of learning to paint in a particular style: 'copy with understanding'. This is true regardless of the style we wish to learn. For example, I am now focussing in the classes I teach on 13th century gothic images of the School of St Albans (- more on this in later blog articles). I use the same principle: I look carefully, I try to understand what the artist was aiming at and then I copy. Even the great masters get things wrong and occasionally you can errors. On these occasions we don't copy the errors but try to have in mind the ideal that the artist was aiming for and correct what is there. In order to be able to make such a judgement you either need to be very knowledgeable about the tradition, or have a good teacher who can point such things out to you. The motto that Aidan used was 'think twice and paint once'. In other words, study carefully and think before you paint.

One thing that is sometimes very difficult to ascertain is how the colour and tone effects of a painting have been achieved. Usually what we are seeing are the combined effects of multiple transparent washes and glazes of all sorts of different tones and colours. To help us, Aidan encouraged us to look at old mosaics. The reason for this is that you can see how, for example, a flesh tone has been mixed because each constituent colour is present as a pure-coloured tessera.

Also, I can see more clearly than in a painting devices that artists use to describe form. For example, if we look at the mosaic of St Apollonarius below then we can see that the mosaicist has used all the devices that a painter is told to use on the face, but they are more obvious. So the line defining the upper lid is darker than that defining the lower eyelid. There is a dark red line between this and the eyebrow, which is the line where the eyeball goes back into the socket of the skull. There is a red line that defines the deep shadow between the hairline and the brow. Similarly, there is a red line below the end of the nose. All of these things are present in painted faces, but often they will be translucent to some degree and so the effect is more subtle and this makes it more difficult to discern what the artist did.

This mosaic, by the way was in the reliquary of a monastery that I visited recently in the US. I was told that it came originally from Ravenna! Whatever the details, it is a great piece of work.






Pontifical Solemn Mass at the Throne celebrated by Bishop Eugenijus Bartulis, of Šiauliai, 29 July 2013

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Here is a beautiful image from the Ad Fontes 2013 conference in Lithuania.

Evidence of Upheaval in 1964

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No matter how many books I read or how much I study the issue, the question of what precisely happened between the close of the Second Vatican Council and the promulgation of the new form of the Roman Rite will always be a bit mysterious to me. How can we make sense of the huge chasm that separates the words of the Council from what became the liturgical practice only a few years later? This question will always intrigue me. So I'm always interested to find new documents that shed some light on the question of what precisely were the liturgical intentions of the Council. How disparate were they among those who put together Sacrosanctum Concilium?

Here is a fascinating document from 1964, posted by Author Connick at the MusicaSacra forum. As he says: "When the 4th Edition of The Celebration of Mass, by J. B. O'Connell, was published in 1964, an instruction prepared by the Consilium dated 9/26/64 had already eliminated many of the characteristic features of the Mass of 1962. Canon O'Connell helpfully prepared an insert to be supplied with his book indicating the changes called for by the instruction."

Notice the very first instruction. The priest will no longer say prayers silently that are being sung by the choir or said by the people. This might not seem significant at first glance. Perhaps it was regarded as a way of enhancing the liturgical value of the singing and of the people's responses, maybe as a step toward greater participation.

But this one change actually has gigantic structural implications.

There are no longer two and three theaters of liturgical action (arranged hierarchically) that make for the stunning richness of the sung Mass. The priest has to effectively wait for a long sung Sanctus or Gloria before moving ahead. In practice, he must wait and wait through long uncomfortable periods of doing nothing. It's no surprise that under these conditions, celebrants prefer the rule: the shorter the better. The layered aesthetic of the previous thousand plus years comes to be purely linear as each liturgical actor waits for the other, creating this common sense that people often have that Mass is just "one thing after another."

