The Chant Café

The Familar Chaos, But Still Taken By Surprise (rant warning)

2013-05-19T09:43:00.003-07:00

For some years, our schola at the parish has worked hard to get away from singing hymns in place of propers. This has been a huge relief, and an end to endless headaches over finding the right hymns and additions.

Now that we have Mass propers, we have clean editions, we know what to sing, everyone is on the right page, we are singing the right thing, and there is confidence and clarity all around.

And yet sometimes, we still need to sing hymns, as during recessional. You might think that this would be no big deal. Surely there are hymns in the hymnbook you can sing with a choir. Surely this can't be too confusing. And truly, most of the time, all is fine.

But then every once in a while -- and it happens when you least expect it -- there is chaos over editions, pitches, tempo, text, and much more.

For those who use OCP materials, you know about this problem. The various books don't match each other. The choir arrangements are completely un-singable in places. Even rhythms can be different between the pew books and the choir books.

This morning was one such case. We wanted to sing "Come Holy Ghost" for the recessional. How hard can that be? This is one of the most familiar hymns in Christendom.

Well, as is well known, the pew books don't have simple SATB parts. In fact, I don't think any OCP materials have that. I find that annoying but it is a well-known problem. Less well known is that the choir books -- if you are lucky enough to find the same hymn in there -- doesn't always have them either -- not even for this hymn standard.

The choir book offers fully three versions of "Come Holy Ghost" -- but not even one of them has a plain SATB arrangement. The first arrangement has piano, melody, and a soprano descant. The presumption is that surely every choir has one singer who wants to be a big star and sing above everyone else in a thrilling sort of way. Well, ours doesn't have such a person and it is not what we want to do. We sing without instruments and our main musical purpose with hymns is not the show off some one dazzling singer but to provide a rich environment for the people in the pews to feel confident about singing.

We could use this version and attempt to sing the piano parts but they are not voiced property for singers, and the words end up far from the notes. This is not a workable solution.

The second version is set up like some kind of canon or round or something. It is ridiculously complex and would require substantial rehearsal time and still probably not be a successful. It would completely confuse the congregation -- no question. Plus it is barely readable at all. In fact, it is actually preposterous.

So much for inspiring people to sing.

All this just for one simple hymn!

The third version is an SAB version of the same, as if this is any value added to an already incoherent and chaotic SATB version that I would guess has only been sing or one twice in human history, if ever. Why not a SAT and a ATB version too? </sarcasm>

Meanwhile, not a single plain-jane SATB hymn arrangement exists in a single OCP book in our parish's vast collection of OCP materials. To be sure, there is probably one that exists somewhere from this publisher, somewhere among the hundreds and thousands of things they publish. Someone will probably post in the comments something like "oh sure, it is right there on page 323 of JourneySongs or page 212 of MakingPraise," etc. We just don't happen to have it.

So, worried about this problem, I keep looking for something during liturgy, digging through other Catholic materials. I ended up finding three others hymnals, published by three other publishers, with three additional versions. What did I find? Three additional unison versions of this hymn, all with different words.

It is not rocket science to provide a SATB hymn. It is beyond me why Catholic publishers seem to have such a problem with this.

Singing propers is so much easier, so much clearer. I have no desire to put a permanent ban on hymns at Mass but events like today certainly make such a position tempting.

Pentecost Propers, St. Peters Rome

2013-05-19T09:00:00.001-07:00

The Songs of the Angels

2013-05-19T06:54:00.000-07:00

A beautiful little boy in my old parish died this week from a sudden accident. One moment he was playing, the next he was seriously injured, and the next, he died.

Death is not ok. It was never supposed to happen to us. Jesus changed it, and made it the door to eternal life, but it is still a bad thing. He cried to see the cup before His eyes, on the night He was betrayed.

I think of this wonderful, promising little boy, baptized and of tender age, standing at the choir Mass with his family in the front row, with their hymnals open. I hope we did right by him. I hope that our prayer together prepared him to sing today with the angels.

O the happiness of the heavenly alleluia, sung in security, in fear of no adversity! We shall have no enemies in heaven, we shall never lose a friend. God’s praises are sung both there and here, but here they are sung by those destined to die, there, by those destined to live for ever; here they are sung in hope, there, in hope’s fulfillment; here they are sung by wayfarers, there, by those living in their own country. -St. Augustine

How fast the chant?

