Sing the Mass

Feasts of the Church, Most Pure Heart of Mary Schola Cantorum, Music for the Liturgy

One could entitle this post An Open Letter to Pastors, but regardless, I offer the following both as a plea as well as a challenge to all of our priests.

Fathers, I know that most of you are overwhelmed in your work to the point of breaking. You were taught in seminary to save souls, but when you dare to challenge your flocks to greatness, you turn around to find that few have your backs. You are required to be de facto CEOs of your parishes and schools, which allows you almost no time to form meaningful relationships with your parishioners so that they trust you when you spur them on to greater things. Or, as soon as they begin to trust you you are transferred. This begs the question, why would you ever want to spend the time and energy to fix the music in your parishes. I know that many writers in the traditional camp claim that by changing the music in your parishes, overnight your churches will swell in numbers and everything will be alright. That’s not true. You will more than likely loose parishioners (although you will also gain a few). Of the people who remain in your parishes, some will grumble and hope for your eventual transfer. However, you must remember that you weren’t ordained to seek the status quo, but to be great just as you ask your parish families to be great.

Whether your particular parishes are rich or poor, big or small, love sacred music or hate it, there is one thing that I challenge all of you to do, and that is to sing the Mass. Most people who know me personally know that I believe that if a priest could do only one thing to change his parish for the good, I believe it would be to reinstate ad orientem worship. Most of you are not prepared to do that, I realize. However, the second best thing you could do would be to sing the Mass (and please start with the Preface Dialogue and Preface). If you are afraid of any backlash, just pick one thing (the Preface Dialogue and Preface) and sing it for the next year at all of your Sunday Masses. If someone asks you why you sing the Mass and you are afraid to begin a liturgical discussion, you can honestly answer that you just like to sing. Those who enjoy it will congratulate you, while those who don’t won’t usually jump ship over such a matter.

If you do this each year for the 6 years you might find yourself at a parish, between you and your congregations, the Preface Dialogue and Preface (year 1), the Collect , Prayer over the Gifts and the Prayer after Communion (year 2), the Dialogue before and after the Gospel (year 3),  the Lord’s Prayer (year 4), the Introductory Rites and Closing Rites (year 5) and finally any other small dialogues in the Mass (year 6) will be sung. You could do this without ever challenging your volunteer musicians, praise bands, or whoever or whatever else makes music in your parishes to change anything. At the same time, you will have changed the way your parishioners perceive what is really going on when you celebrate your Sunday Masses. They will at least understand that something out of the ordinary is taking place!

What are you waiting for? Get to it!

Theology and Music

Feasts of the Church, Music for the Liturgy

I would have loved to have been at the CMAA Colloqium last week, but I spent that time teaching at Benedictine College’s summer Cathedral Program. For one week each summer, a number of high school students make the pilgrimage to one of America’s great Catholic colleges (one can find it on the Newman Guide) for a week of prayer, study, work and fun. Each day students attend Holy Mass, pray the Rosary and learn how to–and pray Lauds, Vespers and Compline. Mornings are usually spent studying theology, while the afternoons are dedicated to one of several specialized areas of learning. I was privileged to teach the voice track and thought I would share with you one of my presentations, which I used to show the students how music and theology work together.

I began by reading St. Matthew 16:13-19:

Now when Jesus came into the district of Caesarea Philippi, he asked his disciples, “Who do men say that the Son of man is?” And they said, “Some say John the Baptist, others say Elijah, and others Jeremiah or one of the prophets.” He said to them, “But who do you say that I am?” Simon Peter replied, “You are the Christ, the Son of the living God.” And Jesus answered him, “Blessed are you, Simon Bar-Jona! For flesh and blood has not revealed this to you, but my Father who is in heaven. And I tell you, you are Peter, and on this rock I will build my church, and the powers of death [the gates of Hades] shall not prevail against it. I will give you the keys of the kingdom of heaven, and whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven.”

I explained that Caesarea Philippi was quite a distance out of the way for Christ and His disciples, and besides, an orthodox Jew was unlikely to find himself in this city named in honor of Caesar Augustus by Herod Philip, where there was an enormous cave believed to be the gate to Hades and where the ancients worshiped Baal. This cave was formed in the side of an enormous cliff 100 feet high and 500 feet long, which had the appearance of a gigantic rock sitting atop the entrance to the underworld. In front of the cave was a temple dedicated to Caesar Augustus where pagan sacrifice took place, among other more bizarre rituals.