As for the propers of the Mass, consider that if the choir doesn't sing them, they come to be eliminated completely by default. Otherwise the celebrant has to wait to see what the choir will sing before he could begin his prayers. And remember that it was already common for the choir to sing hymns instead of propers at Low Mass, but at least the celebrant actually spoke the propers. No more. This change played a large role in entrenching the practice of throwing out the sung propers completely -- so that they are not even spoken at all by the celebrant (or, in the case of the offertory, not even printed in the Missal!).

So this one change actually has huge implications. And remember that this was 5 years before the new form of ritual was promulgated.

I've wondered in the past if I could make one change in the practice of the ordinary form, it would be to restore the option for the celebrant to say the parts of the Mass in a low voice as the choir sings. That alone would change the texture and approach, help restore the polyphonic ordinary, allow for more patience on the part of the celebrant with the sung Mass, and restore the centrality of the sacrifice on the altar instead of having the liturgical attention spread out in so many different directions.

I truly cannot believe that anyone in 1964 actually understood the implications of this one change. Here we have a strong case against liturgical rationalism. They thought they knew but they did not know.

Liturgical Changes from 1964, Roman Rite of Mass




Do We Trust the Church's Judgment—Or Our Own?

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Do we trust that the Church is guiding us rightly? There are times when we ourselves see clearly that what the Church is asking of us is true and reasonable, prudent and feasible; when we have personally experienced the truth and goodness of her traditions or her precepts. In these cases, we have our own intellect and heart batting for the Church, so to speak, and obedience is not only easy, it is obvious. Who would not readily do what seemed reasonable in his own eyes? Who would not gladly follow what he had felt to be the right thing to do?

But in this fallen condition of ours, things cannot always be so easy. There will be times when the Church proposes as an ideal something towards which we feel a certain distaste or about which we entertain doubts, when she asks us to follow a path we are loathe to take, when her judgment seems the opposite of our own reasoning and experience.  

It is indeed an act of trust when a Catholic layman or religious, priest or bishop, can say: “I do not know why Gregorian chant is so important, I really don’t see how it’s going to work in practice—but I believe what the Church of Jesus Christ teaches me, and I submit my intellect and my will to it. Credo. I trust that the Church’s judgment is better and wiser than my own, and I refuse to set myself up as an alternative magisterium. I will do all that I can, with patience and persistence, to follow her norms and recommendations.”

Consider four characteristic statements of the modern Magisterium.

Pope Saint Pius X in 1903:
These qualities [holiness, goodness of form, universality] are to be found, in the highest degree, in Gregorian chant, which is, consequently, the chant proper to the Roman Church, the only chant she has inherited from the ancient fathers, which she has jealously guarded for centuries in her liturgical codices, which she directly proposes to the faithful as her own, which she prescribes exclusively for some parts of the liturgy . . . The ancient traditional Gregorian chant must, therefore, in a large measure be restored to the functions of public worship, and the fact must be accepted by all that an ecclesiastical function loses none of its solemnity when accompanied by this music alone. Special efforts are to be made to restore the use of the Gregorian chant by the people, so that the faithful may again take a more active part in the ecclesiastical offices, as was the case in ancient times. (Tra le sollecitudini 3)
Second Vatican Ecumenical Council in 1963:
[S]teps should be taken so that the faithful may also be able to say or to sing together in Latin those parts of the Ordinary of the Mass which pertain to them. … 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. (Sacrosanctum Concilium 54; 116)
Blessed John Paul II in 2001:
Sacred music is an integral part of the liturgy. Gregorian chant, recognized by the Church as being “specially suited to the Roman liturgy” (SC 116), is a unique and universal spiritual heritage which has been handed down to us as the clearest musical expression of sacred music at the service of God’s word. (Address to Pontifical Institute of Sacred Music, n. 3)
Pope Benedict XVI in 2007:
Certainly as far as the liturgy is concerned, we cannot say that one song is as good as another. Generic improvisation or the introduction of musical genres which fail to respect the meaning of the liturgy should be avoided. … [W]hile respecting various styles and various sufficiently laudable traditions, we desire, as was requested by the Synod Fathers, that Gregorian chant be suitably esteemed and employed as the chant proper to the Roman liturgy. … Speaking more generally, I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we forget that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant. (Sacramentum Caritatis 42; 62; translation corrected in light of the original Latin text)
There is no lack of statements such as the ones cited above; whole books have been filled with them. There is, accordingly, no doubt as to the manifest mind and will of the supreme legislator.  We have a clear teaching about the nature of the sacred liturgy and, based upon this, an equally clear teaching about the nature of sacred music. And yet, the vast majority of Catholic clergy and faithful, in the period after the Council and right into our own day, act and think as if they are ignorant of both—that is, of what the liturgy (especially the Mass) truly is, and of what music is proper to it because of what it is.

