Category Archives: Feasts of the Church

Family Life and the Sacred Liturgy

One of my favorite little tomes to pull of the shelf on a somewhat regular basis is Around the Year with the Trapp Family by Maria von Trapp. Whenever our family stands upon the threshold of a new liturgical season my wife and I look for ways to bring the Faith alive at home for our children (especially through music), which usually means connecting our home life to the liturgical life of the Church, and this easy-to-read book provides us with ideas-a-plenty. Last Sunday was no exception, especially after our oldest son noticed the statues and crucifixes in church draped in violet to mark the beginning of Passiontide.

For those of you who have never read this book, I encourage you to do so. Baroness von Trapp wrote the book in 1955 when the Liturgical Movement weighed heavily upon the minds and hearts of many in the Church, accompanied by a sincere desire to reawaken in men a love for and appreciation of the Church’s Sacred Liturgy and its power to bear spiritual fruit in the lives of Her faithful. Maria’s family hailed from a country where, and an era when, God and the Sacred Liturgy were still the center of personal, familial and even national life, where the saving work of Christ in the Sacraments spilled copiously into everyday life. The Baroness’s work is simply her attempt to share with the reader how her family lived its Catholic Faith, inspired by the Sacred Liturgy. While the customs she described might have been Austrian in nature, she rightly noted they were Catholic in origin, and therefore didn’t necessarily belong to one nation or peoples.

I mention this book for several reasons today. First, I have often written how important it is for the family to sing at home, and how the Church’s music helps to form the faith of one’s children. Here one can read about a concrete example of this within a particular family. Secondly, I mention the book because I am somewhat envious of a family that had its own chapel (my wife and I are working on that), wherein our Lord resided in the Blessed Sacrament (my wife and I doubt that will ever happen), as well as a priest living with them for 25 years!

I am particularly struck by the Baroness’ love for the Church’s Liturgy. She wrote,”We always consider this the greatest honor for us, the singing family, the greatest reward for all the trouble that goes along with life in public, that we can sing for all the Divine Offices in church” (speaking of the Liturgies in Holy Week). The small parish church in Stowe, VT, where the family eventually settled, was fortunate indeed to hear the family sing the Office of Tenebrae on Wednesday of Holy Week. According to the authoress, the family sang the psalms of the first nocturne of Matins to their respective tones, while the antiphons were sung to Gregorian chant, Palestrina, Lassus and Victoria. The psalms of the second and third nocturnes were sung recto tono, while the family’s chaplain, Msgr. Franz Wasner and two of the von Trapp sons sang all of the lessons. Then followed the Office of Lauds.

I can’t imagine my family playing such an intimate role in the awesome ceremonies of Holy Week, but I am sure it made an awesome impression on the von Trapps. Obviously this is out of the reach of most families, but what if your family were to begin singing the great Passion Chorale, O Sacred Head Surrounded, each evening at the end of supper? Perhaps your family could include the opening line of the Reproaches in your night prayers as part of an examination of conscience or recited David’s great penitential psalm, the Miserere meus. If your children are fortunate enough to hear these in your parish they will make the connection between the Sacred Liturgy and everyday life. When they are weighed down by sin or perhaps far from the Lord (God forbid), they can call to mind the mercy of God adn with David recite, Have mercy on me, O God, according to thy great mercy. And according to the multitude of thy tender mercies blot out my iniquity. Wash me yet more from my iniquity, and cleanse me from my sin… To my hearing thou shalt give joy and gladness: and the bones that have been humbled shall rejoice.

The Fully Sung Mass

In the wake of the 50th anniversary of Musicam sacram earlier this month, sacred music seems to have enjoyed a small (and probably short lived) bit of interest on the international horizon, especially following Pope Francis’ words to mark the occasion. I find the Church is rather good at waxing eloquently on principals, writing a document here or there of encouragement, and then promptly moving on to the more important matter of forgetting about them. However, if St. Augustine was right and cantare amantis est (singing belongs to the one who loves), then it behooves us to once again learn to love and thereby take up the Church’s eternal hymn of praise.

Of course, this begs us answer the question, will the Church come alive in the West simply by singing Her Sacred Liturgy? I believe Augustine answered properly when he wrote that “singing belongs to the one who loves,” as opposed to “love belongs to the one who sings.” Nevertheless, loves seems to require the gift of music. If that is true, then Holy Mass would require it, too, in its fullest expression. This seems to have been the goal of the Second Vatican Council, the fully (and beautifully) sung Roman Liturgy. I would argue this has been the goal of CC Watershed as well and I am happy to be a part of that, and in this vein, I would like to offer a piece of practical advice to priests and musicians alike.