Standing in view of such a sight, Christ asks His disciples who they think He is, and St. Peter professes that He is the Christ, the Son of the Living God. The pagan gods surrounding Christ and His disciples are meaningless and utterly worthless, for here before them stands the true God, in the flesh. Christ then bestows the authority of His Kingdom on St. Peter, who is “rock” (an infinitely greater rock than the nearby cliff) and tells Peter that the “gates of Hades” will not prevail against him.

Then I showed the students a picture of the inside of the dome in St. Peter’s Basilica and the text inscribed around the base in letters as tall as a grown man, “TU ES PETRUS, ET SUPER HANC PETRAM AEDIFICABO ECCLESIAM MEAM, ET TIBI DABO CLAVES REGNI CAELORUM” (You are Peter [Rock], and on this rock I will build by church, and I give you the keys of the Kingdom of Heaven). We know that St. Peter is buried beneath the papal altar under the dome of St. Peter’s, but even more importantly, that Pope Francis is the successor to St. Peter, who even today holds the keys to the Kingdom of Heaven as Christ’s Vicar on Earth. I shared that shortly after the election of Pope Benedict XVI in 2005, Cardinal George of Chicago looked pensively across the piazza where the obelisk from the Circus Maximus stood. Later a reporter asked him what he was thinking and he replied that while many dictators and rulers and nations had come and gone in the last 2000 years, here the good Cardinal was, looking across at St. Peter.

I then showed the students a video of Palestrina’s Tu es Petrus from Pope Francis’ first Mass in the Sistine Chapel, followed by a video of James MacMillan’s Tu es Petrus, sung during Pope Benedict’s Mass at Westminster Cathedral during his pastoral visit to England in 2010. Afterward we compared and contrasted these two versions and discussed how each composer brought out various aspects of the text from Sacred Scripture.

Palestrina’s version is calm and regal, perfectly at home in St. Peter’s Basilica. During the time of its composition the Church had entered the glorious time of the Counter Reformation and sought to re-establish Catholicism throughout Europe as well as take the Faith to new lands around the globe. It was a time when the Church was very sure of Herself and Her mission to take Christ to the corners of the earth.

MacMillan’s very different setting came out of a country where the Church had been persecuted unmercifully for 400 years, and where, one might say, it is entering a new persecution. Great Britain has been home to epic struggles for those remaining faithful to Christ and His Church. These struggles are very palpable in MacMillan’s Tu es Petrus. As one student commented, it sounds like the music from a battle scene in The Lord of the Rings. I would agree, and personally find this to be a fruitful exchange between the sacred and secular realms of music.

I hope and pray the Church continues to raise up true artists like Palestrina, Bach, Mozart, Durufle, MacMillan and many others who will bring the Gospel to the world through the medium of the greatest of all the Church’s arts–Music.

The Theology of the Organ

Most Pure Heart of Mary Schola Cantorum, Music for the Liturgy, Organ, Uncategorized

Recently a generous family donated their late mother’s house organ to our parish, and last Saturday, my assistant, who works for an organ building company, and one of my recently graduated choristers and I took the newly acquired 3 ranks of lead plus wind chests to the organ shop for repair and maintenance. We hope to install the organ in our parish’s office chapel by the end of next month. As I pounded dents out of several pipes, it occurred to me that it might be useful to post on what I call the theology of the organ.

Most readers of Views from the Choir Loft believe in the primacy of the organ among instruments in the Roman Rite, but if asked to give reasons for why the organ should have such a primacy, I fear many could do little more than quote documents or defer to tradition–and we know how well that works. Unfortunately, most Catholics in the US today believe that tradition is bad a bad thing (at least in the Church), and anyway, if the organ became a tradition in the the Roman Rite, why couldn’t the guitar follow the same process of inculturation, they ask? Recourse to quoting ecclessiastical documents falls on deaf ears of Catholics, who view obedience as something medieval. Like high school teenagers, too many of our congregations are only pleased with the latest fads. Fortunately, there are good theological reasons and arguments for why the organ should one again enjoy pride of place in our worship. I don’t pretend that these reasons will convert your died-in-the-wool, anti-treasury-of-sacred-music types, but I have found that they open a door for dialogue with fellow Catholics who bear genuine good. Thankfully, Dr. Kevin Vogt, the Director of Music at St. Michael the Archangel Catholic Church in Leawood, KS, has written beautifully on the matter.

