Thursday, November 15, 2012

Pope establishes new Pontifical Academy for Latin



Pope establishes new Pontifical Academy for Latin

Pope Benedict XVI on Saturday issued the Motu Proprio Latina Lingua, which establishes the new Pontifical Academy for Latin. The Academy is meant to promote the knowledge and study of the Latin language and Latin literature, from classical times to the present day.

“The Latin language has always been held in high regard by the Catholic Church and the Roman pontiffs,” writes Pope Benedict.

He pointed out Latin and Greek were used in the early Church, being the universal languages of the time, and since then the Church has made Latin “her own language.”

The Holy Father writes, “After the demise of the Roman Empire, the Church of Rome not only continued to make use of the Latin language, but also became in a way its guardian and promoter, both in theology and liturgy, and in formation and the transmission of knowledge.”

Pope Benedict said a good understanding of Latin is more necessary than ever in the Church, due to its importance in studying Theology, Liturgy, Patristics, and Canon Law.

He said a “superficial” knowledge of Latin can be detrimental to the philosophical and theological training of future priests.

However, the Academy is also meant to serve the wider society.

“in our own times…there is a renewed interest in the Latin language and classical culture, and not only on those continents that have their cultural roots from the Greco-Roman heritage,” Pope Benedict writes. “Such interest is all the more significant because it involves not only the academic world, but also young people and scholars from very diverse nations and traditions.”

The new Pontifical Academy will be under the Pontifical Council for Culture, and replace the Latin Foundation established by Pope Paul VI. The President of the Academy will be Professor Ivano Dionigi, while the Secretary will be Father Roberto Spataro, S.D.B.

Its mandate includes producing publications, hosting conferences and seminars, and promoting Latin in the new media.

Listen:
RealAudioMP3

http://en.radiovaticana.va/articolo.asp?c=637567

Vatican congregation to emphasize liturgical music, art

n his letter, the Pope wrote that these all must be in accord with the Second Vatican Council's “Constitution on the Sacred Liturgy.” Overlooking that 1963 document has allowed for the post-conciliar trend of building unedifying churches and filling them pop-influenced music.


http://www.catholicnewsagency.com/news/vatican-congregation-to-emphasize-liturgical-music-art/

Monday, November 5, 2012

Children's schola: Dec. and Jan.

First Friday Mass at OLPH
Dec. 7  8:15 AM (Warm-up starts at 7:45 AM)

QUAERITUR: Why He “rose again” in the Creed when we know Christ only rose once?

For some reason I have received questions similar to this one several times, so I will drill into the matter anew… again… um…
From a reader:
Why do we say “rose again” in the Creed when Christ only rose from death once.
In the Creed of the Mass we say resurrexit.  This is translated “rose again”.
Remember: LATIN is the official language of the Roman Rite.  Also, our Latin liturgical texts (e.g., the Creed) is founded on Greek texts/symbols.

That said, the “again” confusion is again understandable in this age when English is devolving.  If you “rise again” you must have already previously risen.  Right? But we know our Lord rose only once.  Right?  So the translation is heretical.  RIGHT?

In the Niceno-Constantinopolitan Creed we say or sing during Mass, Latin resurrexit is a compound of re- and surgo. The prefix re- conveys “again”.
In English “again” can mean more than mere repetition. Check a good dictionary of English and you will find “again” as “anew” without the concept of repetition.
In our Creed, “He rose again” means “He rose anew”.

So, resurrexit does not mean Jesus rose twice or more. He returned to life “anew”.

A reader once provided an example of a kid who falls while riding his bike.  He gets up again and rides off.  That “again” doesn’t mean that he repeatedly gets up before riding off.  That “again” means “anew”.

“Rose again” for resurrexit is acceptable.

However, in our Latin liturgical worship we also use simple surgo, surrexit for the Lord “rose”.  At Easter, and in the Octave, Holy Church sings “Surrexit Christus spes mea” in the sequence Victimae paschali laudes.
I hope that helps.

Related...

 http://wdtprs.com/blog/2012/10/quaeritur-why-he-rose-again-in-the-creed-when-we-know-christ-only-rose-once/

 

Baronius Press beautiful new edition of the Knox Bible

Some very smart people I know use the Knox translation often, even daily. As a matter of fact, two of the smartest people I know use it all the time. One of them told me “It’s THE most beautiful translation of the Bible in the English language.”  Fulton Sheen used the Knox version when quoting.

http://wdtprs.com/blog/2012/10/baronius-press-beautiful-new-edition-of-the-knox-bible/

Singing the Theology of Christmas

Dr. Bert Polman, Ordinary Professor of Music and Chair of the Music Department at Calvin College, writes

...If you take a few moments to page through the Christmas carols and hymns in almost any hymnal, you’ll find that narrative and folksy, sentimental lyrics easily outweigh songs with a theological treatment of the meaning of Christ’s incarnation. We’re served with “While Shepherds Watched Their Flocks by Night,” “Silent Night, Holy Night,” and their many equivalents, for better or for worse. The theological profundity of “O Come, All Ye Faithful” and “Hark! The Herald Angels Sing” is rare among our Christmas songs.

After you’re done paging through the Christmas section of your hymnal, I invite you to take a look at the Easter section too—just for comparison. In that section you’re likely to find numerous theological convictions about the resurrection of Christ, relatively few narrative Easter hymns, and no sentimental ones. While you’re at it, recall the kinds of Christmas cards you receive and send out, and contrast those with the Easter cards you may have seen. Most likely you’ll notice a similar pattern there: the Easter cards are far more likely to focus on theological themes than are the Christmas cards.