I find in general that priests and musicians focus the majority of their energy on Sunday Masses, which as a principle is sound and worthy (although it carries with it the assumption that the spoken Mass, used on a daily basis, is the base line standard for the celebration of Mass instead of being an impoverishment of the greatest act of worship man can offer to God). However, we find ourselves in an odd era where the majority of those attending Sunday Mass are no longer what we might call practicing disciples. Their goal is to be entertained while getting in and out as quickly as possible, which bodes ill for any worthy celebration of Mass.

On the other hand, the children in your Catholic school are still very impressionable and are actually being formed by what they experience at Mass, rather than reacting to it. Why not gradually implement the fully sung Mass with them? They will soon consider it normal (your battle will be with others) and you will have skipped the Sunday battle at least for a while. For priests who are afraid that chanting adds three extra minutes onto the Mass, just cut a few minutes off of your 10 minute daily homily in the spirit of Pope Francis.

In all honesty, you will never be able to avoid all liturgical conflict. At the same time, you do have parishioners who are longing for a fuller expression of the Sacred Liturgy and you might be starving their spiritual lives the longer you hold off. I would also like to offer a few websites you should know of that will be an enormous help in the process of establishing the Sung Mass.

Chants from the Roman Missal: This website is maintained by ICEL and contains the music (modern notation) for all of the chants in the Roman Missal. There are also a number of accompaniments for congregational chants. (I would, however, caution against using the Missal’s English Chant Ordinary. It is based upon the Missa Iubilate Deo, and is very confusing for those who already know the setting in Latin, a larger number than one might think.)

Free Settings of the Mass Ordinary: CC Watershed offers a number of free plainsong settings of the Mass Ordinary for immediate download and with accompanying practice videos.

If you are a pastor, you will ultimately need to hire a competent church musician (at a competent wage) to assist you in this work. While the above sites offer easy ways for you to begin the Sung Mass in your parish today today, they present only a base line standard. Strive for greatness!

Why do we need hymns at all, when we already have the Psalms?

The title of my current post comes from the first chapter of Anthony Esolen’s book on hymnody entitled Real Music (which can be purchased here). I was blessed to purchase the book as well as have a good conversation about it with the author himself last month and want to heartily recommend the, especially for the first chapter, which is devoted to the Psalter.

The Psalter, as Esolen notes, is the prayer book of the Church and the Psalms constitute the “foundational poems of Christian praise.” Not only are the Psalms truly beautiful in an aesthetic sense (which they undoubtedly are), but also because they speak to every moment of the Christian’s life on earth as well as the life to which he is called. They plumb the depths of joy, sorrow, praise, suffering, marriage, children, life, death, God and the fight between the family of God and it’s enemies. The Psalter was also the “hymnal” of Christ and Mary, the apostles and countless saints and sinners spanning the two millennia in the life of the Church. The only other hymnal that has come close to such longevity and vitality in the Roman Rite is the Graduale Romanum, another book of rare worth.

What I especially appreciate in his chapter on the Psalter is how Professor Esolen masterfully presents the reader with the beauty of the Hebrew Psalter and its idiosyncrasies, its structure and poetic styles, all without bogging the lay reader down with too many technical details of the Hebrew language. In a sense, he is able to bypass the trees and present the beauty of the forest. He also tackles the difficulty of not only translating the Psalter into English prose (he relies upon the beautiful King James version), but also the difficulty of creating metrical versions which live up to the majesty of the originals.

I do, however, want to caution the avid connoisseur of all things liturgical in the Roman Rite. This is not a work on the great hymns of the Divine Office or other liturgical chants that might be classified as hymns. Real Music deals with what one might classify as devotional hymns, which although not officially part of the Roman Liturgy, are nevertheless important to the flowering of true piety and love. Best of all, it comes with a CD containing a number of the hymns sung by the St. Cecilia Choir from St. John Cantius in Chicago. If you aren’t able to read music, just sing them with the CD until you know them by heart. I promise you, they will become a vibrant part of your spiritual life.

Let everything that hath breath praise the Lord!