Dr. Vogt is the primary man responsible for bringing to fruition the magnificent Pasi, dual-temperament organ at the Cathedral of St. Cecilia in Omaha, NE, and he is truly one of the great minds of the age. He wrote his doctoral thesis on the organ project at St. Cecilia’s, but the document also contains a section on what I would describe as the Theology of the Organ, found here (specifically see chapter 2, pages 150-172). Some of it might be a little dense for the faint of heart, but it is ENTIRELY worth the read. He presents his insights (peppered liberally with Ratzinger quotes) within the context of Msgr. Francis Mannion’s call for a “renewal of the sacramental, heavenly, cosmic, glorious, catholic, paschal and traditional dimensions of the Roman Catholic liturgy.” Dr. Vogt proposes “that the organ could play an important role in this renewal, and [he constructs] a symbolic theology of the organ in terms of:
(1) Cosmology, concerning music and the created universe,
(2) Christology, concerning the doctrine of Jesus Christ as the incarnate Logos,
(3) Pneumatology, concerning the agency of the Holy Spirit, and
(4) Eschatology, concerning the heavenly liturgy of the New Jerusalem.

It really is beautiful stuff and I encourage everyone to study it, take it to heart, memorize it and then begin to share it. Let’s put the organ back on the pedestal it rightfully deserves.

Choosing Choral Music

Feasts of the Church, Most Pure Heart of Mary Schola Cantorum, Music for the Liturgy, Uncategorized

This year I attempted something different as I began the process of choosing music for our next choral season. I spent a week going through all kinds of choral music and came up with a list of about 50 different motets for various liturgical seasons, ranging in style from the Renaissance to the 21st century (yes, there is very good modern music being written, even if most Catholics don’t experience it on a weekly basis), then I sent it out to my choir members and asked for their feedback. I must admit that I have enjoyed reading the responses from various singers and it will be nice knowing that most of the choral literature we sing throughout the next year will be generally liked by everyone. Anyway, I thought I would share with you some of my findings. Please remember that our parish celebrates the liturgy according to the Ordinary Form, in English, but generally very reverently (we rarely sing choral settings of the Ordinary, with the occasional exception of the Kyrie, so my list contains motets only). I hope those of you in similar circumstances might find this post helpful.

Firstly, there is a general apathy to much of Palestrina, although the music of a number of his contemporaries, especially Tallis and Victoria, is much loved. Two exceptions to this attitude are Palestrina’s Hodie Christus natus est and Jubilate Deo. In general, many of my choir members think of his music as “vanilla” and would rather sing something with a little more flavor. Other works from this era that bear the stamp of approval are Parsons’ Ave Maria, Gesualdo’s Tenebrae factae sunt (everyone likes this piece), Tallis’ O nata lux, Gibbons’ O clap your hands and Victoria’s O magnum mysterium and Improperia. Peter Philips’ music also fared generally well.

The Baroque period did not do as well as the Renaissance, although to be honest, I didn’t include as much music from this era. While Bach (and numerous other Germans) is obviously beautiful, our choir doesn’t usually sing in German. A couple of notable and well loved pieces from this time period are A. Scarlatti’s Exultate Deo and H. Hassler’s Cantate Domino (if you consider it as early Baroque).

The Classical period did about as well as the baroque period. Unfortunately, our parish isn’t in a position to sing the great Viennese Masses and there is only so much of Mozart’s Ave verum corpus that one person can handle (sorry to several readers I personally know who love this piece). Mozart’s Regina Coeli in C is generally well liked.

The Romantic era provided a number of well loved composers and works, especially Rheinberger and Bruckner. Rheinberger’s Abendlied is beautiful and especially appropriate for the Easter season. I would love to sing more of this German-ish repertoire (yes, this will push our group, as I wrote earlier, we don’t usually sing in German). As I understand it, the German countries traditionally had permission to sing in the vernacular at High Mass and a number of beautiful works came about as a result. Holst’s Ave Maria, scored for SSSSAAAA is also popular.