I believe we could use a few more theologically exact lyrics for Christmas...
 
 http://www.chantcafe.com/2012/11/singing-theology-of-christmas.html

Benedictines of Mary, Queen of Apostles: Amazing Music

Contemplative Nuns Secure Worldwide Distribution with Decca Classics through De Montfort Music for Advent Album

16-track CD available Nov. 20

ATLANTA, OCT. XX, 2012 – They are young. They are hidden. They are extremely musical. And now they have a worldwide album distribution deal. But they don’t set foot beyond Northwest Missouri’s rolling farmland. Why? Because they are contemplative sisters who live an austere yet joyful life set apart from the world.

But on Nov. 20, Decca and De Montfort Music will release their voices to the world in ADVENT AT EPHESUS. The album features 16 tracks – a dynamic variety of traditional English and Latin hymns, polyphony, Gregorian chants and medieval harmonies. The album also includes Adjuvabit Eam, an original work of the sisters.

http://www.chantcafe.com/2012/10/benedictines-of-mary-queen-of-apostles.html


Worship God in Song

 Vivace! 108 November 2012 


... A people united in prayer is wonderful to behold and this is what music, far more than words, can achieve. There are many fine hymns with inspirational texts - but many parishes are content with pap and nursery rhyme ditties. Appropriate seminary education is once more the key. The young priest should have at his/her fingertips a comprehensive knowledge of the best liturgical music plus the ability to teach and sing it. Positive leadership is needed so that the potential joy of congregational singing can be realized. Obviously, standards within a parish will vary, weather and atmosphere are not always conducive to good singing. This is the natural order of things.

Parish singing should be a priority and the occasional Songs of Praise where musicians and choirs get together for a celebration of hymn-singing - perhaps on an ecumenical basis - can be of immense help. I would like to see parishes arrange such a service on an annual or regular basis. This will raise the profile of parish music and give people a pride and joy in their singing. Let’s get together and worship God in song.


Colin Mawby KSG


http://www.music-for-church-choirs.com/

Friday, October 26, 2012

Schola: November calendar

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)

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


Pope Benedict XVI gave a catechesis on "The liturgy as a school of prayer" in his general audience today. While he didn't address sacred music directly, his theological reflection has immense and compelling implications for the nature of the music of the liturgy.

Here are a few highlights with added emphasis and commentary on the report from VIS:

Vatican City, 26 September 2012 (VIS) - The liturgy as a school of prayer, as a "special place in which God addresses each one of us ... and awaits our response", was the theme of Benedict XVI's catechesis during his general audience, held this morning in St. Peter's Square. 
... 
Quoting again from the Catechism of the Catholic Church the Pope affirmed that "a sacramental celebration is a meeting of God's children with their Father, in Christ and the Holy Spirit; this meeting takes the form of a dialogue, through actions and words'. Thus", he explained, "the first requirement for a good liturgical celebration is that it be prayer and dialogue with God, first listening then responding. ... Sacred liturgy offers us the words, it is up to us to enter into their meaning, absorb them, harmonise ourselves with them. ... One fundamental and primordial element of dialogue with God in the liturgy is concordance between what we say with our mouths and what we carry in our hearts", he said. 
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 hearts, the most intimate part of us, must open meekly to the Word of God and join the prayer of the Church, in order to be oriented towards God by the very words we hear and pronounce". 
"We celebrate and experience the liturgy well", the Pope concluded, "only if we maintain an attitude of prayer, uniting ourselves to the mystery of Christ and to His dialogue of a Son with His Father. God Himself teaches us to pray. ... He has given us the right words with which to address Him, words we find in the Psalter, in the great prayers of sacred liturgy and in the Eucharistic celebration itself.
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:
Let us pray to the Lord that we may become increasingly aware of the fact that the liturgy is the action of God and of man; a prayer that arises from the Holy Spirit and from us; entirely addressed to the Father in union with the Son of God made man".
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

  1.   Scitoviasdomini says:
    What we need is a saint to lead us out of this wasteland of tone-deafness and back into a communion with the joyous symphony of the angels. May I suggest that our soon-to-be newest Doctor of the Church, St. Hildegard of Bingen, might be the one to help?
    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…
  2.   
    wmeyer says:
    I love the comments on the offerings from OCP, including this:
    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.
http://wdtprs.com/blog/2012/09/a-superb-essay-on-sacred-music/

 http://www.catholicnewsagency.com/column.php?n=2301

Friday, September 21, 2012

Schola: October Schedule

At OLPH
Saturday Mass (8:15AM) (Warm - up at 7:40)
Oct.6, 20

Kyrie VIII
Alleluia.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Gustate et Videte
Jesu Dulcis
Salve Regina


At Resurrection Church
Saturday Mass (9AM) (Warm-up starts at 8:30)
Oct. 13, 27

Kyrie VIII
Alleluia
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Gustate et Videte
Jesu Dulcis
Salve Regina



Children's Schola

First Friday Mass at OLPH
 Oct 5  8:15 AM (Warm-up starts at 7:45 AM)

Thursday, August 30, 2012

Dies Irae


 Actually it was composed by Thomas of Celano in the 13th century as an Advent Hymn. Yes, that’s right an Advent hymn. Don’t forget that Advent isn’t just about getting ready for Christmas, it is about getting ready for the Second Coming of the Lord. And that is what this hymn is really about. At this time of year, as the the leaves fall and summer turns to winter, we are reminded of the passing of all things. The Gospels we read are those that remind us of death and the judgment to come.....