2013-05-18T06:52:00.004-07:00

If you sing the chant too slowly, you lose the sense of the chant, you lose the meaning because the chant, the text, becomes less and less understandable. Yes, you have to understand what the text is saying. You don’t have to be a Latin scholar to know that (though that helps a lot). People in the pews have books they can follow, that is true. But singing the chant too slowly risks breaking the integrity of the text’s meaning. Try listening to an audio book at a really slow rate of reading. As you turn the pace down, it eventually becomes incomprehensible.

If you sing chant too quickly, you tend to retain the meaning of the text, but you put its sacral character at risk. The texts are sacred. They deserve respect and time. They must not be rushed. They must be savored. Chant that is rushed has a nervous, jittery quality to it. It lacks the essential quality: it isn’t prayerful. The pace of a Mass must not be lugubrious. Every Mass and every element of Mass must retain a sense of progress, of moving forward towards a goal. When you tear through a chant, you might be making progress, but you lose the essential sacral sense. Every word of the chants are the voice of the Church singing with Christ’s own voice. Christ is the true Actor during Mass. He borrows us, the baptized, and uses our gestures and song.

Ecclesia Institute Website: UPDATE

2013-05-17T17:45:00.003-07:00

For those interested in the Ecclesia Institute I posted about a few days ago, here's the corrected website with the up-to-date information: http://gotoecclesia.com/.

Words With Wings - Audio is Out

2013-05-17T11:46:00.000-07:00

Well, this is a moment we've dreamed about. Finally the audio CD of Words with Wings is out. For those who don't know, this is a series for teaching chant and music generally to children. It compresses the wisdom of a century into a small program for any parish, school, or home.

An essential component is a CD that has all the music so that the teacher and students can hear good singing, well modeled.

The CMAA put vast effort into this recording. It uses some of the country's best voices of children from the Cathedral Choir School of the Cathedral of the Madeleine in Salt Lake City. The quality is truly astonishing. I enjoyed just listening to the energy and enthusiasm of the singers even apart from the program itself.

The recording, editing, and production values are super professional - the best in the industry.

It is an essential complement to the books in the series. Together they make it possible to actually have a children's choir program -- a feature of Catholic life that fell into decline a half century ago and never recovered. This series makes that recovery possible for everyone.

If we are looking for long term change, this is the solution. Nothing else like it exists. If you know someone who is looking for music for kids in a Catholic context, please send them this link. It is an illustration of the kind of work we are doing at the CMAA, trying to find positive paths forward.

That He may bide with you forever

2013-05-17T11:23:00.002-07:00

Last Day to Book Room At Guaranteed Rate

2013-05-17T11:18:00.000-07:00

If you're coming to the Sacred Music Colloquium and you've been putting off booking your room, don't wait. Today (Friday, May 17) is the last day you will be able to receive the guaranteed low, CMAA rates. If you stayed at the Little America Hotel last year, you'll know that it is a spectacular place. Incredible quality and service. At $72, $97, or $117 a night, these rooms are a steal. Reserve your room directly with this link. Register for the Colloquium here.

How and why The Chant Café was in Wired

2013-05-17T09:21:00.001-07:00

At the risk of looking like I am trying too hard to cling desperately to whatever fame I have recently garnered (which I would totally do), I thought I should tell this story for at least three reasons not having to do with my own narcissism:

It's funny (well, I think so).
It demonstrates the value of modern technology for the spread of Sacred Music
The article does not mention any of the other people involved in this sort of work, which makes me look like a either a hero (if you don't know any better) or a publicity hog (if you do).

You probably know that about a month ago I wrote an article announcing that we have created a CMAA account at GitHub, and that I am hopeful it will become a useful tool for collaboration on larger projects (like an Open Sourced set of the Propers, or something...).

I had (and have) high hopes for this, but it's still just an idea- a first step. I have some plans, I hope some other people have some plans- but the whole thing is just an unrealized potential.

Then, last week, I got an email from Bob McMillan at Wired. Wired has something of a thing for GitHub (I know the feeling). Somehow or other, the people at GitHub (I am told) had read my article here at the cafe (they must Google themselves prodigiously) and thought it was a good explanation of how GitHub might be used in a non-software context. Also, I guess they thought it was cool. (Gregorian Chant is very cool, if you didn't know.)