But what are we to make of clergy and laity who do know what the Church teaches, who have read the relevant documents—and who nevertheless follow their own (different) way, picking and choosing, mostly choosing not to implement what the documents call for, all based on a certain personal vision of what the Church ought to be or be doing, or based on “my experiences with x, y, and z” or “this is what the people need/expect” or “this is our local culture”?

There is a parallel between people who know what the Church teaches about sacred music and reject it, and those who know what the Church teaches about contraception and reject it. Think of the kind of argument you hear: “Well, yes, if everyone were perfectly generous or self-controlled, then they could either have large families or use NFP (or maybe some combination of both); but most married people are just not capable of that kind of virtue. It’s not realistic to ask them to live that way. It could even be bad for their spiritual lives.”

Who is unaware that priests arguing this way have more or less undermined the reception of Humanae Vitae among Christ’s faithful? The causes of this massive dissent on the part of the clergy are complex, but at the root of everything else stands a tragic fact: they simply do not trust that the Holy Spirit really leads the Church into the fullness of truth by the solemn teaching of her shepherds; they do not believe that the judgment of the Vicar of Christ is a rock-solid foundation for pastoral ministry, preaching, catechesis, spiritual direction. In short, they are not willing to embrace the risk of faith in something that is not immediately apparent to their senses or their reason, and so, not surprisingly, they do not reap the Lord’s blessings for undertaking that courageous act.

We find a close parallel in the realm of sacred music. “Well, yes, if everyone were already musically educated and capable of contemplative prayer, then sure, Gregorian chant (and polyphony, for that matter) would undoubtedly work very well for them—but let’s be realistic: the people in the pews listen only to popular music, they can’t relate to something unless it’s emotionally satisfying to them, and if we threw chant at them, they’d feel completely put off and probably leave.”

To which one might make a response like this: “Father (or Choir Director or Youth Minister, etc.), we don’t need to introduce a lot of chant all at once, but what we must do without delay is humbly put our trust in the Church’s tradition and her pastoral wisdom. This will involve two steps: first, learning about the ideal to be worked towards and wholeheartedly embracing it (that is the invisible step that calls for a leap of faith); second, moving the liturgies gradually but decisively in the direction called for by the Magisterium, at the same time educating the faithful through homilies and handouts, classes and workshops.”

Whether the subject is the evil of artificial contraception and the good of respecting the divinely-bestowed unitive and procreative meanings of the nuptial act, or the evil of inappropriate music at Mass and the good of authentic sacred music, what is demanded of each and every Catholic is to put on the mind of Christ, which we put on by firmly adhering to the mind of the Church. What is demanded of us is nothing less than a surrender to another’s judgment, with a lively trust that Divine Providence will superabundantly bless this surrender. “Trust in the Lord and do good” (Ps 36:3).

Compendium of the 1961 Revision of the Pontificale Romanum - Part 12.2: The Blessing of a Tabernacle (1595 & 1961)

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The blessing of tabernacles and other vessels for the conservation of the Holy Eucharist begins with the versicles “Our help is in the name of the Lord.” and “The Lord be with you,” followed by this prayer.

Let us pray. Almighty and everlasting God, we humbly beseech Thy majesty, that Thou may deign to consecrate this vessel with the grace of Thy bless+ing, made for keeping The body of Thy Son our Lord Jesus Christ. Through the same Our Lord. (long conclusion)
The word “vessel” is said regardless of which kind of vessel (pyx, tabernacle etc.) is being blessed. The bishop then sprinkles it with holy water.