When I die sing it at my funeral! For I go to the Lord, the Judge of all and only grace and mercy will see me through. Surely the plaintive calls of the choir below at my funeral will resonate to the very heavens as I am judged. And maybe the Lord will look at me and say,
    • I think they’re praying for you down there; asking mercy, they are.
    • “Yes, Lord, mercy.” (I reply)
    • They’re making a pretty good case.
    • Yes Lord, mercy.
    • Then mercy it shall be.
Amen.

http://blog.adw.org/2011/11/sing-the-dies-irae-at-my-funeral-a-meditation-on-a-lost-treasure/?utm_source=rss&utm_medium=rss&utm_campaign=sing-the-dies-irae-at-my-funeral-a-meditation-on-a-lost-treasure

Believe in Resurrection, beg for Mercy, live with hope.

Sunday, August 12, 2012

Beginning Chant Class

Would you like to learn something cool this Summer?
Join Gregorian chant class this summer, the authentic liturgical music and treasure of Catholic tradition as the Holy Mother Church proclaims.
Two beginning chant classes will be offered on Mondays at OLPH parish (musicroom) and Tuesdays at the church of Resurrection (chapel). Both classes are from 7 PM to 8 PM starting July 9 through August 20 for 7 weeks. (July 10 through August 21 for Tuesday class) We will study the text and the melody of Gregorian chant, and how they fit together to be prayed in singing in the sacred liturgy of the Roman Catholic Church. Contact Mia Coyne at miacoyne@comast.net for more info.

“It is the duty of all those to whom Christ the
Lord has entrusted the task of guarding and
dispensing the Church’s riches to preserve
this precious treasure of Gregorian chant
diligently and to impart it generously to the
Christian people. In the performance of the
sacred liturgical rites this same Gregorian
chant should be most widely used and
great care should be taken that it should be
performed properly, worthily and reverently.”
—Pope Pius XII

Friday, July 13, 2012

Pursuing Excellence in Music to Glorify God

At the Colloquium this year, we had a privilege of hearing Madeleine Choir school children.  Their singing quality was superb!  After the concert, they received a long standing ovation.  And all the adult musicians there felt quite 'small' (humble) in front of those children who work so hard and provide such a beautiful music for the glory of God.  For the next two days we also had master classes with the music teacher and a few children from the choir school. All the children at the school (K-8) have a music class everyday and a choir rehearsal everyday after school for children from 4th grade and above.  They sing everyday for the daily Mass, in addition to Solemn High Mass on Sundays and Feast days.  They have concerts, tours and etc., including singing at Vatican.  We couldn't have imagined that in Mormon city, Salt Lake City has the best kept Catholic children's choir and choir school.  But it makes sense that the small number of Catholics here try to keep up with the high standard of music from the Mormon choir and the excellent musical culture.  The children are truly serious with the music.  I didn't see any teens showing 'attitudes' towards music that are common in other areas.  Do they really live in a different environment? How do you get such a tremendous support from parents?  For them music is the 'thing' they do I was told, and everything else comes after music.  I dream a day when all the cathedrals in each diocese have their own choir schools and educate children to provide the best music to glorify God.  In this way children also learn to work hard in their daily life and to offer the best to God.

http://www.youtube.com/watch?v=us5i2RIdVNE

http://www.youtube.com/watch?v=kjoEPgl5KOA&feature=endscreen


“The musical tradition of the universal Church is

 a treasure of inestimable value,

greater even than that of any other art.

 The main reason for this pre-eminence is that,

as sacred song united to the words,

 it forms a necessary or integral part of the solemn liturgy.”

112, Constitution on the Sacred Liturgy Sacrosanctum Concilium
solemnly promulgated by his holiness Pope Paul VI on December 4, 1963



“As a manifestation of the human spirit,” said John Paul II in 1989, “music performs a function which is noble, unique, and irreplaceable. When it is truly beautiful and inspired, it speaks to us more than all the other arts of goodness, virtue, peace, of matters holy and divine. Not for nothing has it always been, and will it always be, an essential part of the liturgy.”

 

 

The Importance of Spirituality in Liturgical Music

Vivace! 104 July 2012
The Importance of Spirituality in Liturgical Music


The Sistine Choir recently visited London and sang at Westminster Cathedral. It was a wonderful occasion and I will be writing a few articles about it (one is below). But first I want to focus on what for me was the main thing that came out of this experience of hearing the Sistine Choir - and that is the vital importance of spirituality in liturgical music.

In a way this is more important today than it has ever been in the past. The world is a violent and disturbed place and sacred music should provide a space where people can not only take refuge but also experience the love and creativity of God. We question where the soul of sacred music comes from and it’s not easy to find a comprehensive answer – the mystery of God is beyond our understanding.

The quality of the music being performed is highly important. So much contemporary work is devoid of spirituality. Much of it is well written and ‘comfortable’ but unfortunately it is banal and meaningless. Christ so often said that one must take up one’s cross and follow him. The quality of pain is rarely to be found in contemporary liturgical music; happy clappy is fine but its expression is severely limited. The Resurrection came from pain and death, it didn’t happen as a result of undisciplined and unrestrained joy. Liturgical music needs to express the fullness of our belief. It will not bring lasting peace to people if the quality of anguish is missing.

Writing for the liturgy is a great challenge for composers. Understanding of the text is essential and you cannot write well without this. Technical competence and vocal knowledge are also important but the music must spring from the composer’s own spirituality. It must speak from the soul.

The attitude of conductors and singers is another factor. Unfortunately for some choirs, singing at Services is primarily a musical experience and the much wider context of spirituality is overlooked. This will always show and cannot be hidden. A conductor has a responsibility to ensure that a performance goes far beyond musical and technical perfection. Both are essential but they are a means and not an end. The choir is expressing beauty and belief in a totally unique manner.

I have also been much impressed by the congregational response to hymnody. Hymns mean much and speak to people’s deepest feelings. The appeal of a good hymn is universal.