So Bob gets in touch with me, asks me some questions about what we're trying to do. He thinks it's cool, but- there's really no story if there's no active project- which at that point there wasn't. Oh- and he's got a deadline.

I rush around trying to find something worthwhile to post to Github with just a few hours notice. The only thing I have access to and permission to use is a handful of Lilypond transcriptions from the Nova Organi Harmonia. Forum user "cantorconvert" (who I still haven't heard back from...) had posted these a couple weeks ago and had already given me permission to post them on GitHub.

I sent a quick email to Jeff Ostrowski, asking him to call me. I had no idea about the copyright status of the NOH, and I didn't want to make a major blunder here. His words: "You couldn't pay people to care about this stuff." Apparently back in 2008 when he and some others worked to get the set online, they tried without success to track down anyone who might have a copyright interest in it, or even anyone who might know who did. I gathered from our conversation that they found no one.

So I posted what I had, which wasn't much. I tried to explain to Bob the significance of the NOH and Gregorian Chant generally. ("Do you know anything about church music?" "Not really.") We talked about the general reception Open Source philosophy has had among the community around CMAA. We talked about the nature of text-based music engraving.

I sent him the only decent pictures I had of myself (the one he used is over six years old, and my wife thinks its ridiculous... but I like it), some links to the NOH and as much background info as I could muster together quickly.

And now there's this article over at Wired.

I'm particularly excited that we've managed to open our weird little church music echo chamber enough to get some outside attention. I really believe that the beauty and power of Sacred Music can change people's lives and be a source of grace for them.

The not-great part of this 15 nanoseconds of fame is that the article, by it's nature as a narrative profile, didn't address the fact that I just happen to be the current moment's loudest voice on the matter of Open Sourcing sacred music. I'm an evangelist, not a pioneer. People have been working on making this music ever more available and free for a good long while now- even a few who have already been using tools like GitHub.

Jeffrey Tucker has been beating this drum for awhile, and a growing number of composers, editors, and publishers have been contributing to the Open Culture movement, which itself is a continuation of the long history of social sharing at the heart of Gregorian Chant's history.

It's all very exciting, humbling, and not a little ridiculous. Ah well... back to work.

Cafe on Google Plus

2013-05-17T06:05:00.000-07:00

It seems that Google Plus is really taking shape as a serious player in the world of social media. If you haven't investigated it recently, you might take a look.

The ChantCafe has a community that anyone can join and you are free to post there. It would be nice to get more members and more activity.

Open Source Chant Mascot

2013-05-17T04:17:00.000-07:00

The Octocat is Github's mascot/logo. And now he sings in choir...

Thanks to The Ben Yanke

ChantCafe in Wired!

2013-05-16T13:31:00.001-07:00

Thanks to Adam Wood's techno-entrepreneurship. Gotta see this. Talk about old meets new.

Colloquium Registration Extended

2013-05-16T04:12:00.000-07:00

Remember this video from the 2008 Colloquium? It just keeps getting better and better. Although the initial registration deadline for this year's Colloquium was yesterday (May 15), we're keeping registration open until June 1 or every last spot is filled. Come one, come all! Late fee of $50 applies. Register here.

A Month-long Immersion in Chant, Philosophy, and Theology for Young Adults

2013-05-15T12:55:00.000-07:00

The CMAA is happy to announce a unique opportunity to immerse yourself in chant for five weeks with the Community of St. John (no, not the one founded by Hans Urs von Balthasar and Adrienne von Speyr). The Ecclesia program is a summer formation program led by the Brothers of St. John at the University of Mary in Bismarck, North Dakota.

July 1 - August 2, 2013

The Ecclesia program offers an opportunity to earn undergraduate, graduate, or continuing education credits, all while experiencing a summer of prayer, evangelization, and fellowship with future leaders of the Catholic Church from across the country.

There is an almost monastic flow to each day, with lauds, sext, vespers, and Mass celebrated daily, as well as time for lectio divina, recitation of the rosary, consecration to Mary, and Eucharistic adoration.