In the revision of 1961, the word “vessel” is changed to “tabernacle”, but “vessel” is included in parentheses and may be said when appropriate. The prayer is said with the short conclusion.

The title of the blessing in 1595 is “the blessing of a tabernacle, or other vessel for the conservation of the Most Holy Eucharist.” In the revision of 1961, this is changed to “tabernacle, pyx, monstrance or vessel”; for the latter, the Latin word “vasculum” is changed to “theca”.

A dove-shaped vessel for the conservation of the Holy Sacrament, made in Limoges, France ca. 1215-35, now kept in the Metropolitan Museum of Art in New York City. The plate on which the dove stands was attached to four chains, by which the vessel was suspended from the ceiling above the altar. 

A Washington, D.C., chapter of Juventutem?

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Juventutem is the rapidly growing international network of young people interested in the extraordinary form of Mass. There has been some talk about forming a D.C. chapter. If you are interested, there will be a meeting to discuss the idea following a Mass on Thursday August 15, 6pm, at St Thomas Apostle Woodley Road NW. Nearest Metro: WOODLEY PARK [RED LINE]

Mass in honor of Blessed Karl von Habsburg

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There will be a Mass in honor of Blessed Karl von Habsburg together with a lecture by Archduke Imre von Habsburg taking place in Cincinnati, August 24, 2013, 11am. A lecture will follow by HIRH Imre of Habsbourg-Lorraine, Archduke of Austria, great-grandson of Blessed Karl, and by HIRH Kathleen of Habsbourg-Lorraine (formerly Katie Walker of the American Life League. Events take place at the Sacred Heart Church, 2733 Massachusetts Ave, Cincinnati OH 45225. For more information please email info@unavocecincinnati.org

The Patriarch Tikhon Choir - East Coast Tour

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Russians and Americans to Sing Sacred Choral Music

The Patriarch Tikhon Choir, a unique choral ensemble made up of professional singers from Russia and North America, under the direction of renowned Moscow conductor Vladimir Gorbik, will perform their premiere concert series of Orthodox sacred choral works entitled “Their Sound Hath Gone Forth.” The concerts will be held:
Tickets can be purchased in advance at www.patriarchtikhonchoir.com and at the door.

The program includes works from the Orthodox All-Night Vigil and Divine Liturgy ranging from austere, centuries-old Znamenny Chants to sumptuous polyphonic works by such Russian masters as Dmitry Bortniansky, Alexander Kastalsky, Pavel Chesnokov, Sergei Rachmaninoff, and Sergius Trubachev. Also featured on the program are compositions and arrangements by contemporary American Orthodox composers; several will be concert premieres. In keeping with the choir’s multi-cultural approach, the program will be sung in both Church Slavonic and in English.

The recently formed Patriarch Tikhon Choir is a 30-voice mixed choir that brings together, for the first time, professional vocalists and choral musicians from the United States, Canada, and Russia. The singers, who, in addition to performing on the concert stage, routinely sing Orthodox liturgical services, impart an essential spiritual element to their interpretation of Orthodox sacred music.

About Vladimir Gorbik

The conductor, Vladimir Gorbik, is one the most prominent church musicians in Russia today. Beginning his musical studies in Yekaterinburg, he continued them at the Moscow State Conservatory, completing a specialization in choral conducting in 1998 and in orchestral conducting in 2000. Since 1996 he has served as the choir director at the Moscow Representation Church (Metochion) of the Holy Trinity-St. Sergius Monastery, and since 1998 has been the Artistic Director and Conductor of the professional men’s chorus formed at the Metochion. With this choir he has made more than a dozen outstanding recordings, of both liturgical services and concert programs. The choir has on numerous occasions sung at Patriarchal services in the Dormition Cathedral in the Kremlin, and they accompanied Patriarch Alexy II on his trip to the Holy Land in 2000. For his outstanding achievements and service, he has received an award of recognition (gramota) from the Patriarch, and the medal of the Order of St. Sergius of Radonezh, 2nd Degree. In September 2012, he was appointed to the conducting faculty of the Moscow State Conservatory.