The modern era, if one were to include the early 20th century to the present time, proved to be, besides the Renaissance, the other popular progenitor of sacred music. Casals O vos omnes is one of my personal favorites, as well as a favorite of many others. Other well liked works are Stanford’s Beati quorum via, Poulenc’s Exultate Deo, H. Howell’s Haec dies, Parry’s I was glad, Whitacre’s Lux aurumque, Kverno’s Ave Maris Stella and Ave verum corpus, Part’s The Beautitudes and Nystedt’s Peace I Leave with You. Much to my surprise, many choir members want to sing Messiaen’s O sacrum convivium, although one alto wrote to me a one word description of the piece–“scary.” Oh well, we are going to sing it anyway.

I plan to do more of this in the future and I would recommend it to all others who direct any kind of church choir. While I still have final say over what we sing, I have found in the past that if a motet is well loved, rehearsals and moods tend to remain positive. If we sing great liturgical music and everyone is joy-filled, then our singing during Holy Mass tends to be joy-filled.

Teaching the Very Young

Choir Schools, Chorister Training, Discipline, Most Pure Heart of Mary Schola Cantorum, Probationer Training, Sight-Singing

It seems to be the common experience of a number of musicians today who are very dedicated to realizing the Church’s high ideals for sacred music that they find themselves in the employ of a young (or young at heart) pastor who is only able to offer full time work if said musician is willing to play the organ at Mass, direct the choir, start a children’s choir and teach music in the school to grades pre-k through 8. First of all I want to thank those same pastors who are willing to go the extra mile to bring the greatest of arts to their young parishioners. Secondly I want to thank those musicians who are willing to embrace such a position simply because they love what they do.

It seems that I have received a number of emails of late from such musicians with questions regarding the musical training of the very young, especially pre-school aged children, kindergarten and lower level grade school. Today I would like to share with you a few  resources for those who might find themselves in front of a group of young children unsure of how to best proceed.  Hopefully this post helps.

The first resource I would look into if I had to teach pre-k and kindergarten is Kindermusik. Kindermusik is based on a number of teaching philosophies, two of which are favorites of mine, those of Zoltan Kodaly and Maria Montessori. I do not profess to know everything about Kindermusik, but I have heard nothing but positive comments from those involved in the program. It engages the entire child vocally, intellectually, physically (and spiritually if done correctly, especially withing the context of a Catholic school). Music should primarily be enjoyable for children this age and Kindermusik makes that possible.

For those working with children in kindergarten through grade school (before junior high), I would heartily recommend the Kodaly Method of teaching music. It is primarily a vocal model for teaching music (although one could easily incorporate the use of instruments) and music literacy. Children sing lots of folk songs, which the teacher uses to carefully prepare, present and reinforce musical concepts. Be aware that this method requires a lot of preparation time on the part of the teacher, especially the first year, because the teacher has to make a number of manipulatives for use by each student and then make enough for each child in the class. If you go this route, purchase An American Methodology and its companion book of yearly lessons plans for grades k through 6 here. Be sure to include a lot of sailing songs and drinking songs (yes, I know) for the boys-they really like these.

To be honest, the hardest part about teaching is often how to teach, and the great thing about Kindermusic and the Kodaly Method, especially if you attend summer training sessions in them, is that you learn the art of teaching. I would also seek out the best teachers in your school and plaster them with questions continually. As long as you let them get home to supper each night, they usually enjoying passing on their knowledge. Anyway, I hope this helps.

Most Pure Heart of Mary Schola Cantorum Video

Choir Schools, Chorister Training, Discipline, Most Pure Heart of Mary Schola Cantorum, Music for the Liturgy

As many of you know, our parish founded the Most Pure Heart of Mary Schola Cantorum in 2011 to answer the Church’s call to establish schools of music to train young people the art of sacred music. Each year we have seen the program expand, and we look forward to working with more than 60 students next year from 6 local Catholic schools and home school programs.

Even though the Schola Cantorum is primarily attached to our parish, its work reaches far beyond. Several years ago one of our high school boys became one of our archdiocesan seminarians. While I don’t take credit for his vocation, he once told me that singing in the choir gave him a much better understanding of the Mass.

This year one of our high school girls is graduating and moving on to study organ at the university. Her plan is to finish her Master Degree and then apply for the Organ Scholar position at Westminster Cathedral in London. If anyone has the drive to make that happen, she is the one.

One of our 8th grade students, who plans to sing in the Schola Cantorum through high school, has fallen in love with sacred music and has told me many times before (as have her parents) that the Schola Cantorum has helped her grow much deeper in her not only in the knowledge of her Faith, but in her practice of It. These are not isolated events.

