“God’s voice is not heard in big musical productions […] but in the gentle breeze of Gregorian chant.” – Msgr. Donald Neumann (1948-2003)
On October 16, 2020, Una Voce Canada composer-in-residence Mark Emerson Donnelly gave a virtual workshop to around 45 participants from three of the five choirs at St. Francis Xavier Parish (Chinese Catholic Centre) in Vancouver, British Columbia.
Titled “Gregorian Chant: Strength of Song, Peace of Soul,” the workshop covered the early Church’s view on music in the liturgy; the origin of musical notation; how musical notation led to harmony and polyphony; the restoration of Gregorian chant in the second half of the 19th century; and the importance to the Church of creating new music with the foundation of Gregorian chant and the masters of Renaissance polyphony, especially Palestrina. Mark also demonstrated how to perform Gregorian chant and discussed his Organum Novi Mundi, a compositional technique for singing chant in harmony that he pioneered in 1989, as well as his work as a composer of sacred music.
Below are two video clips from the workshop. Many thanks to Frances Wai-ling So, Jeremy Wong, and Chris Chan of St. Francis Xavier for organizing the workshop and providing an opportunity for members of the parish’s sacred music ministry to learn more about one of the greatest treasures of the Catholic Church.
***
To learn more about the compositions of Mark Emerson Donnelly and how you can sign up for his newsletter and support his work, visit his website at markemersondonnelly.com
To support Mark’s compositional work through Una Voce Canada, please click here and choose “MED Composer” from the dropdown menu. Canadian donors will be provided with tax receipts.
The St. Monica Society was established by Una Voce Canada in August 2019. The Holy Sacrifice of the Mass is offered each week for the conversion or return to the Catholic faith of all those enrolled in the Society.
Una Voce Canada members in good standing may enroll individuals or groups of individuals by sending either:
A letter addressed to Una Voce Canada (Attn. St. Monica Society), PO Box 30027, North Vancouver, BC V7H 2Y8
Please provide the following:
Your name
Your membership renewal date (found on your newsletter mailing envelope)
Names of individuals or groups of individuals to be enrolled (for example, “John Smith” or “The family of John Smith, Vancouver, BC”)
There is no limit to the number of individuals or groups you may enroll. No stipend is required. Donations will be gratefully accepted and used to provide stipends to the priests offering Masses for the Society.
The Traditional Mass is celebrated at Holy Rosary Cathedral, 646 Richards Street, Vancouver, British Columbia, every Friday at 6:30 p.m. (Sung Mass on First Fridays) and on certain feast days (to be announced). For more information, please visit the cathedral website at https://www.holyrosarycathedral.org/.
On July 2, 2020, nine priests were ordained for the Institute of Christ the King Sovereign Priest by His Eminence Raymond Leo Cardinal Burke at the Institute’s Sts. Michele e Gaetano Church in Florence, Italy. The nine new priests come from France, Spain, Malaysia, Canada, and the United States. Among them was Canon Stephen Michael Sharpe of Saskatoon, Saskatchewan, whom Una Voce Canada was pleased to have been able to assist with his studies for the priesthood through the generosity of its members and benefactors. Canon Sharpe’s first assignment is at the Basilica of Saints Celso and Giuliano in Rome.
https://institute-christ-king.org/980-nine-new-priests-for-holy-mother-churchCanon Sharpe’s First Mass https://twitter.com/ICKSP/status/1279783023869857793/photo/3
Highlights of the Institute’s ordination week, July 2020. Priestly ordinations start at approximately 4:30.
Posted inUncategorized|Tagged2020, ICKSP, Video|Comments Off on Canon Stephen Michael Sharpe of Saskatoon ordained for the Institute of Christ the King Sovereign Priest on July 2, 2020
For those who love the Traditional Latin Mass, September 14, the Feast of the Exaltation of the Holy Cross, has special significance. On that day in 2007, Pope Benedict XVI’s Apostolic Letter Summorum Pontificum, came into effect, freeing the Traditional Mass from the restrictions that had been imposed upon it for almost forty years.
Summorum Pontificum restored the Traditional Mass to a place at the heart of the Catholic Church’s liturgical life. It gave priests the right to celebrate, without the need to obtain special permission, the Mass that was codified by Pope St. Pius V in 1570 and last revised by Pope St. John XXIII in 1962. It also asked pastors and bishops to provide for the celebration of this Mass wherever a “stable group” of lay faithful desired it. And it envisioned the co-existence of both the Traditional Mass (which Pope Benedict called the Extraordinary Form of the Roman Rite) and the newer Ordinary Form in the same parishes, as well as the establishment of personal parishes dedicated to the Extraordinary Form (an example of which is Holy Family Parish in the Archdiocese of Vancouver, established by Archbishop Raymond Roussin in July 2008).