As the Pope has said, sacred music is an important part of the process of evangelization: this places a great responsibility on the shoulders of the liturgical musician. We need to be aware of the meaning of sacred music and our singing must be infused with prayer and religious feeling. We must never allow our music to become a ‘whited sepulchre’: it must always display a deep internal meaning.

Colin Mawby KSG

Easy Steps To Improve Your Parish Music Program

Easy Steps To Improve Your Parish Music Program
published 20 May 2012 by Jeff Ostrowski
One of the problems the beleaguered choirmaster faces in today’s world is the lack of attention span on the part of Catholics in the pews (and even choristers!), perhaps due to our modern obsession with television, iPhones, internet, etc. In the “solution” presented below, I cannot emphasize enough that the key to success is variation (organ accompaniment vs. a cappella, metrical hymns vs. chant, etc.) and especially alternation between priest, deacon, choir, congregation, and organist.
The below model is able to be implemented with great success in the “typical” parish. It will be noticed that the pieces are very short in length, but ought to be done extremely well. It is better to do brief music beautifully than to attempt long, complicated music and do it poorly. It will be noticed that there is very little Latin (as this can be intimidating).
(Congregation / Organ / Metrical / ENGLISH)
1. Immediately before Mass begins, a Hymn with organ accompaniment is sung in its entirety. Singing only a few verses of a hymn destroys its inherent poetry and frustrates parishioners, who have gone to the trouble of taking out the books and finding the correct page only to stop singing after the second or third verse. Since parishioners are accustomed to singing an opening hymn, taking it away would cause a needless rupture. Professor László Dobszay notes that singing a hymn immediately before Mass is the practice in many countries (page 24) and this practice serves as a nice “signal” to the congregation that Mass is about to begin. The Vatican II Hymnal is organized in a way that makes it very easy to choose hymns appropriate for each part of the Mass: not only does it have headers on each page giving suggestions, but the indices are also quite comprehensive and helpful in this regard. Best of all, 100% of the organ harmonizations, SATB settings, and cantor scores are available free online.
(Choir / A Cappella / Chant / ENGLISH)
2. As the priest processes to and then incenses the altar, the Mass Proper is sung a cappella. As a reminder, the Mass Proper (in this case, the “introit” or “entrance chant”) is the ancient prayer, carefully chosen and assigned attached to each individual feast by the Church over a period many centuries. It can be sung in many ways (Latin or English), but one way would be the Simple English Propers. Incidentally, many large basilicas and cathedrals have sufficient time during the procession for an entrance hymn and the Mass Proper, a practice recently affirmed as correct by the USCCB Secretariat of Divine Worship (2/14/2012). The Vatican II Hymnal is the only hymnal to print the complete Mass Propers (in English with Latin incipit) as well as all the Mass readings, and this was done without a single page turn, so the congregation has no trouble praying along with the choir or lector.
(Priest, Congregation / A Cappella / Chant / ENGLISH)
3. The congregation sings the responses a cappella as the priest sings, “In the name of the Father,” etc. Throughout the entire Mass, all the dialogues between priest & congregation should be sung. For instance, after the Gloria, the priest should sing “The Lord be with you,” as well as the Collect. The melodies for the orations are very simple, within the capabilities of any priest.
(Choir, Cantor, Congregation / A Cappella / Chant & Polyphony / GREEK)
4. The cantor sings “Kýrie, eléison” a cappella to a simple chant, the congegation repeats, then a 20-second polyphonic verset is sung by the choir. The same arrangement follows for the “Christe” and final “Kyrie.” There are hundreds of possibilities for this, but the SATB Brudieu Kyrie would be a fine example.
(Congregation, Choir / Organ / Chant / ENGLISH)
5. The entire congregation sings a simple, short, beautiful, chant-inspired setting of the “Glory to God” in English (with organ accompaniment). The piece is intoned by the priest, and the rest of the piece can be divided up into sections (a traditional practice). For instance, the women in the choir could sing the odd sections and the entire congregation could sing the even sections. The Gloria in honor of St. Edmund Arrowsmith would fit the bill quite well, it being brief, modal, and singable. The Vatican II Hymnal also contains more than 100 pages of other possibilities.
(Cantor, Congregation / Organ / ENGLISH)
6. The Responsorial Psalm is sung (with organ accompaniment) to a beautiful, memorable, simple, singable, noble melody based on Gregorian chant. More than 2,000 are available for free on the St. Noël Chabanel Responsorial Psalms website.
(Cantor, Congregation / Organ / ENGLISH & HEBREW)
7. The Gospel acclamation is done the same way, and could come from the St. Charles Garnier website. The Vatican II Hymnal contains the complete Chabanel Psalms and Garnier Gospel Acclamations in the same exact place as the Mass readings and Propers, to allow for maximum participation on their part.
(Choir / A Cappella / ENGLISH)
8. The Offertory Proper is sung a cappella by the choir, and (as always with Propers) employs as many Psalm verses as are necessary to cover what is happening at the Altar. We have found that the Simple English Propers work very well here.
(Priest / A Cappella / ENGLISH)
9. The Preface ought to be sung by the priest.
(Congregation / Organ / ENGLISH & HEBREW)
10. The Sanctus, Mystery of Faith, and Great Amen are sung by everyone to simple chant-inspired melodies with organ accompaniment. The Mass in honor of St. Anne Line would work well.
(Congregation / Organ / ENGLISH)
11. The Our Father is sung with one of several beautiful organ accompaniments, to enhance this well-known and loved chant. As mentioned, all the organ harmonizations are free online.
(Choir, congregation / A Cappella / Chant & Polyphony / LATIN)
12. The Agnus Dei is sung in Latin a cappella, intoned by the cantor each time, and continued by the congregation. The final three words (“Dona nobis pacem” or “Grant us peace”) are sung in polyphony. This is very similar to the Kyrie (the polyphony can even be the same), but not as long.
(Choir / A Cappella / Chant / ENGLISH)
13. The Communion Proper is sung to a simple English melody (the Simple English Psalm tones would work well) before the choir receives Communion. There is very little time, but the Communion Proper literally takes less than 10 seconds when sung with the Simple English Psalm tones.
(Organ)
14. As the Choir receives Communion, the organist plays an interlude (or a prelude based on the Communion Meditation if the melody is not familiar).
(Choir / A Cappella / Polyphony / LATIN)
15. As the congregation receives Holy Communion, an a cappella Latin motet is sung by the choir. This should be sung to perfection, since polyphony ought never to be done in a “slipshod” manner.
(Organ / Metrical / Congregation)
16. After Communion, a congregational hymn is sung in its entirety (all the verses), accompanied by organ. The Communion Meditation is the only time the G.I.R.M. uses the word “hymnus” to describe what should be sung during Mass. The G.I.R.M. seems to favor congregational singing at this time, and my experience has been that it works much better for the congregation to sing at this point, rather than during the reception of Holy Communion. Distributione Communionis expleta, pro opportunitate sacerdos et fideles per aliquod temporis spatium secreto orant. Si placet, etiam psalmus vel aliud laudis canticum vel hymnus a tota congregatione persolvi potest. “When the distribution of Communion is over, if appropriate, the Priest and faithful pray quietly for some time. If desired, a Psalm or other canticle of praise or a hymn may also be sung by the whole congregation.” (2011 edition, General Instruction for the Roman Missal, §88) My experience has been that placing a hymn here is absolutely fantastic: everyone sings with gusto, and the all the verses can be sung. I have not figured out why people are so willing to sing after Holy Communion, but so hesitant to sing during the actual distribution of Communion. There is a temptation to do a different hymn each week as a Communion Meditation, but from a pastoral perspective this can be too much. A normal person enjoys hearing and singing a familiar tune: such a person is not bored if the tune be repeated twice monthly. The Vatican II Hymnal makes it extremely easy to choose a Communion meditation piece, as it contains more than 100 Communion hymns. Today, for instance, there were no fewer than three different choices for the feast of the Ascension: all of them beautiful, singable, fresh, with wonderful texts.
(Organ / Metrical / Congregation)
17. At the end of Mass, a hymn is sung by the congregation with organ accompaniment.