The Most Pure Heart of Mary Schola Cantorum has obviously grown beyond any normal parish music program, and as part of our work to provide a solid financial basis for the program and to expand its outreach, we are asking individuals to consider making the Schola Cantorum part of their monthy giving, whatever that amount might be.

Please take a few minutes watch the short short video below about the Schola Cantorum (and share it with everyone you know!) and consider helping our choristers, who might one day be bringing great sacred music to your parish.

How Do We Get the Boys to Sing?

Choir Schools, Chorister Training, Most Pure Heart of Mary Schola Cantorum, Music for the Liturgy, Probationer Training, Sight-Singing

Several years ago a friend from Wales (UK) asked me why too many men in the United States simply refuse to sing. According to him, men on the rugby field in Wales sang to intimidate their opponents. As I write this article I have to chuckle, wondering what it would look like if in the last Superbowl Tom Brady had lead his fellow Patriots in a chorus of their favorite war hymn in order to intimidate Manning and the rest of the Broncos. In my admittedly bizarre mind I see Brady signaling to the Patriot pep band, who begin the opening strains of Haydn’s Missa in tempori belli (the Lord Nelson Mass). The football players chant “Kyrie,” joined by the lead soprano of the chearleading squad, crying out to God for mercy in the glorious Greek tongue. It would make a great skit for Saturday Night Live! Still, the question remains. How do we get boys to sing? Why won’t they sing?

The second question is rather easier to answer than the first. The boys don’t sing because their fathers won’t sing and the fathers won’t sing because our current culture doesn’t value it. Why should they engage in an activity they perceive to have no value. I have heard it said that our culture no longer sings because electronic entertainment has made the need for it obsolete, but I don’t buy that. I think it comes down to what a person or culture values. This becomes apparent if one were to compare communal singing to sports.

In many ways, singing and sports are similar. We form singers into a choir, each singer performing a different role, or singing a different part. We arrange sportsmen into a team, each player taking a different position. A chorister learns to sing his part well, yet blend that part in a harmonious manner with others in the choir, always mindful of the conductor’s directions. The child playing sports learns to play his position to the best of his abilities, yet work with the others as a team, under the direction of a coach. Choristers have to practice fundamentals such as breathing, sight-singing, listening and intonation and apply those skills within a certain musical work. Sportsmen have to practice fundamentals like batting, catching, and throwing and put those skills to use within certain plays and innings. Sports and music both can build character such as hard work, determination, focus and passion. Music and sports both cost parents money, sometimes a lot, while concert halls and sports arenas are built at considerable cost to the citizenry to hold the myriads of people who come to watch and listen.

Why, then, is sports so popular (and I am specifically asking this in relation to fathers and sons and boys in general-sorry ladies) and communal singing so undervalued? I have no evidence to support my conclusion other than gut instinct, but I imagine it has something to do with the fact that sports (and the Catholic priesthood) are the last place in American society where boys and men can share a common passion and camaraderie on and off the field with other boys and men, and where boys and men are expected to strive for greatness.

What if the Church were to run (at the very least) some of Her choirs this way, choirs where boys and men sang strictly with other boys and men, and all strove for greatness? St. Paul’s Choir School in Boston is able to fill an entire school strictly with boys who want to sing with other boys. The Madeleine Choir School, while open to both boys and girls, separates them into boy and girl choirs, and each year fill the school with plenty of boys who want to sing. Both of these choirs strive for, and achieve, greatness.

Recently I attended Mass for the first time at a certain parish. As usual, I had prepared myself to hear poor music sung poorly (this was not me making any kind of moral judgment—I was simply operating on experience). True, the music was of an inferior quality, all played on the piano, but the the pianist (male), and the four middle aged men who sang and harmonized were all excellent. To see other men stepping up and taking a lead made me want to sing along in spite of any aversion the music itself. I wonder how many music directors are willing to be a little “sexist” and do such a thing. For the sake of our men and boys, perhaps it is worth more than a thought!

Expect the Best-And You Will Get It

Uncategorized

Can you imagine the following?

This fall Pusillanimous University (PU for short) is starting up a new football team, named the Mediocre Mavericks, so that everybody can play football and feel included. Whether you want to spend hours practicing before the game or just show up for the game itself, this is the team for you. The Mediocre Mavericks are all about openness and inclusivity—we want everyone to play. We are also excited to announce that everyone will get a trophy simply for being a part of the team. These will be given out at the beginning of the year to insure no one feels any pressure to stay through the whole season. Call and join today!