Critics have hailed the “consummate choral artistry” of Vladimir Gorbik heard on his CDs, which causes them to stand out amid those by other Russian choirs of recent years. Not only is the singing first-class--suave, flexible, nuanced, with extraordinary balance and ensemble--but the repertoire is also selected from the finest body of Russian choral repertoire--the "new choral school," which grew up around the Moscow Synodal School in the early decades of the 20th century. Western listeners whose impressions of Russian choirs have been shaped by the Don Cossacks, the Red Army Chorus, and the Monks of Holy Trinity-St. Sergius Lavra, will immediately recognize in Vladimir Gorbik’s interpretations a depth of expression and subtlety that have captivated audiences throughout the world. Since the spring of 2012, Vladimir Gorbik has taught three highly successful master classes in the New York, Pennsylvania, and California, on the topic of “Interpreting Orthodox Sacred Choral Music.”

Saint Tikhon, the Choir’s Patron Saint

The Choir is named for Saint Tikhon (Belavin), a saint who is uniquely honored for his accomplishments and vision in both North America and Russia. While serving as Bishop of the Russian Orthodox Diocese of the Aleutians and North America, from 1898 to 1907, he did many things to facilitiate the spread of Orthodoxy in America, including the founding of St. Tikhon’s Monastery in South Canaan, Pennsylvania, and ministering to the various ethnic groups of Orthodox in America, both in their native languages and in English. Upon his return to Russia, his reputation as an extraordinary archpastor grew, whereupon he was elected Patriarch of All Russia in 1917, the first to hold that high office since the year 1700. Shepherding the Russian Orthodox Church during the extreme difficulties brought on by atheist Communist repression and persecution of religion, Patriarch Tikhon endured immense physical and spiritual trials, including several arrests and imprisonments, which resulted in a martyr’s death in 1925. In 1989 he was glorified as a saint by the Russian Orthodox Church.

About the Patriarch Tikhon Russian-American Music Institute (PaTRAM)

The educational vision and missionary zeal of Patriarch Tikhon while he was Bishop in North America is reflected in the long-term mission of the Patriarch Tikhon Choir’s organizers, the Patriarch Tikhon Russian-American Music Institute. Besides concert activities, a series of educational initiatives are being planned—choral workshops, master classes for conductors, and musical resources—aimed at having a positive impact upon the cultivation and practice of Orthodox liturgical choral singing in North America.

Spanish Sculptures at the London Oratory

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The new statue of St Wilfrid in the Chapel of St Wilfrid at the London Oratory was sculpted by the young Sevillian artist Darío Fernández. The altar of St Wilfrid was the work of the architect Étienne Fayn (1712–90) and was originally the High Altar for the monastic church of St. Remy at Rochefort in Belgium. The Fathers of the Oratory are grateful to the generous benefactor who offered this fine gift for the glory of God and the honour of St Wilfrid.




Last year a Calvary scene, also by Darío Fernández, was installed at the Oratory. Fr. Anthony Symondson wrote an article about the Calvary on NLM last year. Here are some photographs:




Darío Fernández has a website here. (Photos: Charles Cole)

Assumption Mass, New Jersey

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Fr. Robert C Pasley, KCHS, Rector of Mater Ecclesiae Roman Catholic Church, Berlin, NJ invites all to Mater Ecclesiae's 13th Annual Assumption Mass. The Mass will take place on Thursday, August 15, at 7:00PM, at St Peter's Church, 43 W. Maple Avenue, Merchantville, NJ 08109.
This Mass was begun thirteen years ago to thank and honor our Lady for the establishment of Mater Ecclesiae. We also wanted to feature some of the greatest works of orchestral/choral music ever written for the Sacred Liturgy. The setting of the Ordinary of the Mass is "Mass #1in B-flat" by Johan Nepomuk Hummel. Other works include the motets "Venite Populi" by Mozart, “Ave Virgo Gloriosa” by Frescobaldi, “Assumpta est Maria” by Rathberger, and the “Concerto for two trumpets” along with the “Concerto for two oboes in D minor” by Vivaldi.