Aside from the liturgy, the heart of the program is an intensive formation in theology and philosophy, with nearly four hours of class per day. There is also time for recreation, a silent retreat, a camping trip to the Badlands, a service project, cultural outings, and the usual fun activities of a camp like bonfires, etc. The setting is amazingly beautiful, and offers the inspiration so necessary for living the artistic vocation.

Six credit hours (three in Theology and three in Philosophy) will be offered, transferable to any University in the country for undergrad or grad school credits. Or, the same classes may be taken for a certificate of continuing education.

How much does Ecclesia cost?
+ Undergraduate and Graduate Credit (Participants obtain 3 theology and 3 philosophy credits): $3,400
or
+ Continuting Education: $1,500

For more information about registration or scholarships, contact Katie Kimar 216.409.0973. For more information about Ecclesia's music program, contact Dr. Jennifer Donelson at jd1120@nova.edu.

Sign up here to register for the Ecclesia Institute 2013! The registration deadline is June 1st, 2013.

Immersion in Chant

New to this summer's program is a component for those who would like to study and sing chant throughout the 5-week program.

Here's the text from the program's website:

"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." Sacrosanctum Concilium ¶ 112

"The singing of the Church comes ultimately out of love. It is the utter depth of love that produces the singing. 'Cantare amantis est,' says St. Augustine, singing is a lover’s thing. In so saying, we come again to the Trinitarian interpretation of Church music. The Holy Spirit is love, and it is he who produces the singing. He is the Spirit of Christ, the Spirit who draws us into love for Christ and so leads to the Father." - Pope Emeritus Benedict XVI, The Spirit of the Liturgy, p. 142

"Whether it is Bach or Mozart that we hear in church, we have a sense in either case of what Gloria Dei, the glory of God, means. The mystery of infinite beauty is there and enables us to experience the presence of God more truly and vividly than in many sermons." - Pope Emeritus Benedict XVI, The Spirit of the Liturgy, p. 148

The liturgies of the Ecclesia institute will form an important and vital part of your growth in faith this summer. We turn to our mother, the Church, at whose feet we sit to learn to pray, through Her liturgical traditions. Sacred music plays a vital role in these liturgies, for it clothes the Word of God with splendor and beauty, and enables us to better worship God and grow in holiness.

This summer, our Masses will draw on the Church's vast treasury of sacred music as a means of drawing the hearts of all deeper into the mystery of God. Whether it be Gregorian chant, chant in English, choral music, or sacred organ music, the liturgical music at Ecclesia will strive to cultivate singers' talents in creating sublimely beautiful music in order to convey the reality of the earthly liturgy as a reflection of the Divine liturgy taking place continuously in heaven. The music, though varied, will reflect a fidelity to the Church's liturgical texts as outlined for us in the meditative chants (Gradual and Alleluia), and entrance, offertory, and communion antiphons of the Roman Missal, so that the beautiful and noble structure of the Roman rite will shine forth the glory of God.

There are two levels of participation available to those who would like to take part in the music program at this summer's institute:

- Rehearsal 5 days/week for 45 mintues, singing at most of the institute's liturgies

- Rehearsl 2 days/week for 45 minutes, joining with the above group, singing at Sunday and feast day liturgies

The following will also be a part of this summer's institutes for all participants:

- The celebration of the extraordinary form of the Roman rite twice throughout the institute. All other liturgies will be in the ordinary form of the Roman rite.

- Twice weekly talks about sacred music and the liturgy to help you grow in your love and appreciation for our Church's beautiful traditions and liturgy.

For those who are interested in a more intensive study of sacred music, the following option is available:

- Private lessons in singing and/or directing Gregorian chant as arranged with the Music Director

About Ecclesia's Music Director:

Dr. Jennifer Donelson is an assistant professor of music at Nova Southeastern University in Fort Lauderdale. She received her DMA in Piano Performance from the University of Nebraska-Lincoln where she studied piano with Paul Barnes, Mark Clinton, and Ann Chang, and organ with Quentin Faulkner. A specialist in the piano works and writings of Olivier Messiaen, she has lectured on and given performances of portions of the Vingt Regards sur l’Enfant-Jésus throughout the United States, France, and Mexico. Dr. Donelson has been awarded numerous academic fellowships, as well as a grant supporting her research at the Bibliothèque Nationale de France on the controversy surrounding the premiere of Messiaen’s Vingt Regards. She has presented her work on Messiaen and Charles Tournemire at the national conference of the College Music Society, the annual conferences of the Society for Catholic Liturgy, and at the International Conference on Music Since 1900 at Lancaster University (UK). Her publications include articles in the New Catholic Encyclopedia, Sacred Music, Antiphon: A Journal for Liturgical Renewal, and a forthcoming edited volume of essays on Charles Tournemire’s L’Orgue Mystique. In February 2012, she hosted and presented a paper at a national conference of the Church Music Association of America on the work of Charles Tournemire and has subsequently assumed the role of Academic Liaison for the CMAA, in which she develops academic initiatives and organizes academic conferences for the organization. She currently serves as a board member of the Society for Catholic Liturgy and as the associate managing editor of the CMAA’s Sacred Music journal.

Having studied Gregorian chant at the Catholic University of America and Abbey of St. Peter in Solesmes, Dr. Donelson has served as the director of music at St. Gregory the Great Seminary (Diocese of Lincoln, NE) and St. Thomas Aquinas Newman Center (UNL) where she founded the Cor Immaculatae Schola Cantorum, a semi-professional vocal ensemble dedicated to the performance of Gregorian chant and sacred polyphony. She has given diocesan workshops in Gregorian chant across the U.S., is a founder of the annual Musica Sacra Florida Gregorian chant conference, directed the children’s choirs at the Oratory at Ave Maria according to the Ward method, and has served on the faculty of the annual colloquium of the Church Music Association of America. She currently directs the schola cantorum at the Mission of Sts. Francis and Clare in Miami, where the extraordinary form of the Roman Rite is celebrated weekly.

Is PBC 2.0 Backwards Compatible?

2013-05-15T09:27:00.001-07:00

A question appeared on this blog about the second edition of the Parish Book of Chant, regarding whether it works to have and use both simultaneously. The answer is that no contents of the 1st edition have been removed or changed in the 2nd edition only adds material such as litanies, sequences, hymn verses, and more ordinary chants.

Maybe this is unusual in our time when we expect massive change with each new year. But that's the whole point of the Parish Book of Bank, to assemble timeless music of the faith, music that most Catholics in all places and most times have known. Together this music is like a soundtrack for Catholic life. As I look through it, I'm dazzled at what it contains: all music for Catholic people. If you want music for the schola to sing for specific liturgical purposes, you have to go elsewhere. This is music for the people in the pews -- threatened with extinction in the postconciliar period but now rescue with this book.

This is why this book remains in extremely high demand. Whether it is the Marian antiphons, the Te Deum, Crux Fidelis, or the just the canonical ordinary chants of the Mass, these are the songs that make up the core of the popular chant repertoire. If you congregation does not know them, they are seriously missing out on an important piece of Catholic tradition. I'm so pleased that the CMAA has been able to fill the gap.

Get your copies here.

English Propers for Pentecost: Vigil and Mass of the Day

2013-05-14T18:08:00.003-07:00

We are now in the final week of the Easter Season and are closing in on the great feast of Pentecost.

For Pentecost Sunday the Church gives us an optional but actual Saturday Vigil Mass (as opposed to the anticipated Mass that is often mistakenly called a "vigil") which has a striking similarity to the Easter Vigil that took place some 50 days before.

Following is a free download of the English proper chants for the Vigil Mass of Pentecost, including the extended Responsorial Psalmody, in addition to the antiphons for the Entrance, Offertory and Communion that are proper to this liturgy:

PENTECOST SUNDAY: AT THE VIGIL MASS

Parishes are perhaps more familiar with the Pentecost Mass of the Day, however, although most parishes have probably never sung the proper texts for this liturgy. Following is a free download of the propers for Pentecost Day, including the great Pentecost Sequence which sets the official English Lectionary translation of the Veni, Sancte Spiritus to the ancient chant melody from the Graduale Romanum:

PENTECOST SUNDAY: AT THE MASS DURING THE DAY

Both of these scores correspond to the Lumen Christi Missal, the first installment of the Lumen Christi Series. I am very excited to announce to you next week our plans for the completion of this series!

