A lovely hymn I can never use: On the gemstones in the walls of the New Jerusalem

Regarding Revelation 21:18-20:

The wall was constructed of jasper, while the city was pure gold, clear as glass. The foundations of the city wall were decorated with every precious stone; the first course of stones was jasper, the second sapphire, the third chalcedony, the fourth emerald, the fifth sardonyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh hyacinth, and the twelfth amethyst.

 Translator's commentary:

The twelve foundation stones of the Apocalypse gave rise, as might be expected, to an infinite variety of mystical interpretations. Marbodus wrote a short contmentary on the prose that we are considering,

Sing to the tune of Faith of Our Fathers.

Ye of the heav’nly country, sing
The praise and honor of your King
The raiser to its glorious height
Of that celestial city bright,
In whose fair building stand displayed
The gems for twelve foundations laid.

The deep green hue of jasper saith
How flourishing the estate of Faith,
Which, in all them that perfect be
Shall never wither utterly,
In whose firm keeping safe we fight
With Satan's wile and Satan's might.

The azure light of sapphire stone
Resembles that celestial throne·:
A symbol of each simple heart
That grasps in hope the better part :
Whose life each holy deed combines,
And in the light of virtue shines.

Like fire, though pale in outward show,
Chalcedony at length shall glow;
Carried abroad, its radiance streams:
At home, in shade it hides its gleams:
It marks their holiness and grace
Who do good deeds in secret place.

The emerald burns, intensely bright,
With radiance of an olive light :
This is the faith that highest shines,
No deed of charity declines,
And seeks no rest, and shuns no strife,
In working out a holy life.

Sardonyx, with its threefold hue,
Sets forth the inner man to view;
Where dark humility is seen,
And chastity with snow-white sheen,
And scarlet marks his joy to bleed
In martyrdom, if faith shall need.

The sardius, with its purple red
Sets forth their merits who have bled:
The martyr band, now blest above,
That agonized for Jesus’ love:
The sixth foundation, not in vain,
The Cross's mystery to explain.

The golden colored chrysolite
Flashes forth sparkles on the night:
Its mystic hues the life reflect
Of men with perfect wisdom decked,
Who shine, in this dark world, like gold,
Through that blest Spirit sevenfold.

The sunshine on the sea displays
The wat’ry beryl’s fainter rays:
Of those in this world's wisdom wise
The thoughts and hopes it signifies :
Who long to live more fully blest,
With mystic peace of endless rest.

Beyond all gems the topaz rare
Hath value therefore past compare;
It shines, albeit of colour grey,
Clear as a fair ethereal ray:
And notes the part of them that live
The solid life contemplative.

Some Council, decked in purple state
The chrysoprase doth imitate:
In the fair tint its face that decks
'Tis intertinged with golden specks:
This is the perfect love, that knows
Kindest return to sternest foes.

The azure jacinth comes between
The brighter and the dimmer sheen:
The ardour of whose varied ray
Is changed with every changing day:
Th’angelic life it brings to view
Attempered with discretion due.

Last in the Holy City set
With hue of glorious violet,
Forth from the amethyst are rolled
Sparks crimson-bright, and flames of gold:
The humble heart it signifies
That with its dying Maater dies.

These stones, arrayed in goodly row
Set forth the deeds of men below:
The various tints that there have place
The multiplicity of grace.
Who in himself such grace displays
May shine with these in endless rays .

Jerusalem, dear peaceful land!
These for thy twelve foundations stand ;
Blessed and nigh to God is he
Who shall be counted worthy thee!
That Guardian slumbereth not, nor sleeps,
Who in his charge thy turrets keeps.

King of the heavenly city blest!
Grant that thy servants may have rest,
This changeful life for ever past,
And consort with thy saints at last:
That we, with all the choir above,
May sing thy power and praise thy love!

Cibes coelestis patriae, Marbodus, d. 1125, tr. John Mason Neale in Medieval Hymns and Sequences, 1863, alt. Public domain.

On Bad Hymns

When you become a professional at something many of your friends are amateurs at, your pet peeves change, big time. Most notably, the amateur's expression of their pet peeves, which are no longer yours, drive you nuts.

Today's iteration? Bad hymns.

Not bad music-related puns, bad hymns.