It was therefore fitting that, despite the limitations due to the COVID-19 pandemic, a Solemn High Mass was celebrated at Holy Rosary Cathedral in downtown Vancouver, British Columbia, at 6:30 p.m. on September 14, 2020. The Mass was livestreamed on the cathedral’s YouTube channel.
The sacred ministers were Fr. Juan Lucca, assistant parish priest at St. Mary’s Parish in Chilliwack, BC, celebrant; Fr. Ralph Oballo, FSSP, assistant parish priest at Holy Family Parish in Vancouver, deacon; and Fr. Pablo Santa Maria, JCL, assistant priest at Holy Rosary Cathedral and vice-chancellor of the Archdiocese of Vancouver, subdeacon. Fr. Stanley Galvon, rector at Holy Rosary Cathedral, preached the sermon. Sitting with Fr. Galvon in choir was Fr. Arsene Dutunge, JCL, currently in residence at the cathedral.
The ministers were assisted by master of ceremonies Matthew Palmer, thurifer Michael Do, acolytes Stephen Ivanyi and Kevin Lam, and crucifer Javier Cabrera.
The Propers and Ordinary of the Mass were chanted by a schola directed by cantor Christopher Suen and composed of Ed Devita (cantor), Daniel Chan, Daniel Ma, and Michael Molnar. The cathedral’s magnificent pipe organ was played by David Poon.
Adoration and veneration of the cathedral’s relic of the Holy Cross followed the Mass, with the schola singing Vexilla Regis and Crux fidelis/Pange lingua … lauream certaminis, from the Veneration of the Cross on Good Friday. Benediction completed this beautiful and moving ceremony.
The Traditional Mass is celebrated at Holy Rosary Cathedral every Friday at 6:30 p.m. (Sung Mass on First Fridays) and on certain feast days (to be announced). For more information, please visit the cathedral website at https://www.holyrosarycathedral.org/.
Dr. Peter Kwasniewski was the guest speaker at the Una Voce Canada annual general meeting in 2016. We are pleased to share his letter about the Aquinas Institute’s online offerings.
Dear Friend of Catholic Education,
Most of you, no doubt, have heard of the Aquinas Institute – well, there are several organizations called by that name, but I’m referring to the one that publishes the well-known blue hardcover Opera Omnia series of bilingual editions of the works of St. Thomas (the most recent addition to which is a two-volume set of the saint’s Commentary on Aristotle’s Metaphysics). I am happy to be able to share with you the news that the Aquinas Institute is now launching Online Discussion Classes, at two levels:
A Graduate Theology Curriculum, consisting of 12 integrated courses towards an MA in theology. Courses may be taken 1, 2, or 3 at a time — whatever best fits one’s schedule. Adults looking for a more serious engagement with theology, including priests, religious, catechists, and schoolteachers, should check out this program; nothing quite like it has ever been offered in the USA. Courses begin the week of September 14th.
An undergraduate Liberal Arts Curriculum consisting of 12 accredited courses in humanities, philosophy, and theology, to be taken 3 courses at a time. This program is for students ready to do college-level work, students already enrolled in state universities looking for a way to fulfill general education requirements, and people of any age group and background who want to fill in gaps in their own education. Courses begin the week of September 21st.
Great Books or primary sources: we read (e.g.) whole works by Plato and Aristotle for philosophy, Augustine and Aquinas for theology, Dante and Shakespeare for humanities — not textbooks or random bits and pieces.
Discussion: the classes take the form of interactive conversations guided by Catholic professors passionate about their subjects. The faculty lined up for Fall 2020 hail from Wyoming Catholic College, the International Theological Institute, Our Lady of Guadalupe Seminary, and Baylor University.
The first three Liberal Arts courses will be: (1) Gods and Heroes in Ancient Greece, with Dr. Jason Baxter; (2) Tools of Philosophy, with Jacob Terneus; (3) Salvation History I, with Dr. Vincent DeMeo
The first three Graduate Theology courses will be: (1) The Book of Job, with Dr. Nathan Schmiedecke (2) Existence and Attributes of God, with Dr. John Mortensen (3) Church Fathers I, with Dr. Michael Foley
The cost is comparable to similar online programs, and scholarships are available.
We are looking to register enough students to run all six courses. Help us to get the word out by telling your family, friends, and acquaintances.