Sadly, this is how many parishes run their youth music programs (often adult programs as well, but I am sticking with children today), although they wouldn’t see it that way. The thinking is that since the Catholic Church is open to everyone (which I don’t disagree with in the slightest) a parish should start a music program for children and let everyone in so that all, regardless of talent or ability, are able to participate. Everyone brings his own voice or instrument and away they go. In this way, everyone feels welcome and wants to lift up his voice to praise God, and as the song goes, “They’ll know we are Christians by our love.” This sounds great on paper in the current cultural climate, so I want to take a serious look at how this might play out in real life. I think the best way to do this is to compare paradigm to a sports team.

Firstly, there are so many activities going on and competing for people’s time in America that one can no longer expect children to join a music program if it doesn’t offer something of value. There are many reasons a child might join a sports team, but I think it comes down to value. To start with, parents believe sports to be important for their children’s development because sports teach lessons on teamwork, discipline, friendship, winning and loosing, etc. Children focus on value, too, but in a different way. They see their friends on the team and want to join too. They like winning and want to join a winning team. On the opposite hand, if a parish offers a program open to every child, with no demands, where children are never pushed to be their best, then parents and children perceive the choir to be valueless. Only trash is cheap, or one might say, “you get what you pay for.”

Now I would like to share my own experience with the Most Pure Heart of Mary Schola Cantorum. If a child wishes to join the choir, I give a somewhat involved audition in order to discover where the child is musically and what potential he/she possess. In the end, I invite each child to join as long as he/she can match pitch and is free of any severe vocal issues. Parents are aware in advance that there is a chance, albeit ever so slight, that their child might not be asked to join the choir. The fact that there is an audition lets parents and children know that I have expectations. Secondly, there is a probationary year during which children learn about their voices, good habits of singing and reading music, and I get to learn how serious they are about singing in the choir. Even though it has been rare, I have recommended to parents before at the end of this year that the Schola Cantorum is not a good fit for their child. I explain that it isn’t just about me getting the voices I need, it is also important that the child enjoy the choir. It shouldn’t be agony.

When children become choristers and start singing weekly at Mass, I expect them to put forth their best effort. Some adults have asked me before if I am pushing too hard, but I point out that the same children exert far more energy and just as much drive on the sports field because their coach wants them to be their best. I kid you not, a response I have gotten before is, “Yes, but this (the choir) is for church.” I should have said that God believes in each child’s potential far more than the coach because He made them and knows what each is capable of. Therefore, they should give more at church!

It is also interesting to note that the choir continues to grow (we are more than 50 strong, and next year we will break 60). Off the top of my head, the only two groups for children in our parish (sports included) that are larger than the choir are the parish school and the religious education program for children enrolled in public schools. It stands to reason that parents must see some value in the choir.

Next year we will have enough children to break the choir into two groups, one an advanced group and one a general choir open to all (please note the irony). The general choir will be better than most other children choirs because they know that I expect their best as well. I was reminded of this yesterday in our rehearsal when almost every one of our top singers had to be gone for some reason or other. We were rehearsing Vaughan Williams’ Let all the world in every corner sing for the Solemnity of the Most Holy Trinity. My first thought was one of skepticism, but then those kids pulled it off, singing in a way that I would have been proud to have heard within Mass. I was having so much fun I pulled out Bruckner’s Locus iste (which they had never seen before) in the last five minutes of practice and asked them to read through it on a neutral syllable. They basically had it by the second time around. I understand this piece isn’t anything difficult, but I was still proud of those boys and girls!

I guess what I am trying to say is please set the bar high for the children in your parish. They will thrive on it. If you truly love the children of your parish, believe that they are worth the effort—they will thank you for it many years later. If you truly love the children of your parish, fight the elitism that says young children can’t sing or just can’t appreciate good music. Be the true egalitarian and give them the best our Church has to offer! This doesn’t even touch on the spiritual gifts you will impart to these children.

The Devil Gets in the Details

Choir Schools, Chorister Training, Most Pure Heart of Mary Schola Cantorum, Music for the Liturgy, Uncategorized

Last Sunday the Most Pure Heart of Mary Schola Cantorum presented its annual Spring Concert, consisting of Pergolesi’s Stabat mater and Schubert’s Mass No. 2 in G Major. It was a wonderful concert—I knew beforehand it would be because the morning couldn’t have been a greater comedy of errors.