Sure, those in the the collection complained about here aren't our best: Gather Us In; City of God; Lord of the Dance; All Are Welcome; and Mary, Did You Know? But there are so many that are so much worse! I understand, pet peeve, sung too often, etc. But take a gander at a few choice verses here:

Sing we of the modern city,
Scene alike of joy and stress;
Sing we of its nameless people
In their urban wilderness.
Into endless rows of houses
Life is set a millionfold,
Life expressed in human beings
Daily born and growing old.

                  from Sing We of the Modern City

A nice try, but:

Lord, the demons are still thriving
In the grey cells of the mind:
Tyrant voices, shrill and driving,
Twisted thoughts that grip and bind,
Doubts that stir the heart to panic,
Fears distorting reason's sight,
Guilt that makes our loving frantic,
Dreams that cloud the soul with fright.
                     from Silence! Frenzied Unclean Spirit

Culturally offensive yet trying to be progressive:

Remember all the people
Who live in far off lands
In strange and lovely cities
Or roam the desert sands,
Or farm the mountain pastures
Or till the endless plains
Where children wade through rice fields
And watch the camel trains.
                     from Remember All the People

Merely inane/reductive:

With Jesus for hero, for teacher and friend,
The world to the purpose of God shall ascend:
Then learn we that gospel of love to obey,
Till sickness and want and disputes pass away.
                      from With Jesus for Hero

Yes, bringing our work up to God (rather than bringing him down to our work) is good, but...:

Lord of cable, Lord of rail,
Lord of motorway and mail,
Lord of rocket, Lord of flight,
Lord of soaring satellite,
Lord of lightning’s livid line,
All the world of speed is thine!
                     from God of Concrete, God of Steel

And, of course, the uncontested (in my opinion) winner: Giant Love Ball Song by Carey Landry (earworm warning!).

So, pardon me if I don't really care that you're sick of singing On Eagles' Wings. You know what? At least that one's based on Scripture.

New Favorite Ash Wednesday Hymn

Sing to the tune of The Glory of These Forty Days:

It is the time of solemn fast:
The mournful days of Lent are here,
The priests and people weep aloud,
The temple echoes with their tears.

But all defy the wrath of God
And all the grieving words deceive,
Unless repentant hearts are true
And contrite in our shame we grieve.

In vain our foreheads mark’d with ash,
In vain the bow’d and beaten breast,
Unless true sorrow for our sins
Our very soul marks with distress.

With hearts thus Broken by our sins,
Before our God, then let us fall,
Who, knowing all our wicked faults,
Demands no punishment at all.

O righteous Judge! O God Most High!
Withhold the forfeit we should pay,
And give both time for true reform
And grace to help us change our way.

Grant us a harvest from our fast,
O, high and blessed Trinity,
Which we may reap in heav’n with you,
O, one and perfect Unity.

Solemne nos jejunii, Paris Breviary, XVIII, tr. John-Julian, OJN, 1997. © 1998 Order of Julian of Norwich. All rights reserved.

Hymn for the Pope: Long Live the Pope!

Can be sung to the tune of I Heard the Voice of Jesus Say

Long live the Pope! His praises sound
Again and yet again:
His rule is over space and time;
His throne the hearts of men:
All hail! the Shepherd King of Rome,
The theme of loving song:
Let all the earth his glory sing,
And heav'n the strain prolong,

Beleaguered by the foes of earth,
Beset by hosts of hell,
He guards the loyal flock of Christ,
A watchful sentinel:
And yet, amid the din and strife,
The clash of mace and sword,
He bears alone the shepherd staff,
This champion of the Lord.

His signet is the Fisherman's;
No sceptre does he bear;
In meek and lowly majesty
He rules from Peter's Chair:
And yet from every tribe and tongue,
From every clime and zone,
Three hundred million voices sing,
The glory of his throne.

Then raise the chant, with heart and voice,
In church and school and home:
"Long live the Shepherd of the Flock!
Long live the Pope of Rome!"
Almighty Father, bless his work,
Protect him in his ways,
Receive his prayers,
fulfill his hopes,
And grant him "length of days."

Hymn from the St Gregory Hymnal, Complete Edition, 1947

Words by Hugh T. Henry, (C) 1908 J. Fischer & Bro., slightly alt.

7 Quick Takes, Christmas Music Edition

This is not a proper 7 quick takes, but I haven't exactly been adhering to the schedule either. :)

1. First, my old favorite: Cantique de Noël. O Holy Night is okay, but it's so much richer in French! Also way more Catholic. Here is my old blog post explaining and translating.

2. Next, a Polish Lullaby to baby Jesus, Lulajże Jezuniu. Translation here.

3. What's that? You want a carol in English? How silly! A silly brief English madrigal, then, if you insist: Masters in This Hall.

4. Can't forget that beloved German lullaby Still, Still, Still. Translation here.

5. A two-for-one: Carol of the Bells and Gesù Bambino.

6. You'd all be concerned about me (and rightly so) without at least one Latin carol, so I present to you Tomás Luis de Victoria's setting of O Magnum Mysterium. Translation here.

7. And, mostly because I missed it so much at Midnight Mass, a second setting of the same text, this time by Morten Lauridsen, whom I only just now discovered is both American and still living! Holy crap. This man's music is classic. Freaking awesome WSJ article about him.

