Category Archives: Music

A number of photographs from the St. Mary's Chant Camp in August are now posted online.  Special thanks to Margaret Hughes for the pictures.

From the lecture at the Collège des Bernardins, Paris, 12 September 2008
(Courtesy of Sandro Magister)

The psalms also contain frequent instructions about how they should be sung and accompanied by instruments. For prayer that issues from the word of God, speech is not enough: music is required. Two chants from the Christian liturgy come from biblical texts in which they are placed on the lips of angels: the "Gloria", which is sung by the angels at the birth of Jesus, and the "Sanctus", which according to Isaiah 6 is the cry of the seraphim who stand directly before God. Christian worship is therefore an invitation to sing with the angels, and thus to lead the word to its highest destination. Once again, Jean Leclercq says on this subject: “The monks had to find melodies which translate into music the acceptance by redeemed man of the mysteries that he celebrates. The few surviving capitula from Cluny thus show the Christological symbols of the individual modes” (cf. ibid. p. 229).

For Benedict, the words of the Psalm: "coram angelis psallam Tibi, Domine" – in the presence of the angels, I will sing your praise (cf. 138:1) – are the decisive rule governing the prayer and chant of the monks. What this expresses is the awareness that in communal prayer one is singing in the presence of the entire heavenly court, and is thereby measured according to the very highest standards: that one is praying and singing in such a way as to harmonize with the music of the noble spirits who were considered the originators of the harmony of the cosmos, the music of the spheres.

From this perspective one can understand the seriousness of a remark by Saint Bernard of Clairvaux, who used an expression from the Platonic tradition handed down by Augustine, to pass judgement on the poor singing of monks, which for him was evidently very far from being a mishap of only minor importance. He describes the confusion resulting from a poorly executed chant as a falling into the “zone of dissimilarity” – the "regio dissimilitudinis". Augustine had borrowed this phrase from Platonic philosophy, in order to designate his condition prior to conversion (cf. Confessions, VII, 10.16): man, who is created in God’s likeness, falls in his godforsakenness into the “zone of dissimilarity” – into a remoteness from God, in which he no longer reflects him, and so has become dissimilar not only to God, but to himself, to what being human truly is. Bernard is certainly putting it strongly when he uses this phrase, which indicates man’s falling away from himself, to describe bad singing by monks. But it shows how seriously he viewed the matter. It shows that the culture of singing is also the culture of being, and that the monks have to pray and sing in a manner commensurate with the grandeur of the word handed down to them, with its claim on true beauty.

This intrinsic requirement of speaking with God and singing of him with words he himself has given, is what gave rise to the great tradition of Western music. It was not a form of private “creativity”, in which the individual leaves a memorial to himself and makes self-representation his essential criterion. Rather it is about vigilantly recognizing with the “ears of the heart” the inner laws of the music of creation, the archetypes of music that the Creator built into his world and into men, and thus discovering music that is worthy of God, and at the same time truly worthy of man, music whose worthiness resounds in purity.

Music for the Twentieth Sunday after Pentecost (Missale Romanum of 1962, 9:30 a.m.)
Prelude: An Wasserflüssen Babylon (BWV 653) (Johann Sebastian Bach, 1685-1750)
Missa sine nomine (Orlando di Lasso, c.1532-1594)
Gregorian Mass of the Twentieth Sunday after Pentecost: Omnia quae fecisti
Motet at the Offertory: Super flumina Babylonis (Lasso)
Organ improvisation at the Communion
Postlude: Præludium in F Major (BuxWV 145) (Dietrich Buxtehdue, c.1637-1707)

Music for the Twenty-Sixth Sunday of the Year (Missale Romanum of 1970, 11:30 a.m.)
Prelude: An Wasserflüssen Babylon (BWV 653) (Bach)
Alleluia: Paratum cor meum (plainsong, mode iii)
Hymn at the Offertory: Jesu, Joy of Man’s Desiring (Bach)
Communion: Memento verbi tui (plainsong, mode iv)
Hymn at the Communion: O panis dulcissime (plainsong, mode i)
Postlude: Præludium in F Major (BuxWV 145) (Bach)

Music for the Nineteenth Sunday after Pentecost (Missale Romanum of 1962, 9:30 a.m.)
Prelude: Fantasia in G Major (William Byrd, c.1543-1623)
Missa Cunctipotens Genitor Deus (Vatican Gradual, Mass IV)
Gregorian Mass of the Nineteenth Sunday after Pentecost: Salus populi ego sum
Motet at the Offertory: Si ambulavero (G.P. da Palestrina, c.1525-1594)
Motet at the Communion: Confitemini Domino (Palestrina)
Postlude: Prelude & Fugue in G Minor (Johannes Brahms, 1833-1897)