Be Thou mindful of Thy word to Thy servant, O Lord, in which Thou hast given me hope: this hath comforted me in my lowliness. (Psalm 118)
In memoriam: Marie Donnelly (February 1, 1926 – July 27, 2020)
Though Mum and Dad didn’t play any instruments themselves, they thought music lessons were important for my sister, brother and me. I’m not sure why, but they chose violin for Maureen, and piano for Lawrence and me. Our first piano teacher was Mrs. Chapman. She had some chickens, and so, after Mum dropped Maureen and Lawrence off at school, she’d drive me to my lesson, and also pick up a couple dozen eggs. A few months in, Mrs. Chapman told my mum I was too young for lessons, and should try again in a year. By that time my brother had moved on to another teacher, Mrs. Wiesemann, who became my new teacher.
My mum dutifully drove me to piano lessons for eight years, at the end of which it was clear I had neither the discipline nor the desire to play the piano. However, when I was in grade six, Mum bought a trombone for $25 at a second hand store. That seemed pretty cool, but since our elementary school didn’t have a band, I waited two years to start playing it (aside from blatting out a few fat notes that drove our dog, Wally, nuts).
I have no idea why Mum got that trombone. I still have it. In fact, I used it as a prop in “The Barber of Seville” some years ago. My daughter Theresa, who sings on this recording, played one of Figaro’s helpers in that production. I love the trombone, though I don’t play it much anymore. Without it, I’m not sure I would have continued with music.
***
In November 2019, Catherine and I made the commitment to promote my composing of Latin church music. Though I had been writing and arranging music for many years, it was only for about the last two that I had the conviction that this was what God wanted me to do. Even then, it took me those two years to muster up the courage to admit this to the world. I, like a lot of folks, don’t like rejection. I had been a professional singer for decades. Now I was going to say that the best part of me was not performing, but writing music. What if people didn’t like it? Or worse, didn’t even care?
The first thing we thought we needed to do was record some of my stuff as soon as possible. We were given permission from the abbot of Westminster Abbey in Mission, BC to record there in the third week of January. Circumstances made it such that we had to push the recording into the next month. However, only one day worked, Saturday, February 1st.
There were two problems. First, the Abbey wasn’t available. Thankfully, a good friend of mine and fellow composer, Peter Allen, arranged for us to record and film at St. Augustine’s in Vancouver; which happened to be the church where my parents were married. That was kind of neat.
The second problem was that February 1st was my mum’s birthday. So I called Mum and asked if it was okay if we celebrated her birthday on the following day instead. She said, “That’s fine, but don’t make a fuss!” I said, “It’s not a fuss. But the only day we can record is on Saturday, so we have to come over Sunday.” “Okay. But don’t make a fuss!” So we recorded and filmed on my mum’s 94th birthday. Since Colleen, our eldest daughter and one of the sopranos in OFFERTORIUM, was in town from Edmonton for the recording, Mum was able to see her great-grandson, Leo, for the celebration.
***
Liturgically, we were deprived of the Gloria throughout Lent. Therefore, it was fitting to release the Missa Sicut Cervus “Gloria” on Easter Sunday. It was also most appropriate to release the “Ave Maria” for Mother’s Day; likewise the “Pater Noster” for Father’s Day.
But of the five pieces we recorded on Mum’s birthday, the one that stood out as special to all involved was the “Memento Verbi Tui.” The problem was, what was the fitting occasion on which to release it?
Well, Mum passed away at the end of July. In her honour, we dedicate this performance, sung by friends and four of her grandchildren: Colleen, Theresa, Francis & Mary-Kate.
People ask if her passing was expected. Well, I guess as expected as for anyone who has lived into her nineties. Mum was Mum. Born in Galicia, Poland (now Ukraine), she survived the Second World War as a Slav in Nazi Germany. Mum was tough. It seemed she would just always be there.
Mum never really understood what I did as a conductor or composer. She knew that I somehow made my living as a singer, because she saw me performing the anthem on TV before Canucks games. I sang “Danny Boy” for her about a week before she died. She said, “You sing pretty well. You’re still my little boy.”
My brother, Fr. Lawrence Donnelly, and I will miss her. We pray that Mum is together with Dad and Maureen in Paradise.
***
To Mum;
May the angels conduct you into paradise; may the martyrs receive you at your arrival and lead you to the holy city, Jerusalem. May the choirs of angels receive you, and, together with the once poor Lazarus, may you have eternal rest. (In Paradisum)
Your loving son,
Mark markemersondonnelly.com August 14, 2020 Vigil of the Assumption of the Blessed Virgin Mary
This article by Agnieszka Ruck first appeared in the BC Catholic on July 22, 2020.