Friday, June 15, 2012

♪Music Ministry News ♪♪♪


Attention Music Lovers: Free Private Voice Lessons at St. Jane


Free Voice lessons are offered to all the adult parishioners and children age 10 and above on Wednesdays from July 11th to August 22nd. at St. Jane. (Children must be accompanied by a parent or guardian) Each lesson is half an hour between 3 PM to 6 PM on Wednesdays.   Through healthy vocal exercises and sharpening your basic music skills, you can double the joy of praising God with your singing.  Bring your favorite hymns also, if you like.  Sign up in the choir loft after Mass (up to 3 lessons per parish member and up to 5 lessons per choir member.)
For more info, contact Mia Coyne at miacoyne@comcast.net


Want to learn Something Cool During Summer?

How about learn to read music?  This class is given to all the adult parishioners at St. Jane for free by the new music director.  Whether you want to play an instrument, or sing, being able to read notes will enhance your appreciation of music.  The class will focus on reading notes from modern staff notation through exercises on solfege and rhythm while learning pitch names, intervals, keys and etc. Materials will be provided.   The class is held on Wednesdays from 6:00 PM to 7 PM starting July 11th thru August 22nd. (7 weeks)
  If you are interested, contact Mia Coyne at miacoyne@comcast.net


New! Funeral Choir 

Would you like to be a part of a special group that prays in singing for the departed souls in our parish? Join our new Funeral choir.   
Rehearsals on Wednesdays from 7:15 PM to 8:30 PM starting July 11th thru August 22nd. We will learn to sing Simple English Propers, Responsorial Psalms, and Hymns as well as Ordinary parts of the Mass during summer (and the extra rehearsal as needed before the funeral). If you are interested, contact Mia Coyne at miacoyne@comcast.net

 

RJC on Gregorian Chant


"Prayer through chant is the food we eat and the air we breathe. Chant doesn’t truly need (although it deserves) the classification of “pride of place.” This is because it is a natural reality with or without that moniker. Chant is intrinsically Roman Catholic music. Gregorian chant unites us and is the most universal way of expressing shared truths— those things that we share as members of the universal Church and as believers in the Gospel of Jesus Christ."

Friday, May 18, 2012

Schola; June Schedule

Sung Mass (OF) at St. Will
June 7, 7AM (warm-up at 6:30 AM)

Propers from SEP (11th wk in Ordinary time)
Oridnary Parts: Jubilate Deo (Latin)
Hymns:  Humbly I Adore You
              Salve Regina (Latin)
Motet: Verily, Verily I Say Unto You
 
Missa Cantata for Corpus Christi at St. Will
June 7, 7AM (warm-up at 6:30 AM)

Propers
 Cibavit eos(Introit)
 Oculi Omnium (Gradual ) 
 Caro Mea (Alleluia)
 Lauda Sion (Sequence)
 Sacerdotes Domini(Offertory, women)
 Quotiescumque Manducabitis (communio)

Ordinary parts
Mass setting VIII, Credo VI

Motet after Offertory:  Ave Verum (Byrd)
Hymn after Communion: Adoro te Devote


At OLPH
Saturday Mass (8:15AM) (Warm - up at 7:40)
June 2, 16

Kyrie VIII
Alleluia.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Hoc Corpus
Salve Regina

At Resurrection Church
Saturday Mass (9AM) (Warm-up starts at 8:30)
June  23

Kyrie VIII
Alleluia
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
SEP
Salve Regina