Merry Christmas to you all, now and throughout the season! I have so many favorites, I just might pull this trick again next Friday. :)

Lauds Hymn for the Solemnity of All Saints

O Jesus, Savior of the world,

Assist the souls you have redeemed;

And gentle Mother of our Lord,

For us poor sinners pardon win.

May all the gleaming Angel hosts

And patient Patriarchs serene,

And Prophets faithful unto death,

Make supplication for the world.

May John, fore-runner of our Light,

And he who holds the keys above,

And all Apostles of our Lord,

Absolve us from the stains of sin.

And may the Martyrs countless throng,

And Priests devoted to their Lord,

And holy virgins' merits too,

Obtain remission for our falls.

May pure monastic prayer above,

United with all Saints on high,

Accept our lowly sighs on earth,

And gain for us eternal life.

All glory, Jesus, be to you,

The Father and the Spirit, too,

Whose wondrous light is cause of joy

For all the Saints eternally. Amen.

Lauds hymn for the Solemnity of All Saints,

translation from the Mundelein Psalter.

Hymn for Vespers of CTK, EF

This hymn is not from the Mundelein Psalter, surprisingly enough. Yesterday (for the first time alone) I prayed the Office from a 1965 breviary, which did soooooooooo much to help the personal spirituality frustration about the divergence of calendars! It's translated as prose, but that doesn't make the hymn any less lovely:

We acknowlege You, Christ, to be Lord of the ages, King of the nations and only master of man's soul and heart.

The wicked mom screams out, "We don't want Christ as king," while we, with shouts of joy, hail You as the world's supreme King.

Christ, peace-bringing Prince, subject rebellious souls to Your rule, and in Your love lead back to the one fold those that have strayed from it.

For this, with arms outstretched, You hung, bleeding, on the Cross, and the cruel spear that pierced You, showed man a heart burning with love.

For this, You are hidden on our altars under the form of bread and wine, and pour out on Your children from Your pierced side the grace of salvation.

May the rulers of the world publicly honor and extol You; may teachers and judges reverence You, may the laws express Your order and the arts reflect Your beauty.

May kings find renown in their submission and dedication to You. Bring under Your gentle rule our country and our homes.

Glory be to You, Jesus, supreme over all secular authorities; and glory be to the Father and the loving Spirit, through endless ages. Amen.

Vespers hymn for Palm Sunday

Tonight's Vespers hymn is the beautiful Vexilla regis:

Behold the standard of the King,

The Cross gleams forth its mystery;

On it the Son of God as Man

Atoned on earth for sinners all.

His side was pierced by cruel lance

That drew out water with his Blood,

To cleanse our souls from ev'ry stain,

And nourish them with its pure stream.

O Tree that shines with beauty rare,

Ennobled by Christ's precious Blood,

He chose you as the royal bed

To rest his sacred limbs in death.

O blessèd were your rugged arms,

From which the whole world's ransom hung,

You bore the weight of sacrifice

That snatched from greedy hell its prey.

Hail, holy altar, Victim hail,

For all the glory of that Cross,

By which Life chose and welcomed death,

And dying gave us life once more.

Hail, holy Cross, our only hope,

Wash all our guilt and crimes away,

Increase our grace while we adore

In honor of your victory.

Let ev'ry soul sing in your praise,

Salvation's Fount, O Trinity,

For ever cherish those redeemed

Through that great mystery, the Cross. Amen.

(Translation from the wonderful Mundelein Psalter.) A blessed Holy Week to you all!

On Liturgical Chant, and Thinking in Centuries

I've been doing a lot of work in the English translation of the new Missal lately. Mostly I've been combing through the General Instruction and the rubrics (fodder for future blog posts, I'm sure), noting changes there (mostly in terminology and capitalization), but today a few of us sang through the chants as they will appear in the new Missal.

Well! I find it fascinating.

They are clearly the simplest Latin chants, adapted so that the English can fit into the Latin meter. The result is not terribly natural for English singing (particularly not when compared to English plainchant!), but is singable enough, and the non-Latin-scholars in our group had little difficulty with it.

Coming to these from a Latin chant background was an interesting experience. Many of the chants are modeled on the Latin - which means that they are similar, but not exactly. The most noticeable difference is that any note that was lengthened - whether by a horizontal episema, quilisma, or bistropha - is no longer lengthened (try singing the Sanctus giving all the notes the same metrical value - phew!)

But the Gloria, the Creed, the various responses - these are all based on the Latin tones. Again, not the same, but based on. Even the tone for the Lord's Prayer and its doxology is not the familiar one but the Latin one!