Some Masses that have been sung in the past are: 2001 - “Missa in Angustiis (Lord Nelson Mass)” by F.J. Haydn, 2002 – “Messe Solonelle” by L. Vierne, 2003 - the “Missa Brevis in C (Orgelsolo-messe” by Mozart, 2005 – “Missa Assumpta est Maria in Caelum” by Palestrina, 2006 – “Missa Dolorosa” by Caldara, 2007 – “Mass in B Flat” by F. Schubert, 2008 – “Missa della Capella (1641)” by C. Monteverdi, 2009 – “Missa Sancti Nicolai (1772)” by F.J. Haydn, 2010 – the “Missa Brevis” by Carl H Biber, 2011 – “Missa Papa Marcelli” by Palestrina, and in 2012 – the “Mass in E Minor” by A Bruckner.
We hope you can attend, but if not, spread the word. Thanks to our many donors and patrons, the Assumption Mass has become one of the most grand, if not the grandest, celebration of Our Lady's Assumption in the country.

And that's precisely my point

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Being quoted by the press always creates an out-of-body experience, and I'm rather used to it. They never quite get it right, and invariably you are shoved into a camp of opinion that is not precise.

So it has been with the Religion News Service article on how traditionalists are uncomfortable with Pope Francis. It's been printed in dozens of places, including the Washington Post and the National Catholic Reporter.

The thesis is that the right is unhappy for supposedly having been tossed out as the controlling force for the papacy. This is an ironic thesis giving that the quotation they used from me is from a blog post in which I specifically took issue with the attempt to politicize the papacy.

My point was that the press can't seem to shake the template that Benedict XVI was a right-wing ogre (not true) whereas Pope Francis is a humanitarian proto-hippy (not true). The article itself and its approach makes the very point I was trying to highlight, just how simplistic and manipulative these accounts truly are.

The money quote in the published article from me in this post:
“I’ve personally found many aspects of this papacy to be annoying, and struggled against that feeling from the beginning. I’m hardly alone in this,” Jeffrey Tucker, editor of the New Liturgical Movement blog, wrote as Francis basked in the glow of media coverage of his recent trip to Brazil.

“Every day and in every way we are being told how glorious it is that the bad old days are gone and the new good days are here,” he lamented.

Tucker and other traditionalists who are dedicated to high church rituals have been especially miffed at Francis’ simple — they might say simplistic — style since the moment the former Cardinal Jorge Bergoglio was introduced to the world as the new pope back in March.

There you go. You can see why the RNS is quoting this. The editor of NLM is annoyed at the papacy! I'm just over here grumbling and complaining even as the rest of the world cheers, and this only underscores how out of touch we "traditionalists" are. And, therefore, that's all the more reason why the Catholic left -- in the epic struggle with the right -- should cheer.

Talk about simplistic!

Now, anyone who knows my writing knows that I avoid these labels. For my part, I'm not entirely unhappy to call myself a Catholic liberal in the 19th century sense of Cardinal Newman or Lord Acton. Actually I think that's the best description and the only one that seems historically accurate. I also don't mind progressive since I burn with the desire to progress beyond the 1970s where parish liturgy seems permanently to dwell. And although I fight this designation, the term traditionalist tends to be attached to people who favor chant and attention to liturgical books will always be described that way. As for my own political outlook, which are solidly in the anti-nation statist and anarchist tradition of the late scholastics of the Renaissance, really have nothing to do with this at all, though it it understandable that people might bring that up.

Here is what I actually wrote in my original post, and you will see why none of this was quoted:
What is extremely tricky here -- and it becomes nearly a full-time job for watchers of Church issues -- is to somehow separate the press spin from the reality. That is not always easy.

