At
OLPH
Saturday Mass (8:15AM) (Warm - up at 7:40)
Nov. 3, 17
Kyrie VIII
Alleluia.
Sanctus XVIII
Mysterium Fidei and
Amen
Agnus Dei XVIII
Lux Aeterna
Panis Angelicus
Salve Regina
At Resurrection
Church
Saturday Mass (9AM) (Warm-up starts at 8:30)
Nov. 10, 24
Kyrie VIII
Alleluia.
Sanctus XVIII
Mysterium Fidei and
Amen
Agnus Dei XVIII
Lux Aeterna
Panis Angelicus
Salve Regina
Requiem Mass, Missa Cantata at the Our Lady Center, Ellicott city
Wednesday, Nov. 14, 6PM (Warm-up starts at 5:30 PM)
Nov. 10, 24
Introit: Requiem Aeternam
Gradual: Requiem Aeternam
Tract: Absolve Domine
Sequence: Dies Irae
Offertory: Domine Jesu, Christe
Communio: Lux Aeterna
Responsory: Libera Me
Children's
Schola
First Friday Mass at OLPH (All Souls)
Nov. 2 8:15 AM (Warm-up starts at 7:45 AM)
Thursday Masses at St. Paul
8:00 AM (Warm-up starts at 7:45 AM)
Friday, October 26, 2012
Monday, October 1, 2012
Whither Latin?
"The Pope’s idea to establish a new
Pontifical Academy is an important sign of renewed focus on the significance of
Latin. Fr. Nicolini – who distributed ten thousand copies of a free introductory
booklet to the Latin language in middle schools and is sending out an appeal for
it to be included again in school curriculums – stated: “Latin teaches us to show respect for beautiful things and
it also teaches us to value our roots.”
The Liturgy is a dialogue with God; He has given us the right words to address Him
Here are a few highlights with added emphasis and commentary on the report from VIS:
...
What the Holy Father describes here is perhaps one of the strongest theological arguments for Gregorian chant and authentic sacred music: The entire form of the liturgy is a dialogue; its form is antiphonal. As participants in the liturgy, our first task is to listen, and then to respond. The words that we use are not of our own creation or selection – they are offered to us by the sacred liturgy itself. Our participation in responding to God with the words of the liturgy is to enter deeply into them, harmonizing our minds, hearts and voices into one.
Could there be a better description of what Gregorian chant DOES, and enables the Church to do in her celebration of the sacred liturgy?
Our proper disposition in the liturgy is one of openness and receptivity. We are not the creators of our liturgical prayer, or of our liturgical song. Our job is to open ourselves to the presence of God and enter into the prayer of the Church that is taking place in our midst.
Note that the Holy Father does not list first the texts of the Order of the Mass, or even the Ordinary, but lists the Psalter – the primary source for the Proper of the Mass. These are the prayers that God through His Church has given us to pray. They are not of our own invention or inspiration. They have been given to us, and our role is to receive them, to make them our own, and to allow the Holy Spirit to teach us how to pray through them.
In conclusion, the Holy Father says:
Amen. This is what active participation in the liturgy is. Thank you, Holy Father, for your clear and beautiful teaching on the sacred liturgy.
Please read the entire piece at VIS.
A Superb Essay on Sacred Music
Stop what you are doing and either bookmark this or go to read this essay right now. HERE
Disintegration: What the ‘Folk’ Style Hath Wrought
Benedict XVI makes a startling observation in suggesting that the Constitution on the Sacred Liturgy has produced an attitude of opposition within the Church–a partisan and opposing church tearing herself apart (A New Song for the Lord, 142). The Matthean verse, “where two or three are gathered together in my name (Mt 18:20) is used to oppose the institution and every official program of the Church. This verse becomes the place of origin for the liturgy. The group arises on the spot from the creativity of those gathered (Ibid, 145). The institution and the clerical Orders represent a negative image of bondage, opposed to genuine freedom. This new attitude is expressed through the new music by the people of God, and it is the music which gives identity to the group.
The new music is the characteristic of the group’s identity, the emergence of another church. For this group, the content of Pope St. Pius X’s motu proprio on church music is called a “culturally shortsighted and theologically worthless ideology of sacred music” (Ibid., 144). Gregorian chant and Renaissance polyphony symbolize the power of the institution and the clergy–the other church, which curtails the group’s freedom. The pontiff writes that the “treasury of musica sacra, the universality of Gregorian chant handed down through the ages, now appears as an outmoded and quaint practice of the pre-conciliar Church for the purpose of preserving a certain form of power” (Ibid).
Disintegration is not a pretty word, but Benedict XVI uses it to capture the liturgical crisis in the Church today. A thing deteriorates when its natural form is so disfigured that the purpose for which it was intended is no longer recognizable. It is not simply irreverent music. At issue is that the faithful have become the Church, and they are celebrating themselves through the folly of faddism.
66 Responses to A superb essay on Sacred Music
http://wdtprs.com/blog/2012/09/a-superb-essay-on-sacred-music/
http://www.catholicnewsagency.com/column.php?n=2301
http://www.catholicnewsagency.com/column.php?n=2301
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We could call her the Symphonic Doctor, not only to honor her own superb compositions, which topped the classical music charts years before theologians got around to rediscovering her, but for the extraordinary theology of music she provides. St. Hildegard weaves the music of the Opus Dei into the very fabric of salvation history, seeing within it a most powerful tool against the Devil because it reflects the musical harmony of paradise. For her, music rises almost to the level of a sacrament, channeling the perfection of divine grace from the heavenly choirs down to us, where we reflect the symphony in the blessed joy of song.
If only that were how our church musicians today approached their sacred craft…
3) Songs with jerky, heavy, frenzied rhythms, or dance rhythms found in popular culture: #302, Gather Us In; #374, City of God; #447, Though the Mountains May Fall; #452, Blest Be the Lord; #495, Let There Be Peace on Earth, the perfect song for Bette Midler; #548, Sing to the Mountains, Sing to the Sea; #578, Sing a New Song Unto the Lord; #548 and #578 are cast in the style of a brindisi, a drinking song similar to that sung in Verdi’s La Traviata.