Music for the Twenty-Fifth Sunday of the Year (Missale Romanum of 1970, 11:30 a.m.)
Prelude: Fantasia in G Major (Byrd)
Alleluia: Confitemini Domino (plainsong, mode ii)
Hymn at the Offertory: All My Hope on God Is Founded (Michael) (Herbert Howells, 1892-1983)
Communion: Tu mandasti (plainsong, mode v)
Motet at the Communion: Non nobis, Domine (Byrd)
Postlude: Prelude & Fugue in G Minor (Brahms)

Music for the Feast of the Exaltation of the Holy Cross (Missale Romanum of 1962, 9:30 a.m.)
Prelude: Jésus accepte la souffrance (Olivier Messiaen, 1908-1992)
Missa O Rex gloriæ (Giovanni Pierluigi da Palestrina, c.1525-1594)
Gregorian Mass of the Exaltation of the Holy Cross: Nos autem gloriari
Motet at the Offertory: O Crux benedicta (Cipriano de Rore, 1516-1565)
Hymn at the Communion: Vexilla Regis (plainsong, mode i)
Postlude: Passacaglia in C Minor (BWV 582) (Johann Sebastian Bach, 1685-1750)

Music for the Feast of the Exaltation of the Holy Cross (Missale Romanum of 1970, 11:30 a.m.)
Prelude: Jésus accepte la souffrance (Messiaen)
Missa de Angelis (Vatican Gradual, Mass VIII)
Alleluia: Dulce lignum (plainsong, mode viii)
Hymn at the Offertory: Cross of Jesus (John Stainer, 1840-1901)
Communion: Per signum Crucis (plainsong, mode iv)
Hymn at the Communion: Vexilla Regis (plainsong, mode i)
Postlude: Passacaglia in C Minor (BWV 582) (Bach)

St. Mary Church is pleased to announce that the Extraordinary Form of the Roman Rite will henceforth be celebrated in the upper church at 9:30 a.m. on Sundays.  Since last December, the traditional Latin Mass has been offered every Sunday and holy day in the lower chapel.  Low Mass will continue to be offered in the chapel every Wednesday evening at 7:00 p.m.  Beginning this month, there will also be a monthly Extraordinary Form Latin Mass at 8:00 p.m. on First Fridays. Every Sunday up to now has taken the form of sung Mass (Missa cantata); the norm will now be Solemn High Mass.

To mark this great occasion and the change in the Mass time, there will be a particularly festive celebration of the Holy Sacrifice of the Mass this coming Sunday, Sept. 7th.   Fr. Greg Markey, pastor of St. Mary's, will offer the Mass, with Deacon Stephan Genovese and Fr. Richard Cipolla as deacon and subdeacon, respectively.  The St. Mary's Schola Cantorum will sing Thomas Tallis' beautiful Mass for Four Voices, with motets by Lasso and Viadana.  As always, the Mass will be followed by a reception.  Please plan to join us!

St. Mary’s is pleased to use for the first time this weekend the Parish Book of Chant, a brand-new publication from the Church Music Association of America. St. Mary’s was able to purchase the PBC thanks to the generosity of a donor who wishes to remain anonymous. This book is arguably the first to provide a practical means for parishes to implement the wishes of the Second Vatican Council with respect to sacred music and liturgy. It encourages the participatio actuosa (participation in the act) of those who pray the Mass with the music that is integral to the rite itself, namely Gregorian chant.

The Second Vatican Council, echoing the influential 1903 motu proprio on sacred music of Pope St. Pius X, asked that the congregation learn to sing the parts of the Mass that pertain to them; the Parish Book of Chant enables this by providing beautiful, clear typesetting of these chants. There are eleven chant settings of the Mass Ordinary (Kyrie, Gloria, Sanctus, and Agnus Dei), several of which we already sing at St. Mary’s on a regular basis, and many more of which we will now begin to sing in the coming months and years.