So I can't help but wonder: Why? Is it possible we've set ourselves up so that English-speaking congregations around the world will be able to easily learn the Latin tones in 5-10 years, as Rome has been asking of us for decades?* The Latin (or Greek, as the case may be) to the same tone is printed below for the Kyrie eleison (Lord, have mercy),** the Gloria in excelsis (Glory to God in the highest), the Lord's Prayer,*** the Sanctus (Holy, Holy, Holy), the Agnus Dei (Lamb of God), and these parts are always referred to in the GIRM as I've recreated them above (as opposed to the current translation, in which only the Latin name is used).

Of course I don't like everything about the musical notation (two syllables for Bap-tism in the Creed is vying for first place), but it's cool to see: as the English-speaking Catholic world is being given words that reflect in detail the Latin of the editio typica, we are also being given chants that similarly reflect the Latin ones in our tradition. Would that I might see the day when Catholics around the world can actually sing a few unifying pieces in Latin!

Cantate Domino canticum novum laus eius in ecclesia sanctorum!

*Pope Pius X asked for this in Tra le sollecitudini (par. 3) in 1903; the Second Vatican Council mandated it in Sacrosanctum Concilium (par. 54) in 1963; and Pope Paul VI sent a booklet called Jubilate Deo to every bishop in the world with "a minimum selection of sacred chants" (letter here) in 1974. Other examples exist, but I find these both most important and most compelling.

**The Kyrie is sometimes just called the Kyrie. I haven't managed to figure out why this one gets to drop its translation, but none of its brethren do.

***The Lord's Prayer, like all the others, is given first in English, then in Latin, to the same tone. Of note: the doxology after the Lord's Prayer ("For the kingdom") is only given in English, though it, too, is to the familiar Latin tone.

Hymn for the Nativity of Mary

Today is the feast of the Nativity of the Blessed Virgin Mary.  Below is the hymn prescribed by the Church for Lauds (Morning Prayer) in the OF.  English translation from the Mundelein Psalter.

O Mary, Mistress of the world,
And Queen of heaven's blissful court,
O gleaming Star of life's wide sea,
And Virgin Mother, pure as snow.

To our poor earth, fair daughter, come,
In all your virgin glory, shine,
For you will bear most noble Flow'r,
When God the Son comes down as man.

Your birth from David's chosen stem,
We venerate with joy this day
You form our hope of Light to come,
To gladden and relieve our woe.

We dwell on earth, but through your prayer
Access to heaven we can win,
Once ransomed by the sacrifice
Of Christ your Son in which we share.

For ever glory and all praise
Be rendered to the Trinity,
Who gave to you a mother's place
Within the Church in name and grace. Amen.

The Good Friday Reproaches

I'd never before paid attention to the Reproaches that are sung on Good Friday, during the Veneration of the Cross.  Such a beautiful juxtaposition of God's goodness to our sinfulness!  Consider them the words of Christ on the cross to his chosen people.

My people, what have I done to you? or in what have I offended you? Answer me.

Because I led you out of the land of Egypt: you have prepared a cross for your Savior.

Holy God. Holy, mighty One. Holy, immortal One, have mercy on us. (2x, in alternating Greek and Latin)

Because I led you out through the desert in forty years, and fed you with manna, and brought you into a very good land: you have prepared a cross for your Savior.  Holy God...

What more should I have done, and did it not? Behold, I have planted you as my fairest vine, and you have become very bitter to me, for you have quenched my thirst with vinegar, and with a lance you have pierced your Savior's side. Holy God...

For you did I scourge Egypt and its firstborn, and you have given me over to be scourged. My people...

I led you out of Egypt, overwhelming Pharaoh in the Red Sea, and you have delivered me to the chief priests. My people...

I opened the sea before you, and you have opened my side with a lance. My people...

I went before you in a pillar of cloud, and you have haled me to the judgment hall of Pilate. My people...

I fed you with manna through the desert, and you have smitten me with buffets and with lashes. My people...

I gave you the water of salvation to drink from the rock, and you have given me gall and vinegar to drink. My people...

For you I smote the kings of the Canaanites, and you have smitten my head with a reed. My people...

I gave you a royal scepter, and you have given my head a crown of thorns. My people...

With great power I lifted you up, and you have hung me upon the gibbet of the cross. My people...

(Translation adapted from the Institute of Christ the King)

Hymn for Saint Joseph

One of the coolest things about the Mundelein Psalter is its hymns.  See, the Liturgy of the Hours has hymns prescribed for specific feasts and days throughout the year (it's not just "pop in a song and go"; there's a prescribed song that's ideal to be sung).  Below is the Vespers Hymn for the Solemnity of Saint Joseph, Husband of Mary:

O Joseph, heav'nly hosts thy worthiness proclaim,

And Christendom conspires to celebrate thy fame,

Thou who in purest bonds were to the Virgin bound;

How glorious is thy name renowned.