Lecture Series offered at Colloquium

2013-05-14T09:05:00.000-07:00

As an option for those who choose not to sing in a polyphony choir at this year's Sacred Music Colloquium, Dr. Susan Treacy, professor of Music at Ave Maria University, will be offering an afternoon lecture series commemorating the 110th anniversary of the 1903 motu proprio on sacred music of Pope Saint Pius X. Sounds too good to miss!

Lecture 1: Sacred Music in the Nineteenth Century

The first lecture will set the stage with an overview of Catholic liturgical music in the nineteenth century--the realities of sacred music in parish life and various efforts at reform--both in Europe and America.

Lecture 2: Music in the Life of Giuseppe Sarto

Born into a very poor family, the future Pope Saint Pius X became enamored of sacred music during his boyhood. In one sense his whole life was a preparation for the motu proprio. As a young priest, pastor, canon, and seminary rector, Father Sarto gave an important place to the teaching of Gregorian chant.

Lecture 3: Towards the motu proprio

In 1884 Giuseppe Sarto was made Bishop of Mantua; now he was able to promote Gregorian chant and sacred polyphony on a wider scale. As a bishop and then a cardinal, Sarto issued documents that would form the basis of his eventual papal motu proprio.

Lecture 4: Reception and Implementation of the motu proprio

How was the motu proprio received by the Catholic world? Did all Catholics obey the Holy Father's decrees? This lecture examines some of the initiatives to implement the motu proprio, including efforts to revive congregational chanting.

Lecture 5: The motu proprio: Past, Present, and Future

The motu proprio of Pope Saint Pius X has been the starting point of subsequent documents on sacred music, including those of Vatican Council II. Was Pius's vision for sacred music distorted after Vatican II? What has been done to restore this vision, and what can be done at the parish level?

You can still register for the Sacred Music Colloquium.

A Psalm with its Antiphon? Or an Antiphon with its Psalm?

2013-05-13T16:36:00.000-07:00

I've been wondering lately whether we give the Psalms full credit when considering the Propers.

If you were to ask me, "What is a Proper?" I would answer, "It's an antiphon--and some verses of a Psalm if you have time."

Two things have recently made me wonder if I'm not looking at the Propers from a 180 degree wrong angle. Perhaps I have it backwards, and the introit is A Psalm, which alternates with an antiphon that shows the Psalm in greater light.

The first thing that caught my attention in this matter was the plenary address given at last year's Colloquium by Fr. Guy Nicholls of the Birmingham Oratory. Fr. Nicholls convincingly demonstrated that the Introit Psalms in Ordinary Time are not chosen according to the readings of the day or according to any other external device, but run sequentially through the Book of Psalms from beginning to end. In effect, the Introit Psalms of the year are a Psalter. If this is true--if we are meant to be singing the Book of Psalms throughout the year as monks sing them through the week--then the Psalms are much less incidental to the Propers than I had thought.

The second indication that I was taking the Psalms less seriously than they deserved, and perhaps taking the Antiphons more seriously than warranted, was this interesting definition of "Introit" from the old, online Catholic Encyclopedia:

The Introit (Introitus) of the Mass is the fragment of a psalm with its antiphon sung while the celebrant and ministers enter the church and approach the altar. In all Western rites the Mass began with such a processional psalm since the earliest times of which we have any record.

I'm sure most of us have had the experience of needing the briefest possible proper, and if you are like me, you would have chosen to sing the antiphon and left the Psalm for another day when there was more time. However, I'm not convinced that this is the right way to go.

The article in the Catholic Encyclopedia, as I read it, seems to suggest that the Introit started as a Psalm only, and that antiphons were added later. Over time the antiphons came to be the defining aspect of the Introit, perhaps in part because the antiphon alone needed to be printed, in order to provide the melody. The Psalm would be sung to a Psalm tone, and by the cantor, who would not need it to be printed in the book. Eventually the Psalm was shortened to one verse with its Gloria Patri unless further verses were needed for reasons of time.

I wonder whether this is a unique scholarly view, or whether it might be safe to say that the Psalm is at least as essential to the singing of the responsorial Propers as is the singing of the through-composed antiphon.

Come, Holy Spirit

2013-05-13T15:23:00.000-07:00

As a test of the new commenting system, let's discuss which one of these is not an appropriate piece to program as the sequence this coming Sunday.

