Recordings from the Chant Intensive
These are wonderful sounds files recorded at the final Mass of the Chant Intensive, sung at Church of the Epiphany, Pittsburgh, Pennsylvania.
The Christopher Page Book
In recent days, I find myself constantly talking about The Christian West and Its Singers: The First Thousand Years. There can be no question that his account is seminal and, of course, deeply interesting to anyone who sings at liturgy or has an interest in Gregorian chant. I’m thrilled by the intense focus on the subject that I care about most deeply, so the book is a joy from the first to the last. It begins in the Apostolic period and goes all the way to Guido d’Arezzo. The production values are fantastic (thank you Yale University). My only complaint is that the book is so heavy that I could not bring it with my on travels so all I can do at the moment is look forward to getting back to my reading. I aspire, actually, to live blog the book in the Chant Cafe, chapter by chapter. Live blogging a book can be rigorous and draining but it is a wonderful way to learn. This book is certainly worth such a detailed treatment. Perhaps it will happen. In any case, you should get your own copies so we can discuss it in the comments box as we go along. The price is certainly right. I say again to Professor Page: your book is a marvel and you deserve profound congratulations on this monumental work.
A Chant Renaissance in Essex
Andrew Wright, Director of Music for the Cathedral and Diocese of Brentwood in the UK, leads the way in restoring Gregorian Chant to its rightful place in the Liturgy.
Until more recent times, Chant featured rarely in the liturgies of Brentwood Cathedral. Typical examples of its use would be the better-known Chant settings of the Ordinary, and the occasions for performance would principally have been the Sunday Choral Mass for the Cathedral/Parish. However, some Chant would be used for diocesan liturgies like the Mass of Chrism. Other examples of the occasional use of Chant would be Credo III, Pater Noster, Victimae Paschali, Veni Sancte and hymns such as the Veni Creator. Some Chant was also used for monthly Sunday Vespers, e.g Psalm 109 – either on its own or in conjunction with polyphony – and the occasional vespers hymn. In terms of the overall scheme of music at the Cathedral, the chant maintained some kind of balance with other forms of music but its role was fairly minimal.
Over the past four years, however, Andrew Wright, Brentwood Cathedral and Diocese’s illustrious Director of Music, has instigated a dramatic increase in the amount and frequency of Chant used at Cathedral liturgies. At the Sunday 11.30 Choral Mass he has extended the Chant to include an Introit, the Communion Antiphon is used every Sunday (at the start of Communion, followed by a motet), and the number of Chant Masses in regular use has been extended (for the Kyrie, Sanctus, Agnus Dei). Current plans include the introduction of Gloria XV and the proper Alleluia. The role of the Chant at Vespers has also been dramatically increased and the Psalms and Antiphons are now regularly chanted in Latin to the proper tones.
Andrew claims that the ability of the Cathedral Choir to perform the chant better has been a factor for its increase. He is also aware of a desire to help restore this most fundamental liturgical music of the Roman Catholic Church. “The congregation here is used to a great variety of music and I believe their listening experience has help lead to a greater appreciation of chant. We have also successfully demonstrated that repeating the chant, for example the Sanctus or Gloria VIII regularly on Sundays, gradually builds up the congregational singing and appreciation. The music of course stands much repetition and it’s very sound and construction is a product of its regular prayerful purpose. It is also music which is dispassionate and unifying and therefore good for the liturgy.”
He continues “people are increasingly conscious of the need for greater beauty and the numinous in much of our liturgical music, not least in terms of prayerfulness and deeper spirituality etc. People are more aware today of Chant in terms of art, its history and role and that it must not be lost from the liturgy. Having experienced any other forms of music people can evaluate this today better and more sensibly. However, it is important that any efforts to re-introduce chant are done sensitively and pastorally as not to do so can be counter-productive and have the opposite effect.”
“It is important to help people understand that the continued use of the traditional music of the church can find a home within the present day liturgy very successfully. Perhaps this would be true of most venues although in other venues the need and capacity to use much larger amount of chant can and does work depending on the liturgy and ritual employed. In more general venues it helps to introduce Chant with/through young choristers singing.”
Andrew has met with a very favourable response to the reintroduction of Chant in the Cathedral and a good number of the faithful have commented in particular about its beauty and prayerfulness. I have been privileged to conduct two workshops for Andrew at Brentwood Cathedral, the first for the Cathedral Choir, the second for the Diocese, and on both occasions I was struck by the wonderful welcome I received, and by the receptiveness of the people who, without exception, have open minds and hearts, and a hunger for prayerful music, the beauty of the Chant and the Sacred Liturgy. I am looking forward to my third visit to the Diocese in the Autumn for a Chant Workshop in conjunction with the local Anglican diocese, with which Brentwood enjoys particularly close ecumenical ties. I feel very honoured to have been asked again by Andrew to participate in some small way in the wonderful work he does in the Cathedral and throughout his diocese, of which he is also the Director of Music.
Andrew speaks of an awareness of what has been lost, musically, from the tradition of the Church, but also an awareness that the Holy Father has been encouraging us to look again and value our intrinsic musical heritage, and there is a real and increasing willingness to support this concern and contribute to its well-being. I know from my visits to this beautiful Cathedral Church, and from my many conversations with Andrew, that the Chant has once more found a home in the liturgy at Brentwood Cathedral, and that its use will continue to grow and flourish there under the inspired leadership of their wonderfully talented, forward-looking and inspirational Director of Music, for whom I have the utmost respect and admiration.