Thou, when thou didst behold thy Spouse about to bear,

Were sore oppressed with doubt, were filled with wond'ring care;

At length the Angel's word thy anxious heart relieved:

She by the Spirit hath conceived.

Thou with thy newborn Lord didst seek far Egypt's land,

As wand'ring pilgrims, ye fled o'er the desert sand;

That Lord, when lost, by thee is in the temple found,

While tears are shed, and joys abound.

Not till death's hour is past do other men obtain

The meed of holiness, and glorious rest attain;

Thou, like to Angels made, in life completely blest,

Dost clasp thy God unto thy breast.

O Holy Trinity, thy suppliant servants spare;

Grant us to rise to heav'n for Joseph's sake and prayer,

And so our grateful hearts to thee shall ever raise

Exulting canticles of praise. Amen.

Coming soon: official relaunch of this blog (with new name, new layout, new all sorts of things)!  Happy Solemnity!

Merry Christmas, everyone!

From lands that see the sun arise
To earth's remotest boundaries,
Let us proclaim the Virgin-born
The Son of Mary, Christ the King.

Divine Creator of the world,
A servile form he now puts on;
The Word made flesh will free mankind
And not lose those who are his own.

Within the Mother's stainless soul
Dwells plentidue of heav'nly grace:
Her sacred womb now bears enshrined
A secret such as none e're told.

The dwelling of that most pure heart
Becomes the temple of the Lord:
Virginity remains untouched
As she conceives God's only Son.

That Child divine is now brought forth
Whom Gabriel announced before;
Whom, cradled in his Mother's womb,
The Baptist knew, and leapt for joy.

Upon mere hay Christ deigns to lie:
He does not spurn a manger bed:
A little milk now nourishes
The One who feeds the very birds.

Celestial choirs resound with song,
And angels praise the Triune God:
To lowly shepherds they reveal
That Shepherd kind, who made the world.

All praise and glory, Lord, be yours,
Whom Virgin bore for all mankind:
All honor to the Father too,
And Holy Spirit, Three in one.  Amen.

-Proper hymn for Lauds, Christmas Morning (OF breviary).

Transcribed from The Mundelein Psalter.

On the Great Amen: Some Theology and A Moment

The priest concludes the Eucharistic Prayer with the Final Doxology, or the per ipso:

Through him, with him, in him, in the unity of the Holy Spirit, all glory and honor is yours, Almighty Father, forever and ever.

To which the congregation responds: Amen.

This prayer is the final summation of the orations that consecrate the Eucharist. It's as if he's been threading the shoelace all along, and this prayer is the big bow on top that ties it all together. So it's kind of a big deal.

I've been noticing recently that most of the hymn settings of the Great Amen shift the focus away from the Holy Eucharist being offered to the Triune God in glory and to the congregation's assent that this is as it should be. How many times have you heard four bars of instrumental introduction, plus "Amen" repeated between three and twenty times, and maybe a few other words thrown in there for good measure? This is especially dramatic when the per ipso is spoken and the Amen is sung. The focus is unquestionably on the congregation's assent.

Recently, I was attending Mass with a few of my priest classmates (other laypeople were invited, but didn't come). When it came time for the Eucharistic Prayer, eight priests stood around the altar, and I knelt alone in the congregation (wearing pink, to boot). At the per ipso, eight strong male voices sang out:

Through him, with him, in him, in the unity of the Holy Spirit, all glory and honor is yours, Almighty Father, forever and ever.

And my lone voice responded:

Amen.

Truly this was a demonstration of the respective importance of those words. The Sacred Liturgy is so beautiful when it's done simply but as written.

On Liturgical Music

When I first arrived here two weeks ago, I walked out of Sunday Mass, meandered a bit to let it sink in, and began to cry. The Mass itself was beautiful in so many ways, but I had not at all been able to insert myself into it in such a way as to actually pray.

I knew that part of my trouble was caused by the fact that I've been attending the Traditional Latin Mass all but exclusively for the past year, and sporadically for the year and a half before that. The extraordinary form of the Roman Liturgy is so much quieter and more contemplative than its brother the ordinary form.

Too, I've been spoiled by the Liturgical Institute. From my first days here, we've chanted Lauds together daily, and Vespers most days. This is beautiful in its unity and simplicity, but is unfortunately musically distinct from most Masses on campus with the seminary.

As the days rolled by, I began to realize the primary reason I had trouble praying at Mass here: the piano accompaniment was SO LOUD, it drowned out the voices of all 185 seminarians singing, as well as any shot I had at thinking prayerful thoughts. It was just so loud. Occasionally the organ was played instead, which was less jarringly percussive, though no less loud. (The chapel is a large space easily filled, and easily filled to overwhelming.)

