Benedict XVI, Vatican II, and Modernity

"Modes of liturgical dress, forms of prayer, different devotions, hymns that had been a part of the Church's cultural treasury for centuries, were not just dumped, but actively suppressed. To be a practicing Catholic in many parishes, one had to buy into the pop culture of the 1960s and 1970s.

Against this, Ratzinger has been critical of what he calls 'claptrap and pastoral infantilism' -- 'the degradation of liturgy to the level of a parish tea party and the intelligibility of the popular newspaper.' "

Read more of this insightful interview with theologian Tracey Rowland.

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Some interesting (and flattering) comments from a visitor to our parish from Torino, Italy, reported here not because they are flattering but because they are provocative and stimulating:

Paraphrase: "To hear such beautiful sounds in a parish would be in impossible in Italy. The quality of music has declined decade by decade since the reform, so that you do not find the talent or the inclination to achieve this mastery. But here, in this small parish in Alabama, I experienced the greatest music that the human ear has ever experienced. It is music that can be loved by all, not just Catholics but also by Muslims and anyone else. You cannot move the cathedrals of Europe to the US, but you have moved the music and recreated the environment and spirituality. To me, this liturgy is further proof that the future of civilization has moved from Europe to the United States."

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"The faithful need to know the standard Gregorian chants, which have been composed to meet the needs of people of all times and places, in virtue of their simplicity, refinement and agility in form and rhythm. As a result, the songs and hymns presently in use need to be reconsidered. To enter into sacred or religious usage, instrumental or vocal music is to have a sense of prayer, dignity and beauty. This requires an integrity of form, expressing true artistry, corresponding to the various rites and capable of adaptation to the legitimate demands of inculturation. This is to be done without detracting from the idea of universality. Gregorian chant fulfills these needs and can therefore serve as a model..." -- Instrumentum Laboris for Synod of Bishops, October 2005. (via CantemusDomino)

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Our dear friend and founding member Jeanine Salves (1943-2005) dedicated her extraordinary musical talent to the musicam sacrum of the Catholic faith.

She was particularly attached to the ideal of chant, polyphony, and sacred hymnody in parish liturgy. She applied her art at St. Michael's Catholic Church in Auburn, Alabama, where her rich alto voice could be heard at parish liturgies for eight years, and she traveled with the schola to assist in workshops to bring this music to others.

In her memory and honor, the Schola hopes to assist students, singers, and music directors to attend the annual Sacred Music Workshop at St. Michael's in Auburn. This workshop brings together experts in sacred music with aspiring parish musicians to sing Gregorian chant and sacred polyphony. The aim is to rekindle interest in and affection for the Catholic music tradition, and bring new life to sung prayer in liturgy. In this way, we hope to carry on one of her dream of restoring beauty to the sung liturgy.

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A Requiem Mass for the repose of the soul of our dear friend and colleague, Jeanine Salvas, will be offered on Friday, July 8th at 10:00 a.m. at St. Michael's Catholic Church in Auburn. Here is the program.

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Jeanine Salves, our dear founding member, died July 3, Sunday morning, 1:30am. She had suffered from cancer, which had been discovered two years ago. All who knew her will forever be inspired by her incredible energy, love of sacred music, and commitment to all things beautiful. Her rich alto voice lives in our hearts. She will always sing with the Schola. Requiem aeternam dona eis, Domine

Music: Dies Irae and In Paradisum.

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The Sacred Music Workshop, February 24-25, 2006, Auburn, Alabama, sponsored by the St. Cecilia Schola and directed by Scott Turkington, has been expanded by one day over previous years. On Friday will begin a choral workshop, designed for parish musicians who would like training in singing polyphonic repertoire of the 16th century for liturgical purposes. This polyphony choir will assist at the morning liturgy, February 25.

Some participants last year felt that we had made so much progress on the chant that they were left with some regret that there wasn't more time to go further. This expansion meets a growing demand for a more in-depth practicum on both chant and polyphony. It allows those who adore polyphony to concentrate exclusive in this area on Friday, and permits the workshop to spend more time on Saturday working on chant. The hope is that the workshop schola will prepare more of the ordinary and propers for the evening liturgy, precisely as recommended by the General Instruction.

See the schedule and download the registration form.

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The Schola receives emails nearly every week from people interested in starting chant and polyphony scholas in their parishes. Evidence that this trend is turning into a genuine movement comes from CantemusDomino's links to several calls on the blogosphere for schola members (see this, this, and this), along with the comment section on each post.

Many have learned from our own experiences documented in this suggested blueprint. We have suggested a five-step plan (it begins with charity and humility) that could take as long as a year or two to implement, given existing parish realities.

The St. Cecilia Schola has been working for nearly four years, and we've made enormous progress, with excellent processional and recessional hymns, Latin in some ordinary parts (Sanctus and Agnus Dei), the Communio, and chant hymns plus polyphony every week. And yet only now have we moved toward adding the Psalm verses to the communion antiphon from the Graduale (which we had only begun using consistently last year at this time). Even today, our Gloria and Credo remain in the vernacular in anticipation of a time at some point in the future when Latin in these Mass parts seems pastorally viable.

It is a huge investment of time and energy--and there is progress to be made in nearly every parish situation--but never doubt that it is more than worth it in every way. Even from the point of view of musical education, there is no better training than the discipline provided by Gregorian chant. If you have musical talents, why not use these to the glory of God right in your own parish? Never has resources been more freely available. What is required to make the Church's musical tradition come alive is prayer, hard work, and dedication.

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