The press is lazy. There's not a great deal of depth or historical context there. Also, the press needs to sell newspapers and click throughs. To do this, it is best to have a narrative. Everything that happens has to fit into the narrative. The narrative begins in the first hours of the papacy and it tends to stick. (It's not just Catholic news that is treated this way; this is how the so-called news works in every sector.)

The narrative of Benedict XVI was that he was a closed-minded reactionary dedicated to cracking down and turning back the clock. After that, nothing else mattered. It didn't matter how much he reached out, how much he liberalized the ritual, how much he displayed openness, praised religious freedom, called for social justice and the like. The narrative stuck.

So it has been with Francis. The press decided early on that he is humble, spontaneous, liberal, broad, pro-poor, tolerant, and ready to revise doctrine. After that, the fix was in. Everything he does is interpreted in that light. Every headline presumes that underlying template. It's the only story. Everything that contradicts that is thrown out, and every utterance is framed in that preset context.

So, remember this, my friends. There is a lens. It is manufactured by the industry that writes that story. It probably will not change for the duration. That's why this is going to be such a long and bumpy ride.

The only way to fight back against this is to think independently. Don't let the press control your understanding and interpretation of this papacy. Look for context, full quotes, mitigating factors, hidden details, accurate translations, and the like. I know this sounds like a slog and it is. But it is essential if we are to see what is true.

In many ways, I feel bad for Pope Francis. He is no more allowed to escape this spin that we are. Just remember that he doesn't write the stories, and he didn't set out to design this template for himself. It's not even clear that he knows that this is happening or what he could do about it if he did.
In other words, the post itself helps explain how goofy such press stories really are. A careful reader would notice that the source of my annoyance is not the Pope as such but the treatment of the papacy by the media -- an example of which is nicely offered up by this article itself.

To be sure, there are aspects of this Papacy's liturgical style that I would like to see improved but, in saying that, we have to remember that his predecessor worked extremely hard in this precise area and made enormous progress. The new Pope is comparatively less interested in liturgy than in evangelism -- and who am I to say which is the more important priority? Each new papacy is not a blank slate, some kind of revolution which provides marching orders to us all. Each builds on the last in a living way through real history. Benedict's legacy lives even as Francis works out a new history.

But that distinction is pretty well lost on the reporters who stick to the existing template no matter what. Therefore, I am who they say I am and Francis is who they say he is. I've seen it too many times to be upset by it or take any of it very seriously.

First Mass of Father Bertrand Lacroix, FSSP

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First Mass of Father Bertrand Lacroix, FSSP, celebrated this past Saturday in the Basilica of Notre-Dame des Victoires, Paris. Gonzague Bridault recorded the event in majestic images:

Oratory at Lewiston, Maine Celebrates First Anniversary Mass

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Here are some photos of the Mass of thanksgiving for the first anniversary of the foundation of the Oratory (in formation) of St Philip Neri, in Maine. I have a particular interest in this as a former student of mine from Thomas More College is a novice at the community.

It was on Tuesday, August 6, the Feast of the Transfiguration, a sung Mass in Latin in the Ordinary Form at the Basilica of Saints Peter and Paul in Lewiston, Maine. The propers and the ordinary for Mass were sung by the Saint Cecilia Schola of the Basilica under the direction of Scott Vaillancourt, Director of Music. Fr. Marc Caron, moderator, was the celebrant and homilist. Fr Caron tells me: 'This was a first for us: to celebrate Mass in the ordinary form in Latin ad orientem. The readings were sung in English. The English Oratories have made this form of celebration a trade mark of their efforts at liturgical renewal. We are grateful for the opportunity to make our small contribution to that effort in this part of the Lord's vineyard.'

As someone for whom the beauty of the liturgy at the English Oratories was central to my conversion, I know just what he means and I want to give this new community every encouragement!

The Oratory website is here: http://spnmaine.org/









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