Last Sunday, a few hours after campus Mass, I drove out to the nearest TLM available, at a parish apostolate of the Canons Regular of St John Cantius. As soon as the priest and servers processed in and began the prayers at the foot of the altar, I felt the comfort of familiarity, and immersed my spirit in the sacred action with relief.

That is, until the Kyrie. (Background: At my parish back home, we always sing the Ordinary in a seasonally appropriate chant setting.) This choir director had selected a lovely polyphonic setting of the Ordinary, which had great potential to be a wonderful aid to prayer, even despite that one soprano who was consistently just sharp enough to make you cringe. Unfortunately, the choir was mic'd. This church was a small space, with a maximum seating capacity of maybe two hundred people. No carpeting, nothing but bodies to absorb the sound. There was no need to artificially amplify the choir's voices. And though the music they sang was objectively much more beautiful than the 1970's hymns that were sung at the seminary that morning, I could no more pray THROUGH THE NOISE OF THEIR BEAUTIFUL SINGING than I could with the too-loud piano.

As the days have gone by here at the seminary, I've learned to pray via the sound itself of the piano or organ, and they've gotten choirs organized which fill out the sound in a much lovelier (and more balanced) way. Too, the the LI has begun to have our own Masses once or twice a week, which is a retreat into simple chant, at least.

But Friday night tied together for me what's been missing. I went to a local Spirit and Truth, which was much smaller than the one I'm used to. Back home, a night that's light on music ministry had only Isaac and me, guitar with two full, blended voices (other options over the years have also included up to two additional harmonic voices and instruments such as violin, bass, and keyboard). I had anticipated missing this musical delight very much, and much as I expected, music ministry here was just one woman and her guitar.

But in its simplicity, there was such fertile beauty. Fewer than twenty of us were scattered throughout the small church. Her voice and guitar were both clearly heard, but neither impressed the listener with any necessity to join in. The sound floated above us from the choir loft, and we could add to it or pray without our voices, as we so chose. The music itself gave us the choice.

That's what I'd been missing all along: liturgical music should invite the listener to pray, not force them to sing.

How far I've come since the days when I thought participating in the Mass simply meant singing along! I daresay that even more important than the musical style or the lyrical content (excepting heresy, of course) is the prayerful quality of the music. That is what liturgical musicians today must learn, and then teach to their congregations.

Dear Jesus, draw more hearts to Thee through true musical beauty, that Thy whole Church might come to know Thee in beauty and purity of soul. Amen!

On Childhood Latin

Today, as part of his Latin-themed 80th birthday present, I took my grandfather to Latin Mass. It was mostly just a pleasant trip down memory lane for him (not that he didn't pray, but that it wasn't an overwhelming spiritual experience), but I found it delightful to be able to bring someone from my family into this spiritual home of mine, which sometimes feels like it might as well be on another planet. And what stories he told! They were pretty cool. I especially like the one where he challenged an old pastor, asking him when he last used the phrase "fear of God" (the priest didn't really have a response).

Anyway. Back on topic. So my mom, in explaining this happening to the monsignor at our local parish, mentioned that "Claire and Pop-Pop have had a Latin connection for years." When she later relayed this to me, I laughed and asked, "Really?" I mean, I've always remembered that my grandfather had some hobby-like interest in Latin whenever I was studying it in school, but that seemed to be a shorter time than her statement reflected. And then she told me a story (which I actually remember!), and that put it all into perspective.

Pop-Pop and Mom had been in our parish choir for as long as I can remember. And I was pretty much ready to join the choir myself for as long as I can remember (it wasn't available to me 'till 4th grade; since then, however, I've not had a break of more than a few months without singing for Mass). So when, at seven years old, I learned a new choir song from my Pop-Pop, it quickly became my favorite (in my memory, at least, the song was definitely "Pop-Pop's favorite song", which may have influenced my proclivity for it). It was a simple round, with words as follows:

Jubilate Deo
Omnis terra!
Servite Domino
In laetitia.
Alleluia! Alleluia!
In laetitia.
Alleluia! Alleluia!
In laetitia.

"Rejoice in God, all the earth. Serve the Lord in gladness/joy. Alleluia! Alleluia! in gladness/joy. Alleluia! Alleluia! in gladness/joy." That translation comes more from my memory than from my current Latin knowledge. Now picture the scene:

Characters:
Claire, age 7
Mom
Pop-Pop (grandfather)

All three sing the song together, at Claire's insistence. Then Claire tries to conduct them in a round, with forceful directions, like "Pop-Pop, start!" (Mom gets the second part, and Claire takes the third part). Mom and Pop-Pop look at each other, amused, and sing obligingly.

At seven years old, my favorite church song (probably my favorite song, period) was in Latin. And my family was not traddy at all. Who knew?