Children's Schola

First Friday Mass at OLPH

Wednesday, May 2, 2012

Schola: May Calendar

Missa Cantata for Ascension Thursday at St. Will
May 17, 7AM (warm-up at 6:30 AM)

Propers
Viri Galilaei (Introit)
Ascendit Deus (Alleluia, women, verse) 
Dominus In Sina (Alleluia):
Ascendit Deus (Offertory, women)
Psallite Domino (communio)

Ordinary parts
Mass setting I, Credo VI
Motet after Offertory: Cantate Domino
Hymn after Communion: Salutis Humanae Sator



At OLPH
Saturday Mass (8:15AM) (Warm - up at 7:40)
May 5, 19

Kyrie I
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Magnificat Anima Mea
Salve Mater
Regina Caeli

At Resurrection Church
Saturday Mass (9AM) (Warm-up starts at 8:30)
May 12, 26

Kyrie I
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Magnificat Anima Mea
Salve Mater
Regina Caeli



Children's Schola

First Friday Mass at OLPH

Monday, April 2, 2012

Schola: April calendar

Missa Cantata for Easter Thursday at St. Will
April 12, 8AM (warm-up at 7:30 AM)

Introit: Victricem Manum
Gradual: Haec Dies
Alleluia: Surrexit Christus
Sequence: Victimae Paschalis Laudes
Offertory: In Die Solemnitatis
Communio: Populus Acquisitionis
Recessional: Regina Caeli


Mass setting I, Credo I
Hymns after Offertory: O filii et filius
after Communion: Lapis Revolutus est



At OLPH
Saturday Mass (8:15AM) (Warm - up at 7:40)
April 21

Kyrie I
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Pascha Notrum
Regina Caeli

At Resurrection Church
Satruday Mass (9AM) (Warm-up starts at 8:30)
April 14, 28

Kyrie I
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Populus Acquisitionis (4/14)
Pascha Notrum (4/28)
Regina Caeli



Children's Schola


Wednesday Mass at St. Paul

April 11, 18, 25, 8AM

Kyrie XVI
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Communion chant

Posted by miacoyne at 11:40 AM

Sunday, March 25, 2012

Dear Et Lux Ensemble:

http://www.musicasacra.com/forum/discussion/6296/modern-tenebrae-et-lux-in-tenebris-by-koerber#Item_29

Dear Et Lux Ensemble:

Congratulations on getting thrown into the deep waters of last nights rehearsal and not drowning. I purposely brought the strings and organ in early (relatively speaking to our overall progress) and put you in your actual performing space so you could get your 'musical sea legs' on this one. Allow me just a couple of minutes to elaborate.

Vocalists, I know you are still not over the initial hill of "getting the notes" inside of you, and I am not the least bit surprised, although I was a bit eager for you to have progressed further than where we have arrived up to this point in time. But this is a tall order. Don't be discouraged or alarmed.

My particular style of composing these choral/orchestral polyphonic textures, (and a great deal of my compositional output over the course of my career) puts great demands on the vocalists, and in particular, the gyroscope of their harmonic balance -- independent of instrumental support. As one of my vocalists reminded me last night, 'you give us no cues'. The truth is, the cues are all there in the harmonic structure itself, but I am not allowing you the extravagance of a (doubling) instrument as a crutch to help you walk. You, my dear singers, will have to walk on your own! Yes, it is a challenge, but well worth it in the final performance. It does require a certain resolute and discipline to learning the score on your own, I will admit. But the most beautiful choral essence of your voices must and will arrive in its own space to shine in the beauty of its own nakedness, unclothed in the timbres of strings or pipes.

I must at this point laud and thank Mr. Viola, who has spent decades of hours learning this work, as he (and his vocal teacher with whom he has rehearsed over the last month) realized the nature and difficulty of it from the get go. Some others of you have had the opportunity of more time to do so, some haven't. It is all the more a challenge in your situations. Thank you for trying your best!

This music is nothing like most other choral works in that it requires you to sing your part "a cappella" while at the same time finding yourself enveloped within a sphere of orchestral sound, which in itself, offers its own unique beauty through its entirely independent musical thoughts and ideas. The marriage of the two bodies of musicians (choralists and instrumentalists) results in something incredible to me, and I hope, to all who hear this music.

As a composer, in particular a composer of sacred music in the Roman Catholic tradition, I raise the importance of the choral element to a level that is not only equal in strength to the instrumental element, but rides above it like a skilled surfer on a great wave. Even the best often go under. The feat of this music is in watching (hearing) the two bodies collaborate and coexist in that moment when the wave (instrumental body) is most powerful and the surfer (vocal body) successfully rides it in to the shore. Each in themself contain an indespensable element that when the wave emerges from the sea and surfer is fit and willing to take the dare, the aural spectacle becomes an incredible experience for both the athelete and the observer. A third entity emerges, one that is entirely spiritual, invisible and ethereal and obviously detectable, but only in the artful and skillful dance of the music.

Choralists and instrumentalists rarely if ever, share the common force of melodic form (at least not at the same time) in this work; instrument and voice do not double any particular melodic line. You each have your own melody and rhythm in each and every part, purposely at odds (or more positively expressed, in contrast) with each other in these regards, so that where the surf board touches the water, a miraculous exhibition of the independent harmonic sphere becomes refulgent. (In this work, the term 'refulgent' is particularly apropos, as it means 'filled with light'.)

In my compositions, vocalists are not an addendum to the instrumental parts. And instruments are not just there to support the vocal line. Everyone is on their own, and at the same time, much more dependent upon the other. If this can help your thinking, it is almost like a weave of solos, all happening at once, giving and taking, cautiously stepping and progressing, like some kind of grand dance.