Perhaps it is due to the artistic temperament endowed to me by God, but among Truth, Goodness and Beauty, it is without doubt Beauty that speaks to my soul. To be sure, I love Truth and Goodness, but I love them because they are beautiful. God has called me to walk the via pulchritudinis along my earthly pilgrimage and I praise God for that!

At the same time, I acknowledge that the pilgrim way is not always as beautiful as one might hope. On a daily basis I am forced to confront the ugliness of my own sins, the hatred of God by some, the disdain shown for His creatures by many and a great apathy quietly professed by most in the world for anything heavenly. Unfortunately, the last of these plagues seems to be the modus operendi in too many celebrations of Holy Mass in the western world. As a society we have become completely exhausted with living; we are tired with everything and Mass is just another event to be endured and gotten through, another obligation. We no longer care. It is an irony supreme that in the face of a renewed focus on evangelizing in the Church today, we have ceased, in practice if not in belief, to care about the Church’s Sacred Liturgy. We no longer find it beautiful.

The celebration of Holy Mass should be the daily event in the life of the Church where the Christian worships the Lord, spends time with Him, receives Him, is renewed and strengthened by Him, where his love for God and neighbor is given new breadth and where he begins to live the life of the blessed in Heaven. But alas, no longer. Now the Mass is merely a filling station where the Christian hops in for a short time, inserts his coin into the basket and in return receives the Eucharist from whichever of the 20 vending machines (Eucharistic Ministers) is closest in physical proximity. He might even spend five minutes afterward in personal prayer where he tells God exactly what He needs to do so the day’s plans will be successful, after which the Christian can move on to the really important tasks of the day, which usually take place in the office.

This is in stark contrast to the view of so many saints who saw the celebration of Holy Mass as a foretaste of the Heavenly Banquet (I am reminded of the text of the Ave verum corpus) where Christians were taken up, and if they allowed God, were formed more fully into His image and likeness to become like living tabernacles, sent out into the world to be other Christs. By sharing the joy of living as such, the saints thereby converted the world.

The former view, which we struggle with today, is an extremely utilitarian one, which uses the Mass as a tool to produce what the Christian needs. The second view, a very classical one, acknowledges the Mass to be a partaking in the Heavenly Liturgy, one which calls all of creation, the entire world, to enter into the worship and rest of God. To be honest, who is not tired of the modern world’s utilitarian view, which asks how useful a thing is. What is useful in a child’s laughter, or Thanksgiving dinner or in the worthy celebration of the Heavenly Liturgy. None of these things are useful in the eyes of the world and therefore we are exterminating each one by one. We abort our children, we cut short Thanksgiving dinner in order to shop on Black Friday (which has been transferred by our secular liturgists to Thursday afternoon) and we have given up anything more than the most banal celebration of Holy Mass.

I recently read the EU Report in my latest edition of The American Organist (March 2017) and was both fascinated and frustrated by Paulo Bottini’s article entitled The Organ and Organist in Italy. He writes “You can count on the fingers of one hand the musicians who, when asked the question, ‘What do you do for a living?’ could rightfully answer, ‘I am a church organist. This is because in the Catholic Church, singing and instrumental music are not considered constituent parts of the rite, but ultimately are optional (my emphasis). For this reason many pastors… prefer to rely on anyone to make do—preferably for free—clumsily accompanying the same few botched songs.” Unfortunately this is believed believed by most in the western world, including our clergy, which is why I was happy to see the recent publication of Cantate Domino Canticum Novum: A Statement on the Current Situation of Sacred Music on the 50th anniversary of Musicam sacram.

The first point made in Canticum Domino concerning the regrettable state of church music today is this, “There has been a loss of understanding of the ‘musical shape of the liturgy,’ that is, that music is an inherent part of the very essence of liturgy as public, formal, solemn worship of God“(my emphasis). I agree with the document’s authors–we must recover the biblical belief that all of creation is called to be caught up in “one triumphant hymn of praise” to the Father, through the Son and in the Holy Spirit, what has been called the cosmic liturgy. This true (and ultimately beautiful) belief is indispensable if we hope to pull modern man out of himself and into eternity. I appeal to our bishops, pastors and seminarians, please re-orient the Church toward Heaven, to God. Do it first by re-orienting our worship, where Heaven truly meets earth. Give us churches that point to the reality of Heaven. Give us music that reminds us of the eternal hymn of praise sung by the angels, Give us homilies that inflame our hearts to love God and neighbor more deeply. Point us once again to God Who is Beauty Itself!