On Performing

My junior year of high school, I had to memorize (and recite) a poem for English class.  The only parameter was that it be longer than a haiku or limerick.  While most of my classmates, unbeknownst to me, were choosing works by poets like e e cummings, Robert Frost, or Shell Silverstein, I spent my time memorizing Edgar Allen Poe's The Raven.  That's right: when everyone else was memorizing poems of twelve to twenty-five lines, I painstakingly committed to memory one hundred and eight lines of rhyming iambic octameter.  I realized along the way what a thorough process memorization for performance is, and while I'd thought I understood the poem when I first chose it, it wasn't until I was in the thick of rehearsing my delivery that I saw how much depth there was yet for me to plumb.

Some people I know through Spirit and Truth have organized a few coffee houses in recent months, and have asked me to sing in them.  Now, after my third performance, I have finally begun to process just what is so different about performance.

It's not ministry.  In ministry, you may be singing, but your objective is for the listeners to forget about your song and encounter God.  Not only do you not have to look at the congregation, you need to fade into the background and refrain from anything that would distract.  (I've been in various church music ministries without more than an occasional few months off since I was ten, so this is second nature to me.)

It's not public speaking.  When you're giving a speech, both your delivery and your content are important, but the one drives the other.  It's nigh impossible to speak clearly and eloquently without that carrying over into your mannerisms and gestures, which are secondary anyway.  Especially if this sort of thing comes naturally to you, all you need to concern yourself with as far as preparation is the text of your speech.  You can even interact with your audience while speaking (this usually enriches the experience for all involved).

It's not acting.  Good acting requires a lot of preparation (for most people), but more importantly it requires an invisible curtain between the actor and the audience.  You must take your character seriously and remain in character, no matter what the audience's response (save perhaps if they're yelling "FIRE!" and the building's burning down.  But even then, you get bonus points if you can improvise in character and leave with all your theatrical dignity).

It's performing.  In a performance, you put yourself on stage for others' enrichment and entertainment, but also for a unique kind of conversation with them.  You are expected to appear as comfortable as if you were in your own living room after a loosening-up drink, yet all eyes are on you (few of which give you any indication as to their response), and people are more docile to how you ask them to behave or feel, whether you explicitly ask them or lead them subtly through your performance.  Performance requires the polished preparation of an actor with the conversational ease of a public speaker.  If your performance is a musical one, it requires many of the same technical skills as ministry does, but with an intensity like that of one who carefully recites poetry.

And often, if your raw talents are good enough, you can get by without much preparation, and the audience is none the wiser.  But you know that you're capable of shining so much more brightly with just a little bit of elbow grease.  But a merely-good performance is better than none at all, right?

And besides, maybe you'll eventually develop a comfort zone for being on stage as yourself.  And then this whole performance thing will really become fun.

* * *

I feel obliged to note that this is my 100th post.  Woot!  My new goal: 200.

On Love Songs

By the time I reached high school, I was familiar enough with the popular music scene to feel dissatisfied with it. Why is every single song about love? I frequently wondered (leaving aside for a moment the distinction between love and lust). I searched for songs about other things, since romance is not the only important part of life worth talking about. And I did find a few, but most of what was out there were humorous songs and parodies or showtunes (or else too serious and depressing to be enjoyable). Still, these were what I tended to prefer. I'm sure it had nothing to do with the fact that everyone else seemed perfectly okay with listening to love songs all the time. :)

Then, in college, I stopped paying as much attention to the music I listened to. Rather, I paid more attention to what went in my ears, and purged from my collection some albums or songs whose content I found morally unsuitable. I listened to much more Christian Contemporary Music, most of which is just one artist putting to music a slightly different version of the same praise and worship song that's been put to music by eighteen other artists before (not to even try to count the number of amateurs who play the song with their own flair while leading worship). I listened to much less music on my own, and most of what I did was lyrically directed to God, so the Why is every song a love song? question mattered little.

I don't really know what has changed. But while I still appreciate a good nonsense song, I do value love songs more and more. I realized this suddenly as I was brainstorming a list of songs I might sing at the Appalachia Benefit Concert this weekend (anyone in my area who wants to hear excellent music and support our mission trip is more than welcome): every song I'd chosen to sing (with the exception of two hymns) was a love song! Whatever happened to me, that I who thought that it was silly to have so many love songs am now excited to be performing a bunch of love songs for fun?

I can only speculate, but I think it must be connected with my growing understanding of God as Love. Human love is a gift from God, a shadow of His own love. And human love is beautiful! In recent years I have experienced the beauty of self-sacrificing love, and it is positively intoxicating.

If I can subtly attract people to God by revealing the beauty of love through music... then how can I keep from singing?