As vocalists, you have an extra responsibility, to carry and deliver the power of the message, most pointedly, the words. I will recount what I hear often from some, from those in our congregation here, and in various forums where musicians lurk. "Why not English?" There are numerous reasons to that question. For one, in the Latin, the words simply become timeless and universal, rising above geographic, cultural and novel influence and political correctness. Secondly, the structure of Latin allows for the easy reversal of subject and verb, for dividing meanings into simple short phrases, and it is a speaking-friendly language. It simply sounds beautiful in music. English, in my opinion as a professional vocal composer, is heavy, cumbersome and of course, guttural. I have composed a lot of music in English. It's not pretty for choral music. Thirdly, look at the reams of choral music from other great composers. Even Bach, a staunch Lutheran, whose music was mostly in his native tongue (and guttural), thought to announce one of his greatest works in Latin, his B Minor Mass. This makes it all the more challenging for the vocalists. Thanks for your extra effort!

So this is why I send you (vocalists) CD discs, require and offer myself to you for extra rehearsals, and even one-on-one sessions. I know the demand I have placed on you. I am asking that you "know" the music to your core.

Thank you for your time and effort. The little I can offer in financial remuneration will never repay you for the time you have taken to learn this piece, and for what you will unfold on Good Friday April 6 in the unveiling of Et Lux In Tenebris to the world. I hope and pray you also share in the wealth of that experience and that it will be with you and change you forever.

Most Sincerely Yours in JMJ,

Francis Koerber
Composer, Organist and Choirmaster
(and father of Et Lux In Tenebris)

ph: 307-200-6037
francis@RomanCatholicSacredMusic.com

(the emphasis is mine)

Friday, March 23, 2012

The Beauty of Nine fold Kyrie... is it lost in Novus Ordo?

These days many Catholics don't get to experience the beauty of nine fold Kyrie and appreciate it on most Sunday Masses. When Kyrie is sung after the absolution, it seems to have more distinctive role and form as an Ordinary part, like Sanctus, Agnus Dei.

After I learned to sing Gregorian chant, I discovered nine fold Kyire. (since my parish never did it.) I taught it to my children's schola, and they have been singing nine fold Kyrie for last four years. I explained to them about how we take time to ask for His mercy, especially before we receive our Lord in the Holy Eucharist, as well as about nine choirs of Angels. Although the children were somewhat confused at the beginning, like anything new, they learned that they have to be actually alert and engaged in singing it nine times (alternating between boys and girls.) And now they get very disappointed if we have to sing only 6 fold.

Although in the early church when the liturgy is not yet organized and many things were going through various changes and tried out, chanting Kyrie in the traditional Mass of the Roman rite that we have inherited is done in nine fold. Maybe nine fold Kyrie helps us to remember that we cling on to God's mercy and its beauty, especially in time where 'the sense of sin' has been lost and depending on God's mercy.

Since the new GIRM seems to encourage nine fold Kyrie more than before, maybe parishes can do 6 fold during Ordinary time and progamm nine fold Kyrie at least during Lent and Advent, (since Gloria is not sung during those seasons, the extended time may not be the issue. And since we do extra good things during Lent, and it is encouraged to continue them even after the Lent, the spirit of nine fold can be carried to 6 fold in Ordinary time and appreciated it in a deeper manner.), and have polyphonic settings for major feast days?

Friday, February 24, 2012

Some resources on' brick by brick' approach for the Holy Father's "Reform of the Reform' in Sacrded music and the Liturgy

One of my schola member asked me recently how a diocese can help to bring more sacred music to parishes in this area.

I wrote,
first, mandate Missal chants that US Bishops put out in English in every parish at least for a year. Many dioceses are doing it. They are in their website, both recordings and scores.
Those are the exact same melodies of the "Jubilate Deo" setting for Ordinary parts that Pope Paul VI set aside after the Vatican II. They are the simpest Latin settings that the Church and the Pope desire all the Catholics learn to sing.

"Steps 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." (Section 54, the Second Vatican Council, in its Constitution on the Sacred Liturgy)


The Missal chants in English are the first step towards singing the Latin chants, as in the Church's instruction above. (not just in Lent but in Ordinary times)

Next step is having Propers sung by choirs, cantors, intead of random hymns, (or in addition to hymns, if it not possible to have just Porpers). In English first, starting with one Proper such as Communio.(and then have a communion hymn.)

And the next step is offering workshops to help the priest to chant their parts, starting with something they can do well, like Doxology, Preface dialogue (the one that Fr. Warren sings at the Res. church.) If the pastors and priests want the congregation sing, they need to lead them by example by singing their parts in Holy Mass, so the congregations can reply in singing their parts, so that the congreagation become confident in singing by starting with easy parts.

There are dedicated musicians and priests who give workshops and train them to sing chants, such as

Fr. Columba Kelly
http://www.chantcafe.com/2012/01/restoration-of-propers-of-mass-chant.html

Fr. Johansen
http://www.chantcafe.com/2012/01/traveling-chant-workshop-on-chants-of.html

Fr. Mark Kirby.
http://vultus.stblogs.org/

There are so many chant workshops everywhere these days.
And she should also attend Colloquium to experience beautiful and authentic liturgy.

It is a long time process, but read and learn more tradition to understand and intepret the Church's recent documents. Without knowledge of the Catholic Tradition, readers will be confused on interpreting GIRM, because it is based on previous documents and the tradition. The recent documents assume that people who reads them know the tradition and don't mention everything.

Especially the following two documents are very important.
Motu Proprio: Tra Le Sollecitudini (1903)
Musicam Sacram (1967)

There are many posted in musicasacra.com.

http://musicasacra.com/literature/
(under Church documents.)