Music and the Imagination

Over the weekend I attended the second annual Prairie Troubadour symposium in Fr. Scott, KS, on the topic of The Restoration of the Imagination. The conference included a great line-up of speakers including Christopher Check, Dale Alquist and Anthony Esolen (among others) and finished with an evening of cigars and whiskey with the speakers and a host of great old friends (and now some new ones). As Belloc once wrote, “Wherever the Catholic sun doth shine, There’s always laughter and good red wine. At least I’ve always found it so. Benedicamus Domino!” How delightfully true!

With the symposium fresh on my mind, I thought today I would take up the topic of the imagination again and its relation to sacred music, especially since most of our readers are engaged in the work of liturgical music, whether as a professional or as the true amateur.

In an article entitled The Importance of the Imagination, Laura Birquist notes that “[t]he old adage ‘You are what you eat’ could be changed truthfully to say, ‘You are what you see and hear’… If the soul has in it good, true, beautiful, noble, and heroic images, it will be disposed to become like those things. For as St. Thomas says, ‘The beautiful and the good are the same in subject because they are founded on the same thing, namely the form’ (Ia, q.5, a.4).”

Of course, the opposite could also be said. If the soul has in it evil, lies, ugly and base images, it will be disposed to become like those things, and therein lies the great problem of modern culture–we are inundated with people who find the good things repulsive, the true things nothing more than the demagogue’s opinion, the beautiful things mere tools for propaganda and noble and heroic ideals the notions of extremists. This could all be said equally of ugly music (I won’t call it ugly sacred music, for there is no such thing).

“Nay,” the church musician shouts. “Just give the congregation Gregorian chant and everyone will love it! They will recognize how beautiful it is.” Oh, if only that were true. When those in the congregation have weaned their imaginations at the breasts of pop culture and its cult of the material and sensual, they will have no inner receptivity to the beautiful and sublime treasury of sacred music, whether the ancient sound of chant or the modern sound of Part and Taverner. The question becomes how to form the imaginations of our young people in such a way as to attune their hearts to music that will ultimately lift them to heavenly realities. This process begins at home. The music a child hears and sings around the family hearth, surrounded by loved ones, will have a greater bearing on his receptivity to Palestrina and Messiaen than teaching him classes on sacred music (although this will be important later). In the same way, the music he sings in his Catholic school and in his school Masses will form his adult ideas about music and ultimately about God (be sure to read The Casualties of Bad Church Music). This is no unimportant topic.

If you want your children to know, love and serve God, it is up to you as parents to guide them along that path, and I would caution you to make good music an important part of the way. Do you yourself, especially you fathers, sing good music on a daily basis? Do you listen to good music? Make sure that true folk music forms the basis of what you sing and listen to. If your music comes primarily from the radio, just realize that such music is not “popular” or “folk” music in the classical sense. It does not come from the shared experiences of a people who have come together striving to live the good life, and therefore you will be shooting your efforts in the foot. There is plenty in the line of Anglo/Irish/Scotch/American folk music. If your ancestors come from other areas learn a few songs from that tradition. Include great hymns in the repertoire and consider ending your family night prayers by singing the proper Marian antiphon for the season. Your children will easily pick these up. Or, as one speaker at the symposium commented, teach your children how to dance and hold community dances. When you form your children in such a manner, exposing them to REAL music (nothing mass produced), they will naturally cross the bridge to an appreciate of the sublime beauty in the Church’s treasury of sacred music. Along the via pulchritudinis (the way of beauty) they will come to know Him Who is Beauty itself.

Singing for Cardinal Burke’s Pontifical Low Mass

Last Thursday, the Feast of St. Cyril of Alexandria, the Most Pure Heart of Mary Schola Cantorum was blessed to sing for a Pontifical Low Mass celebrated by H.E. Raymond Cardinal Burke at the Church of St. Anthony-St. Mary in Kansas City, KS. This was the first time the choir sang for Holy Mass celebrated according to the Ancient Latin Rite, and to be honest, I was a bit nervous about what all the children would think. In the end, the choristers gave the Lord some of the best singing they have ever produced and the Mass prompted one of the choristers to ask last Sunday if they could use the Communion Rail in our own parish from now on to receive Holy Communion (I took a poll, and all the choristers save one wanted to continue the practice). We shall see what the future brings.