On Dancing

My first dance was our eighth grade graduation dance (remember: in 8th grade, I thought I was ghetto, and so did just about everyone around me, though most of them were actually more ghetto than I). I'd never danced before save for line dances at parties and pretending to be a nightclub singer in the privacy of my room.  A few songs into the dance, my Indian best friend came over to me and said, "Claire.  Stop.  Like this."  My first dance lesson.

High school had dances, too, but it was also high school, so the sensuality and laziness of the bump and grind method, compounded by the fact that I didn't know anyone who danced to anything other than hip-hop (or sometimes techno, but techno was never my scene) and my inability to do the "I'm a white person who can't dance so I'll do dumb funny things like the Shopping Cart and the Lawn Mower" dance moves (for the record: I love these dances and am somewhat jealous of those of you who pull them off so well)...  that was a long clause.  What I'm trying to say is that I enjoyed dancing, but I mostly danced because that's what you were supposed to do at dances and it was fun, but that was about that.

Enter college, and swing dancing.  At this point I'd had one (long and painful) dance lesson with Dad on vacation, in which the only thing I learned was how to stop trying to lead and just follow the man - which is assuredly the most important dance skill I've ever learned.  My unproved belief that I was a good dancer was here tested for the first time, as I swing danced with many guys of varying skill levels without ever being completely bewildered.

In college also entered the charismatic renewal, which (among many other things) brought the concept of praise dancing - that is, of worshipping the Lord by dancing (to, say, praise and worship music) in addition to or in place of singing.  The pertinent detail here is that dancing became an activity not just of good, clean fun but of using my body to praise the Lord.  There's only so much variety in different types of dancing, so soon all dancing I did felt like praise in its own way.

Back to swing and (occasionally) salsa dancing.  I came quickly to see how these types of partner dancing were an excellent analogy for the spiritual journey.  Let me explain.  My job as the woman in these dancing situations is to follow the man, to do what he tells me to do even though he doesn't use his voice to communicate (I once heard it described as being a rag doll, in a non-derogatory sense).  One of the most exhilarating feelings is always when my mind has no idea what my dance partner just signaled me to do, but by the time I finish thinking that I realize that my body has already done it.  So docility to the Holy Spirit can be easily likened to a dance, since we're all feminine in relation to God.

Now that I'm back home, I've found bar that does salsa lessons and dancing weekly, and have convinced some friends to go with me regularly, so the presence of God is frequently on my mind as I exercise my body.  My attendance at a Filipino-Puerto Rican wedding yesterday only added to the feelings of joy that come with such dance.  Each dance was exhilarating partly because of the dance itself, but even more so because of the love I bore for my dance partner and all those dancing around me.

One final thought: this wedding was on Trinity Sunday, and the priest's homily compared the spiritual life to dancing, but in a different way.  The love of the Holy Trinity is the dance, and the Father sent the Son to us so that He could teach us the steps (as slowly and painstakingly as we might need).  I think the Holy Spirit is what enabled us to keep the steps?  That part's fuzzy.

My point: Dancing as metaphor for the spiritual life.  Think about it.  I like it.  :)

Note: Posted from Seattle, WA, from the offices of My Catholic Faith.  You should check them out, 'cuz they're cool.  And Dr. Curran gave me a free copy of his really cool-looking book on the Mass.  And I'm not saying that just 'cuz he gave it to me for free.  :)

On Teen Mass Music

As a liturgist-in-training with traditional leanings, I have strong opinions on liturgical music.  However, when I attend Mass away from my home parish (especially at youth ministry events), I try to leave my thoughts behind and pray the Mass with an open mind an a joyful heart, despite my personal intellectual (and, often, aesthetic) distaste for the music.  Last night was one such case.

The vocalists were wonderful: their voices carried, they blended well in their four-part harmonies, and they were fairly easy to follow for a congregation who didn't know the melody.  The keyboardist was fine; I didn't notice much about her one way or the other.  The bassist was right on target, and his volume might even have been perfect had the guitars been audible at all (instead, he was much too loud, and the music was empty, missing the core that kept it all together).

But what really ruined it was the percussion.  First off, they had two girls ringing tambourines.  Few things alienate musically-inclined high schoolers like tambourines thrown into a band.  Then, the drummer.  He was a good drummer (though heavy on the bass drum for my taste), but he _really liked his cymbals!_  And that, too, seemed to turn the kids off.

I don't know.  Maybe it's just me.  Perhaps the high schoolers really do like bad-karaoke-background-music style music for worship.  Maybe the swaying some girls did to the beat of the drum was because they were really praising the Lord.  But it seemed very easy for everyone to lean over and talk to their neighbor during Mass (even I am guilty there, though I tried to remind myself this was the Sacred Liturgy).

And for a style of liturgy in which the music is rockin' and the words are just kind of said because you can't do anything to jazz them up: the "rock" was really missing something.

I miss the chanting at home.  :)