Also there are so many books, such as

The Spirit of the Liturgy by Cardinal Ratzinger,
A New Song for The Lord by Peope Benedict XVI
The Musical Shape of the Liturgy By Dr. Marht
http://www.chantcafe.com/2012/01/treatise-weve-needed.html

Thursday, February 23, 2012

Schoal: March Calendar

At OLPH
Saturday Mass (8:15AM) (Warm - up at 7:40)
March 3, 17, 31

Kyrie XVII
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Ubi Caritas (3/3)
Stabat Mater (3/17)
Adoramus Te Christe (3/31)
Ave Regina Caelorum


At Resurrection Church
Satruday Mass (9AM) (Warm-up starts at 8:30)
March 10, 24

Kyrie XVII
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Parce Domine (3/10)
Jesu Dulcis (3/24)
Ave Regina Caelorum


Stations at the church of Resurrection
March 16, 7 PM

Stabat Mater
Attende Domine


Holy Hour and Benediction at St. Benedict
March 24 at 5 PM

1. Anima Christi (Children sing; during Preparation of the Holy Hour)

2. O Salutaris Hostia (everyone)

Prayer

3. Adoro te devote (children and men)
4. O Panis Dulcissime (children)
5. Ave verum Corpus (children)
6. Jesu Dulcis Memoria (Adults)

Scripture Reading: 1 Samuel 3:8 – 10

7. Veni Creator Spiritus (children)
8. Ubi caritas (adults & children)
9. Adoramus te Christe (Adults)

Prayer for Vocations

10. Salve Regina (Solemn tone, Adults)
11. Ave Regina caelorum (men)

Scripture Reading: Matthew 4:18 - 22

12. Ave Maria (Mode VI, children)
13. Ave Maria (Mode I, children)
14. Immutemur Habitu (adult)

Benediction

15. Tantum Ergo (everyone)

Priest: Panem de caelo praestitisti eis
Response (all): Omne delectamentum in se habentem

Prayer (priest)

Divine Praises (chanted by cantor/everyone.
Music and words are at the end of this packet.)

Final chant (schola)
16. Christus vincit



Children's Schola

First Friday Mass at OLPH
March 2, 8:15 AM (warm up starts at 7:45 AM)

Kyrie VIII
Gospel Accl.
Offertory: Attende Domine
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Communion: O Panis Dulcissime
O Salutaris Hostia (Benediction)




Wednesday Mass at St. Paul
March 7, 14, 21, 28, 8AM

Kyrie XVI
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Communion chant

Thursday, February 16, 2012

"Singing the Mass: Sacred music's role in evangelization".

The distinction between religious music and liturgical music (cf. part one of this series) embodies this double movement: religious music is, we might say, the earthly expression of a given culture's faith in Christ; liturgical music is the sacramental expression of Christ and the true nature of the Church. The former tends to be particular, individual, temporal and profane; the latter tends to be universal, communal, eternal and sacred. Religious music comes from human hearts yearning for God; liturgical music comes from Christ's heart, the heart of the Church, longing for us.

...

Some might ask: should not the mention of the word assimilation give us pause, or even make us somewhat nervous? If we submit ourselves to this assimilation — with all our musical preferences, tastes, and cultural differences — to the concrete musical sources of the Church's liturgy (i.e., the Roman Missal itself, Graduale Romanum, Graduale Simplex, vernacular translations and adaptations thereof, etc.), will we not entirely lose ourselves, our individuality and creativity? Is there not a danger of the Church becoming irrelevant and therefore powerless in her liturgical expressions, a mere museum of "old" music?

To answer these concerns, we could extend the Church's teaching on the new translation to the use of liturgical music: "So the liturgy of the Church must not be foreign to any country, people or individual, and at the same time it should transcend the particularity of race and nation. It must be capable of expressing itself in every human culture, all the while maintaining its identity through fidelity to the tradition which comes to it from the Lord" (Liturgiam Authenticam, 4).

In other words, the Church, though existing in many cultures, has her own authentic culture because she has authentic liturgy… both which come to her from Christ. The unity and integrity of the Roman Rite is embodied in the Rite's sacred texts and musical forms, as a vine is expressed in its branches. Growth requires pruning and nourishing, but never ignoring or starting from scratch.

http://www.chantcafe.com/2012/02/bishop-olmsted-singing-mass-part-iii.html

Thursday, January 26, 2012

Schola: Feb. Calendar

At OLPH
Saturday Mass (8:15AM) (Warm - up at 7:40)
Feb. 4, 18

Kyrie XVII
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
SEP (2/4)
Adoro Te Devote (2/18)
Ave Regina Caelorum


At Resurrection Church
Satruday Mass (9AM) (Warm-up starts at 8:30)
Feb. 11, 25

Kyrie XVII
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
SEP (2/11)
Attende Domine (2/25)
Ave Regina Caelorum


Mass of the Presentation at St. William of York
Missa Cantata, Feb, 2, 7 AM (warm-up at 6:45AM)

Introit: Suscepimus
Gradual: Suscepimus (women)
Alleluia:Senex puerum portabat
Offertory: Diffusa est (women)
Communion: Responsum accepit Simeon
Communion Motet: O Sacrum Convivium/Farrant
Alma Redemptoris Mater

Mass setting IX and Credo I


Children's Schola

First Friday Mass at OLPH
Feb. 3, 8:15 AM (warm up starts at 7:45 AM)

Ave Maria (prelude)
Kyrie VIII
Gospel Accl.
Offertory: SEP
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Communion: Adoro te Devote
O Salutaris Hostia (Benediction)




Wednesday Mass at St. Paul
Feb. 1, 8, 15, 22, 29. 8AM

Kyrie XVI
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Communion chant