(Nah, I'm just kidding- use whichever one you feel moved to. :) )

Sunday's Canonization Mass, St. Peter's Square

2013-05-13T11:23:00.002-07:00

Pope Francis and the Liturgy

2013-05-13T06:01:00.002-07:00

"The fear that Francis’ papacy may mark the 'end of the reform of the reform' of the liturgical changes that were introduced after the Second Vatican Council is, frankly, unfounded." More

Benedict XVI on the Internet and Its Contribution

2013-05-12T17:56:00.003-07:00

Pope Benedict XVI gave the most wonderful message on the Internet two years ago. It contains none of the reactionary, anti-tech pop thought that passes for profundity today, and instead celebrates the creative role of human communication. Reprinting entirely:

Dear Brothers and Sisters,

On the occasion of the 45th World Day of Social Communications, I would like to share some reflections that are motivated by a phenomenon characteristic of our age: the emergence of the internet as a network for communication. It is an ever more commonly held opinion that, just as the Industrial Revolution in its day brought about a profound transformation in society by the modifications it introduced into the cycles of production and the lives of workers, so today the radical changes taking place in communications are guiding significant cultural and social developments. The new technologies are not only changing the way we communicate, but communication itself, so much so that it could be said that we are living through a period of vast cultural transformation. This means of spreading information and knowledge is giving birth to a new way of learning and thinking, with unprecedented opportunities for establishing relationships and building fellowship.

New horizons are now open that were until recently unimaginable; they stir our wonder at the possibilities offered by these new media and, at the same time, urgently demand a serious reflection on the significance of communication in the digital age. This is particularly evident when we are confronted with the extraordinary potential of the internet and the complexity of its uses. As with every other fruit of human ingenuity, the new communications technologies must be placed at the service of the integral good of the individual and of the whole of humanity. If used wisely, they can contribute to the satisfaction of the desire for meaning, truth and unity which remain the most profound aspirations of each human being.

In the digital world, transmitting information increasingly means making it known within a social network where knowledge is shared in the context of personal exchanges. The clear distinction between the producer and consumer of information is relativized and communication appears not only as an exchange of data, but also as a form of sharing. This dynamic has contributed to a new appreciation of communication itself, which is seen first of all as dialogue, exchange, solidarity and the creation of positive relations. On the other hand, this is contrasted with the limits typical of digital communication: the one-sidedness of the interaction, the tendency to communicate only some parts of one’s interior world, the risk of constructing a false image of oneself, which can become a form of self-indulgence.

Young people in particular are experiencing this change in communication, with all the anxieties, challenges and creativity typical of those open with enthusiasm and curiosity to new experiences in life. Their ever greater involvement in the public digital forum, created by the so-called social networks, helps to establish new forms of interpersonal relations, influences self-awareness and therefore inevitably poses questions not only of how to act properly, but also about the authenticity of one’s own being. Entering cyberspace can be a sign of an authentic search for personal encounters with others, provided that attention is paid to avoiding dangers such as enclosing oneself in a sort of parallel existence, or excessive exposure to the virtual world. In the search for sharing, for “friends”, there is the challenge to be authentic and faithful, and not give in to the illusion of constructing an artificial public profile for oneself.

The new technologies allow people to meet each other beyond the confines of space and of their own culture, creating in this way an entirely new world of potential friendships. This is a great opportunity, but it also requires greater attention to and awareness of possible risks. Who is my “neighbour” in this new world? Does the danger exist that we may be less present to those whom we encounter in our everyday life? Is there is a risk of being more distracted because our attention is fragmented and absorbed in a world “other” than the one in which we live? Do we have time to reflect critically on our choices and to foster human relationships which are truly deep and lasting? It is important always to remember that virtual contact cannot and must not take the place of direct human contact with people at every level of our lives.