Please pray for Andrew Wright, for his hugely-supportive new Cathedral Dean, Fr Martin Boland, and his equally supportive and visionary Ordinary, Bishop Thomas, who has done so much to promote and encourage music in Brentwood. Please pray too for the Choir and people of the Cathedral and for the Diocese as they continue, under Andrew’s leadership and direction, in their wonderful work of restoring the Chant and lifting the hearts and minds of the faithful to God through music.
Qui bene cantat bis orat!
UK Cathedrals – Southwark
I thought readers may be interested in a series on the Roman Catholic Cathedrals of the UK and their musical provision. I wrote an article recently on the Choral Outreach Programme at Leeds Cathedral which seemed to interest readers on NLM, so I will follow this up with a profile of each UK Catholic Cathedral, beginning with my own, St George’s Cathedral, Southwark.
London on Sunday updated
Gregorian Chant: The Acting Voice of Christ in Song
The reason for my journey toward and ardent love of Gregorian chant can be singularly boiled down to this: In Gregorian chant the Word of the Liturgy, the mystical Voice of Christ, is given primacy.
So much of our experience of the liturgy today is focused on musical styles that abstract and take precedence over the liturgical texts, if they are not altogether changed or substituted for something else in the first place. It’s not uncommon for composers who write in more contemporary “pop” musical styles to hack apart phrases, rewrite scriptural passages, omit major sections, obscure word accentuation, even make their own additions to a scriptural or liturgical text, and all of this is done, or so it seems, to meet the demands of the musical style in which they’re writing. Just take a look at musical settings of the psalms in many of today’s hymnals for proof of this. Where is the emphasis? What is given pride of place? In this music is it the Voice of Christ that acts and speaks to us in the liturgy? Or is it distorted by the idiosyncrasies of musical styles?
As Liturgiam Authenticam has said, the text of the liturgy is “…endowed with those qualities by which the sacred mysteries of salvation and the indefectible faith of the Church are efficaciously transmitted by means of human language to prayer, and worthy worship is offered to God the Most High.” (LA, art. 3)
It should be clear that the texts of the liturgy are no ordinary texts!
In a recent debate that I was in with a noted liturgist and “contemporary composer”, he insisted to no end that we should absolutely apply “intellectual property rights” to translated liturgical texts. He insisted that the texts of the liturgy (the carriers of the “sacred mysteries of salvation”, the “indefectible faith of the Church”, by which “worthy worship is offered to God the Most High”) were the “property” of those who translated them, and asserted that to the “owners” of these texts were due copyright royalties, because the texts were their “property”. This is an entirely different subject, and I’m sure it will be discussed amply here, but it should speak to us, I think, a basic truth about the efficacious nature of the texts of the liturgy, and, perhaps it also shows the misunderstanding or even disrespect that we often give them in our modern liturgical practices.
The text of the liturgy gives voice to the Mystical Body of Christ, and is not owned by anyone, but is the inheritance of us all.
The Church’s tradition and wisdom has offered us an exemplary musical model for the singing of the texts of the liturgy, a musical form and repertoire that has given a perfect expression of the Voice of Christ acting in the liturgy in Gregorian chant. Chant offers to the Church a complete musical setting of all of the texts of the liturgy–from the parts that are prescribed for the priest, for the people, to the parts for the choir alone.
The Second Vatican Council states that “The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services.” (SC 116)
The more that I have reflected on the way in which Gregorian chant gives a perfect expression to the Voice of Christ in the liturgy, I have come up with an expanded permutation of this idea:
Gregorian chant is given “pride of place” in the liturgy because the Liturgical Word is given pride of place in Gregorian chant.
In my training in Gregorian chant, from the very beginning, the focus for interpretation was placed first and foremost on the Liturgical Word. The following are a few quotes from the first chapter of “An Introduction to the Interpretation of Gregorian Chant, Volume I: Foundations”, by Luigi Agustoni and Johannes Göschl, translated by Fr. Columba Kelly. I find them to be a fantastic foundation for the singing of Gregorian chant, and a wonderful reflection on the liturgical texts, and on the incarnational theology of the Voice of Christ acting in the liturgy:
The phrase “In the beginning was the word” has an unlimited value when applied to the Gregorian repertory. In fact, the text is the key to understanding both the rhythm and the melody of a Gregorian composition.
The source, from which the Gregorian melodies originate and are nourished, is the word. In fact, it is the word of the liturgy, a word that possesses a sacramental character according to the statements of the Second Vatican Council, for Christ is present in it, and in it Christ is received. This word of the liturgy, which in the final analysis is always God speaking to us, that is to say, the encounter of the human being with God, finds its highest expression when it can blossom forth in music. This happens in Gregorian chant to an eminent degree.
The innermost living principle of Gregorian chant is to be found in the Word of God and in the human response to it, both of which are imbedded in the context of the liturgy as an unendingly new sacramental happening that nourishes the life of the Christian community and its members.
The text [of Gregorian chant] is not something that just happens to be attached to a particular melody but rather the text is a sounded word that has flowered into a musical work. The line does not run from the melody to the text that has been set, but on the contrary the exact opposite. The direction is from the word to its realization in musical sound.
To deliberately abstract the text from its melody is to deprive Gregorian chant of its very reason for existence and the source of its very life. Word and melody have entered into an indissoluble union. The word lives here in perfect symbiosis with its carrier, the melody.
Therefore, [in the interpretation of Gregorian chant] the fundamental elements to be taken into account are the following:
1. the word as the primary source of the interpretation;
2. the melody as conditioned by the text and by the modal laws;
3. the neume design as the symbolic representation of the musical form received by the text.
(Excerpts taken from the preface and first chapter of “An Introduction to the Interpretation of Gregorian Chant”, Agustoni and Göschl, 1987, tr. Kelly, 2006.)