For my own part, I have sung for and lead numerous choirs singing sung Masses in the Extraordinary Form, but never Low Masses (this Mass being the first). The Schola Cantorum sang Tallis’ If Ye Love Me before Mass, Grieg’s Ave Maris Stella during the Offertory, the traditional chant Adorote devote, Messiaen’s O sacrum convivium and Mawby’s Ave verum corpus during Holy Communion and Holy God, We Praise Thy Name for the Recessional, immediately followed by Scarlatti’s Exultate Deo. While the choir sang everything very well, I have to admit that I missed singing the Ordinary and Propers of the Mass. It made me realize how much more I prefer singing the Mass instead of singing at the Mass, whether or not the Ordinary or Extraordinary Form. Nevertheless, I told Cardinal Burke that is was a blessing for us to sing for the Mass and assured him of our prayers. He graciously joined us for a picture, which I would like to share with everyone.

Schola with Cardinal Burke

God or Nothing

When the last piece of wrapping paper fell from my presents at my in-laws on Christmas morning, I couldn’t wait to crack the spine of one particular gift, Nicolas Diat’s conversation with Cardinal Sarah, entitled God or Nothing. I heartily recommend the book to anyone who hasn’t yet read it. Today I would like to share with you the good cardinal’s assessment of the crisis of Faith in the modern western world and how it relates to the topics of liturgy and music in particular.

Sarah rightly notes that this crisis of Faith, or silent apostasy, is primarily a “Crisis of God,” which has been going on since long before the middle of the 20th century. In 2000, then Cardinal Ratzinger referred to the 1933 words of a European priest that “[t]he crisis reached by European Christianity is no longer primarily or at least exclusively an ecclesial crisis… The crisis is more profound: it is not only rooted in the situation of the Church: the crisis has become a crisis of God.” It is absolutely essential to keep this reality before us (the “crisis of God”), especially in light of the Church’s focus on evangelization in the last few decades. Both St. John Paul II and Pope Benedict XVI were acutely aware of this problem and confronted it continually. They even began their pontificates with encyclicals focused on the person of God (Redemptor hominis and Deus caritas est respectively). Sarah, following the thought of Pope Benedict XVI, then makes the point that the Second Vatican Council was primarily aimed at battling this problem. Rather than summarize Sarah, I would like to share with you his very own words.

“Indeed, on the subject of Vatican Council II, we will never be able to thank Pope Benedict XVI enough for his hermeneutical work and his authentic interpretation of the will of the Council Fathers. The fact that I refer to his analysis goes to show that the intention of the Council has not been understood full.

“Joseph Ratzinger grasped quite accurately the fact that John XXIII wanted first of all to respond to a major challenge for the modern world: receiving God as he manifested himself in Jesus Christ…

“From the start of Vatican II, although concerned about aggiornamento, the renewal of the Church, and the reunion of Christians, the pope had strongly emphasized that the Council’s chief task was to reveal God the the world (my emphasis), to defend and promote doctrine.” (I find this last part interesting.) 

Sarah notes that Pope Benedict “invited us to focus our attention on the way in which [the constitutions of the council] are ordered,” revealing the intrinsically theological nature (my emphasis) of the council.  First of all comes Sacrosanctum concilium, focused on the Work of God, which should be preferred to all else. Speaking about the liturgy, Sarah says “Before all else, in the Church, there is adoration; and therefore God… [t]he foundation of the liturgy must remain the search for God.”

Following the upon the council’s cornerstone, Sacrosantum concilium, comes Lumen gentium (Christ is the light of the nations), which expounds a theological vision of the Church, since the Church is “not a self-enclosed reality” but must be seen “in terms of Christ. The Church is like the moon. She does not shine with her own light but reflects the light of Christ.” After Lumen gentium comes Dei Verbum and finally Gaudium et spes. The Word of God (Dei Verbum) “is the heart of the message that the Church must reveal and transmit to the world,” while Gaudium et spes gives a vision for what the Church, fully alive and active in the modern world, should look like, namely a light shining in the darkness, bringing all men to the light of Christ and eternal salvation, praising and glorifying God.

Sarah continues “unfortunately, right after the Council, the Constitution on the Sacred Liturgy was understood, not in terms of the fundamental primacy of adoration, of the Church humbly kneeling before the greatness of God, bur rather as a book of formulas…. We have seen all sorts of ‘creative’ liturgical planners who sought to find tricks to make the liturgy attractive, more communicative, by involving more and more people, but all the while forgetting that the liturgy is made for God. If you make God the Great Absent One, then all sorts of downward spirals are possible, from the most trivial to the most contemptible…. Benedict XVI often recalled that the liturgy is not supposed to be a work of personal creativity. If we make the liturgy for ourselves, it moves away from the divine; it becomes a ridiculous, vulgar, boring theatrical game” (my emphasis). Do I hear and Amen!