In the digital age too, everyone is confronted by the need for authenticity and reflection. Besides, the dynamic inherent in the social networks demonstrates that a person is always involved in what he or she communicates. When people exchange information, they are already sharing themselves, their view of the world, their hopes, their ideals. It follows that there exists a Christian way of being present in the digital world: this takes the form of a communication which is honest and open, responsible and respectful of others. To proclaim the Gospel through the new media means not only to insert expressly religious content into different media platforms, but also to witness consistently, in one’s own digital profile and in the way one communicates choices, preferences and judgements that are fully consistent with the Gospel, even when it is not spoken of specifically. Furthermore, it is also true in the digital world that a message cannot be proclaimed without a consistent witness on the part of the one who proclaims it. In these new circumstances and with these new forms of expression, Christian are once again called to offer a response to anyone who asks for a reason for the hope that is within them (cf. 1 Pet 3:15).

The task of witnessing to the Gospel in the digital era calls for everyone to be particularly attentive to the aspects of that message which can challenge some of the ways of thinking typical of the web. First of all, we must be aware that the truth which we long to share does not derive its worth from its “popularity” or from the amount of attention it receives. We must make it known in its integrity, instead of seeking to make it acceptable or diluting it. It must become daily nourishment and not a fleeting attraction. The truth of the Gospel is not something to be consumed or used superficially; rather it is a gift that calls for a free response. Even when it is proclaimed in the virtual space of the web, the Gospel demands to be incarnated in the real world and linked to the real faces of our brothers and sisters, those with whom we share our daily lives. Direct human relations always remain fundamental for the transmission of the faith!

I would like then to invite Christians, confidently and with an informed and responsible creativity, to join the network of relationships which the digital era has made possible. This is not simply to satisfy the desire to be present, but because this network is an integral part of human life. The web is contributing to the development of new and more complex intellectual and spiritual horizons, new forms of shared awareness. In this field too we are called to proclaim our faith that Christ is God, the Saviour of humanity and of history, the one in whom all things find their fulfilment (cf. Eph 1:10). The proclamation of the Gospel requires a communication which is at once respectful and sensitive, which stimulates the heart and moves the conscience; one which reflects the example of the risen Jesus when he joined the disciples on the way to Emmaus (cf. Lk 24:13-35). By his approach to them, his dialogue with them, his way of gently drawing forth what was in their heart, they were led gradually to an understanding of the mystery.

In the final analysis, the truth of Christ is the full and authentic response to that human desire for relationship, communion and meaning which is reflected in the immense popularity of social networks. Believers who bear witness to their most profound convictions greatly help prevent the web from becoming an instrument which depersonalizes people, attempts to manipulate them emotionally or allows those who are powerful to monopolize the opinions of others. On the contrary, believers encourage everyone to keep alive the eternal human questions which testify to our desire for transcendence and our longing for authentic forms of life, truly worthy of being lived. It is precisely this uniquely human spiritual yearning which inspires our quest for truth and for communion and which impels us to communicate with integrity and honesty.

I invite young people above all to make good use of their presence in the digital world. I repeat my invitation to them for the next World Youth Day in Madrid, where the new technologies are contributing greatly to the preparations. Through the intercession of their patron Saint Francis de Sales, I pray that God may grant communications workers the capacity always to carry out their work conscientiously and professionally. To all, I willingly impart my Apostolic Blessing.

From the Vatican, 24 January 2011, Feast of Saint Francis de Sales

Don't Let Us Break Your Heart

2013-05-12T17:44:00.004-07:00

Countdown to registration deadline begins. Every year, we have to break hearts to reveal that it is full. Now is the time to register to attend.

Boston Choir School is recruiting!

2013-05-11T13:15:00.002-07:00

The Pope and the Liturgy in Buenos Aires

2013-05-11T08:22:00.004-07:00

An article in context by Alejandro Bermudez, translator of On Heaven and Earth.

Cardinal Bergoglio embraced the priests and their ministry. He would visit them in the shanty towns, send them to rest if they were tired and replace them himself at their parish for a few days. He would personally take care of them if they were in bed sick — essentially, he looked after their particular needs.

The only time he removed a villero priest from a shanty town was to protect him from a local drug lord who sent death threats.

And with the same fatherly solicitude that he used to care for his priests, the archbishop requested that they return to wearing clerics; refrain from using “batata” (an Argentinean sweet potato) instead of unleavened bread to celebrate Mass; and use songs from Catholic songbooks rather than political or secular songs. Most often, he used persuasion with his pastors to transform the liturgical abuses in Buenos Aires, but also, in the words of a fellow Jesuit, “he never flinched when tough measures were required.”

More here.