My plan was to wake up early and make my meditation before going to the local coffee shop in order to mentally prepare for the day and spend some time with the concert music. I made sure that the only Mass I had to provide music for that morning was the usual choir Mass at 11:30 a.m., and I didn’t have to meet the choristers until 10:00 a.m. It couldn’t have been better planned. Now enter the devil.

All night long our children made sure my wife and I were on a continual adventure, which included my having to drive giant, boy eating spiders out of my oldest son’s bed as he screamed, “Daddy, don’t let them get me!” After hitting random spots on the bed and assuring him he was safe I went back to bed, but it wasn’t long before the next child woke up. I spent several hours lying uncomfortably in a twin bed with him wondering how I was ever going to get up on time. Shortly after 7:00 a.m., long after my wake up call, I dragged my body out of bed and thanked God that everyone was still asleep and that I would be able to get out of the house before the daily commotion began. Right then I heard, “Good morning Daddy!” There was our youngest son standing with a big grin on his face ready to start the day. I knew if I didn’t leave right then my morning would be shot, yet I knew that on judgment day I would wish that I had spent this time with him. So I put him in the stroller and we went for a 30 minute stroll. It was in the upper 60s and the light played through the giant trees of our older neighborhood as we passed numerous people out on their porches enjoying a cup of coffee. I tried my best to enjoy it, knowing full well that my plans were shot. I finally got out of the house, but not before everyone was awake and I had given out hugs and kisses and well wishes for the day. It was now almost 9 a.m.

I should have skipped the coffee and gone straight to church and spent some quiet time with God, but instead I rationalized that I really needed that  cup of coffee, and anyway, I would still have time to get everything done, right. Not so. When I got to church I made a short list of things I needed to do, but realized it wasn’t as short as I had thought, so I had to skip the time in the chapel and just dive in. I was so flustered I kept forgetting things and had to made several trips between buildings retrieving items. When I got back to the practice room at 10:00 I didn’t find a single chorister. Where were they? Well, there was a mix up and they didn’t realized I had already unlocked the door to the building, so they were all standing outside. As I traipsed into the building I was hit by the furnace blowing full heat everywhere, even thought it was going to be in the 80s that day (and already was inside the building).

We dove into rehearsal and things were somewhat back to normal when I grabbed for my coffee, actually a large “Death by Chocolate” cafe mocha, sitting on the piano (I know, I know, I shouldn’t have put the coffee on the piano). As I took the cup and lifted it to my mouth, the lid popped of and in my surprise I squeezed the cup and my “Death by Chocolate” attacked—everything and everywhere. It was all over my good suit, my white shirt, one of my favorite ties–the piano, piles of music, the conductor’s stand and the floor. We tried to clean it up, but all we could find were those typical brown paper towels found in public restrooms, which barely work at drying hands, much less mopping up 20 oz. of coffee (and why does 20 oz. of liquid on the floor seem more like 2 gallons?). At this point I could only laugh and thank God that I hadn’t been wearing my suit jacket, which strategically worn would cover large blotches of coffee during the concert that afternoon (you guessed it, no time to go home and change between Mass and call time).

In a similar vein, as our choir prepared for our Rome pilgrimage last fall, I struggled for a month as everything in my life seemed to go wrong and I made myself physically sick with worry. Shortly before we left I went to spiritual direction and discussed this with my director, who after some discernment told me it really sounded like the devil was attacking something he didn’t want to happen. After that moment, the attack seemed to stop and the choir had a wonderful time in Rome. The same thing happened Sunday–God was giving me a chance to simply trust Him, so I did the best I could. Happily enough, the day ended on a wonderful note and everyone was pleased with a job well done. I am sure that each of you have similar experiences all the time. Just remember to laugh, thank the Good Lord and keep your coffee off of the piano!

Most Pure Heart of Mary Schola Cantorum Spring Concert

Most Pure Heart of Mary Schola Cantorum

For anyone who might find himself in Topeka, KS, on Sunday, April 24th, I would like to cordially invite you to attend the Most Pure Heart of Mary Schola Cantorum’s Spring Concert at 3:00 p.m. in the church (17th and Stone Ave.). The Children of the Choir will perform Pergolesi’s Stabat Mater, while the Ladies and Gentlemen of the Choir will performs Schubert’s Mass No. 2 (G Major). Tickets can be purchased at the door.

You can hear the Gentlemen and Children of the Choir below.