To return to my original thought on this crisis of Faith and its relationship to liturgy and music, I think we can slay the current and popular belief that by making the liturgy, and by extension liturgical music, “relevant” to people we will somehow bring them back to God. Neither can we do it by recreating marriage, theology, morality or anything else, even God Himself, in human likeness and form. This is nothing but the Devil distracting us from God Himself. Only when we learn once again to kneel in silent adoration before Christ in the Blessed Sacrament and with the apostle Philip ask Him to “show us the Father,” will the work of salvation be brought to fulfillment in us and in the world. Only then will His love transform us and the world. Stop the gimmicks, the committees, the meetings, the reports and knock on the door of the Father’s Heart. Trust Him. Let this be our goal in the new year!

A Christmas Carol

“‘Tis the season to… strike the harp and join the chorus.” One of my favorite pastimes in Christmastide is caroling with friends and family, accompanied by fine libations and delectable treats. Like the real wax candles that bedeck our family Christmas tree, though, caroling seems to have become an anomaly in the modern world–a bizarre ritual of old that delights the anthropologist but is of little other use. Christians as much as anyone else simply turn on the radio and think little more of it. Ask the average person in your parish to sing the first verse of Silent Night from memory and I wager he hasn’t got the mental reserve to make it half way through. Don’t doubt me.

In opposition to this decay, I thought today I might refresh our cultural memory of, and hopefully our desire for, the once ubiquitous Christmas carol. To be honest, how many even know what a carol really is, from whence these beautiful songs came and why they are so important–not only for creating a festive mood, but for forming the imagination of our young people (and not so young) and passing on the Faith.

Carols originated as circle dances, accompanied by singing, during the Medieval period. This dance-like quality (Angelus ad Virginem), as well as refrains (Birjina gaztetto bat zegoen, or The Angel Gabriel from Heaven Came) and texts in either Latin (Quem pastores), the vernacular (Es ist ein Ros’ entsprungen) or both (Psalite, unigenito) were popular–traditions maintained in the modern era. Carol themes run the gamut of the liturgical year or might be secular in nature (Deck the Halls), although the Christmas carol seems to have taken the high ground. Their texts are beautiful examples of popular piety put into words, whether a carol narrates a well know Gospel text such as the Annunciation (The Salutation Carol) or speaks figuratively about the time Mary bore the Christchild in her womb (Maria durch ein Dornwald ging).

Carols developed around the same time as the great mystery and miracle plays (c. 1350-1450) in the golden age of Christendom (although no age is ever perfect) when the Church’s celebration of her liturgical life possessed the vitality to shape and form popular culture. Some carols, such as the Coventry Carol, were a part of these  mystery plays.

 

European countries had a wonderful tradition of carols to which America contributed in her turn (It Came Upon a Midnight Clear and the Negro spiritual Rise Up, Shepherds, and Follow), but in the last seventy-five years the carol has become nothing more than warm sentiments crooned on winter evenings by the latest pop stars emanating from every electronic device imaginable. I’ll gladly admit to listening to and enjoying Bing Crosby or Frank Sinatra singing Adeste fidelis (in an era when even the great Hollywood stars knew a bit of Latin) or I’m Dreaming of a White Christmas, backed by a large choir and orchestra, but this is an impoverishment of the original carol.

As our culture turns away from God, or more than likely, simply forgets about Him, the popularity of the carol has waned with the winter sun. I sometimes wonder if it isn’t partly the loss of the carol and many other worthy religious customs that has aided the demise of our Faith in the western world (and a loss of the true meaning of Christmas). I have noticed that parents who understand the importance of culture in the formation of their children and therefore instill  in their children a healthy skepticism toward the benefits of “popular” culture are more successful in raising faithful children. Perhaps it would be wise for families to resist the urge to turn on the radio and tune in to the popular “winter holiday” songs and rather, rediscover the simple beauty of the Christmas carol, a true folk tune full of beautiful imagery, Christian meaning and wonderful melodies. Then learn them as a family and sing them together. Click here for a great printable (and free) Christmas caroling book or here to listen to five hours of wonderfully sung Christmas carols.