Summorum Pontificum, the recent motu proprio of our present Holy Father, Benedict XVI, emphasizes the connectedness of the old and new forms of the Mass. To this end, the PBC provides the Latin texts and English translations for both forms. The Order of Mass for the Ordinary Form begins on p. 2; for the Extraordinary Form, on p. 22. For the Ordinary Form, these pages will take the place of the orange “Mass of Vatican II” booklets that we sometimes use at the 11:30 Mass; for the Extraordinary Form at 9:30, these can take the place of the red Ecclesia Dei Latin Mass booklets.

We will continue to use the red Worship III hymnals for English hymns, in addition to the Latin hymns that appear in the Parish Book of Chant. These hymns (each of which has an excellent English translation) will be delineated on the hymn board with a cream-colored “PBC” marker. Mass Ordinaries will be designated by a special marker containing the Roman numeral of the Ordinary for that Mass (e.g., “Mass VIII” or “Mass XI”).

At the back of PBC, there are guides, as helpful as they are brief, on singing chant and pronouncing Latin. Parishioners may find it helpful to consult these guides from time to time before Mass.

For more information about the work of the CMAA to promote the authentic sacred music of the Church, visit their website at www.musicasacra.com. St. Mary’s is excited to be among the first parishes in the United States to make use of this hymnal, and asks the continued intercession of Sts. Gregory and Cecilia, patrons of music, in offering worship which is as beautiful as possible to the glory of Almighty God.

Music for the Seventeenth Sunday after Pentecost (Missale Romanum of 1962, 9:30 a.m.)
Prelude: Prelude in D Major (BWV 532) (J.S. Bach, 1685-1750)
Mass for Four Voices (Thomas Tallis, c.1505-1585)
Gregorian Mass of the Seventeenth Sunday after Pentecost: Justus es Domine
Motet at the Offertory: Exaudi Deus (Orlando di Lasso, c.1532-1594)
Motet at the Communion: Exultate Justi (Ludovico da Viadana, 1564-1627)
Postlude: Fugue in D Major (BWV 532) (Bach)

Music for the Twenty-Third Sunday of the Year (Missale Romanum of 1970, 11:30 a.m.)
Prelude: Prelude in D Major (BWV 532) (Bach)
Missa de Angelis (Vatican Gradual, Mass VIII)
Alleluia: Domine, exaudi orationem meam (plainsong, mode vii)
Hymn at the Offertory: Angel Voices (E.G. Monk, 1819-1900)
Communion: Vovete et reddite (plainsong, mode ii)
Hymn at the Communion: Ave Verum Corpus (plainsong, mode vi)
Motet at the Communion: Jesu, Rex Admirabilis (G.P. da Palestrina, c.1525-1594)
Postlude: Fugue in D Major (BWV 532) (Bach)

St. Mary’s Choir will begin regular rehearsals for the year on Thursday, Sept. 4^th. New members are most cordially welcomed! The Choir sings for the 11:30 Mass every Sunday. Rehearsals on Thursday evenings are at 6:30 for the chant choir, and 7:30 for the full polyphonic choir. Though prior choral experience is very helpful, it is not necessary; the Choir works on furthering vocal technique and learning new repertoire throughout the year. (The professional St. Mary’s Schola Cantorum, which sings for the Latin Mass at 9:30 a.m., is strictly by audition only.) For further information, please speak with Organist & Choirmaster David Hughes at 203-866-5546 x115 or music@stmarynorwalk.net. We look forward eagerly to singing together in worship of Almighty God!

Music for the Sixteenth Sunday after Pentecost (Missale Romanum of 1962, 9:00 a.m.)
Prelude: Partitas on O Gott, du frommer Gott [O God, Thou faithful God] (BWV 767) (J.S. Bach, 1685-1750)
Missa de Angelis (Vatican Gradual, Mass VIII)
Gregorian Mass of the Sixteenth Sunday after Pentecost: Miserere mihi, Domine
Motet at the Offertory: Cantate Domino (Hans Leo Hassler, 1548-1612)
Motet at the Communion: Justus es Domine (Orlando di Lasso, c.1532-1594)
Postlude: Partitas on O Gott, du frommer Gott (BWV 767) (Bach)

Music for the Twenty-Second Sunday of the Year (Missale Romanum of 1970, 11:00 a.m.)
Prelude: Auf meinen lieben Gott [In my beloved God I trust] (BWV 646) (Bach)
Hymn at the Offertory: Word of God, Come Down on Earth (Liebster Jesu)
Communion: Qui vult venire (plainsong, mode i)
Hymn at the Communion: God Is My Great Desire (Leoni)
Postlude: Partitas on O Gott, du frommer Gott (BWV 767) (Bach)