Keep the flame of the true Christmas spirit burning brightly, continue to wish your family and friends a Merry Christmas! and get together with those same beloved (and not so beloved) kin during the Twelve Days of Christmas and carol to your heart’s content. It is a wonderful way to instill in your children in the real meaning of Christmas, to marvel at the beauty and awesomeness of the Incarnation and to create lasting memories. While you are at it, make a bowl of Smoking Bishop (be sure to have the spirits you put in it blessed today on the Feast of St. John) and toast our heavenly Father, Who in His infinite love sent His Son to become man so that we might become like God! Merry Christmas!

A Late Gift for Nicholasmas

As the saying goes, better late than never. Already we find ourselves on the Feast of St. Lucy, a full week after the Feast of St. Nicholas, but nevertheless, I thought I would share with you a wonderful repository of all things St. Nicholas, that like the wise Virgins, you might find yourselves prepared for the feast next year.

If you aren’t already familiar with it, St. Nicholas Center is a website dedicated to the holy man of Myra, and a must see. There are wonderful articles on the events in the life of St. Nicholas, the legends surrounding his personage, descriptions of how he became Santa Claus, Kris Kringle and various other gift givers and why St. Nicholas, who points to the crib instead of replacing it, is simply better.

There are several sections of the website especially dear to me, such as its liturgical resources and musical resources. It contains prayers and collects from the saint’s feast, as well as the order of service used for the Enthronement of the Boy Bishop at Westminster Cathedral in London, English translations of Medieval miracle plays (here for the story of St. Nicholas and the Virgins) and many St. Nicholas carols from throughout the world.

Unfortunately we live in a society in which parents can no longer allow the culture to help form their children, and in most instances are forced to fight such and un-cultural laviathon. As St. Nicholas made so bold as to punch the heretic Arius, I doubt he would have sat idly by as Christ was barred from His own birthday celebration. This website provides a wealth of materials for parents to help fight the commercialization of Christmas (and the loss of Advent altogether) and more importantly, once again put their children on the path to the Manger in Bethlehem.

Where does your heart lie?

Two weeks ago I wrote concerning a comment Msgr. Marini made in a talk regarding the friction that often results between priest and musician clash over matters musical withing the sacred liturgy. Over the next few weeks I would like to look at some of the other comments he made during his talk, points which I think are always important for us to remember.

Msgr. Marini spoke about the ongoing battle between the external work of the musician at Mass, making sure that the music is technically and artistically performed, and the interior work of allowing the Holy Spirit to transform us into saints. How many of us have fought this battle within our own hearts, pouring all of our energies into making the music at Easter or Christmas (or any Sunday, for that matter) perfect and then realizing afterward that while we were physically present for the Holy Sacrifice, we were spiritually far from it. How many of us arrived home after Holy Mass and had nothing left to give our families (and never forget they are our actual vocation).

In spite of all my faults (and my wife would gladly tell you how numerous they are), I feel that this is one area of my life in which I have a leg up, so to speak. I grew up in a family where my father was ALWAYS present. He earned a master degree in education but decided against going into the field because he knew he would have no time for his family. Instead he took a blue collar job in the oil field. When his time was up at work, he left for home and left work at work. His work time was flexible enough that he was able to get away for an hour whenever we had school plays, parent teacher conferences, etc. He came to so much that my siblings and I joked that we wouldn’t mind if he stayed home every once in a while. More importantly, he had an uncanny knack for knowing and keeping priorities in order. God was always first, even when vacation plans had to be moved around so we could drive three hours to the closest Mass for Assumption while traveling in Montana and Wyoming. We have to learn to keep priorities as musicians–God and family.

I think what we can learn from this is that if you arrive at Christmas day and you haven’t been to confession, if your daily prayer has suffered and you haven’t eaten supper with your family at least five nights a week during Advent, then you are in too far. As musicians, we tend to love our work more than others, but that is no excuse for overextending ourselves. God really is concerned with internals before He is concerned with externals. Please don’t misunderstand, I believe in excellence and I abhor bad music badly sung within the sacred liturgy, we need regular practice, but we still have to get our priorities straight. Make a pledge to put God and your family first this Advent and Christmastide. Simplify the music at Christmas Masses if you have to. Take your family to confession. Pray before you ever get to work. And practice resignation once Mass begins, letting the music fall where it wills. You will arrive at Christmas Day (or any other day) full of the joy of the feast!