Many people have asked Cecilia Upton the same question this summer. (That sort of thing tends to happen when you turn 100.)
“What’s your secret for a long life?”
The Vancouver centenarian, a parishioner at Holy Family, is happy to answer yet again: “It’s my faith. Our Blessed Lord, we can’t take one step in front of the other without his help.”
Upton’s trust in God has carried her far during her 100 years. Born in Yorkshire, England, she recalls opening a hair salon at age 18 in the midst of the Second World War, marrying a member of the Canadian Air Force, and moving with him to start a new life in a country with vastly more trees than people.
She was one of the nearly 48,000 women who married Canadian servicemen during the war and returned with them to Canada. She moved to New Brunswick with her husband in 1945 and is one of the few war brides of that era still alive today.
Sometime during their sea voyage westward, she remembers the ship turning off its engines; enemy submarines were in the Atlantic and were trying to make it to Canada undetected.
Upton and her husband had two children. Because of his work in the air force, they moved from Prince Edward Island to Vancouver Island and everywhere in between. They ended up staying in “the right spot, in Vancouver here.”
In 1989, long before the Latin Mass Holy Family Parish was established, Upton was already helping advocate for local Catholics wishing to celebrate the traditional Mass.
She had lived through the confusing times of the Second Vatican Council in the 1960s, when the “major changes in the Church” made it seem like every Sunday was different. She found she missed the “beautiful, reverent” Latin Masses she was used to.
If you’ve read any of my previous articles on composing, you’ll likely know that I’m totally sold on a strict adherence to the rules of functional harmony, as exemplified by Palestrina. Though Bach, Mozart and Beethoven also excel at the use of functional harmony (how’s that for understatement?!), I don’t generally try to emulate these musical giants. Without getting into the reasons here, my conclusion is: If you use Palestrina’s music as the pinnacle, you have a better chance of producing something well suited for the sacred liturgy (St. Pius X is with me on this; or, rather, I’m with him).
However, even in Traditional circles, my views on liturgical music are quite narrow. I’m kind of rigid in this way because we are in a battle for the reclamation of our culture. At the epicentre of that culture is the Mass. Since our Lord, present on the altar, is Truth, Beauty and the Good Himself, He deserves only the most fitting music to adorn the Holy Sacrifice. I guess you could say I’ve kind of adopted this narrowness of style as my musical charism.
So, is ALL other music not seeking this particular ideal bad? By no means! As I am writing this, I’m listening to a Baroque concerto played by the great Dutch cellist Anner Bylsma, who passed away one year ago today, the Feast of St. James. (Requiescat in pace.) As with most of the Baroque repertoire, it is great music for thinking and writing. (The coffee and rum helps, too!) Would this style of music work for the liturgy? I think so but, for the most part, not as well as that emulating the 16th century. But, again, I’m a stickler.
I think things get really dicey when you get towards the end of the 18th century (French Revolution). Around this time, music begins to take on a more emotional character; instead of tempering the passions, it feeds them.
This trend continued throughout the 19th century, what is called the Romantic period. It is not surprising that most of the attacks on our culture come from ideas and movements which arose during this time and into the next century. It’s unreasonable to think that even as art and architecture were corrupted during this period, music would somehow remain unscathed. Therefore, I am very wary of 19th century musical styles, for church anyway. And I reject whole all uniquely 20th century compositional innovations – a time of horrendous wars, degradation of culture and devaluation of human life.
I say “uniquely 20th century” as there are a lot of 20th century techniques employed by composers who consciously harked back to earlier epochs. The revival of Gregorian Chant greatly influenced many 20th century composers. Much of the music of Ralph Vaughan Williams (1872-1958) is distinctly modal. However, atonality and “crunchy” non-functional harmonies? Not for me.
Upcoming Articles
Aristotle considered a musical education essential for the philosopher, indeed, for any liberally educated person. In a recent interview with Eddie Muller, trumpeter extraordinaire Wynton Marsalis said that, for jazz, there needed to be more education; not for musicians, but for the listening public. If this is of value for jazz, it is even more so for liturgical music.
In future articles, I hope to unpack the characteristics of particular musical styles – one style per article. In each discussion, I will also try to explain the thinking process I go through to come to a judgement of whether or not a piece of music in that particular style is suitable for the sacred liturgy.
***
To learn more about the compositions of Mark Emerson Donnelly and how you can sign up for his newsletter and support his work, visit his website at markemersondonnelly.com
To support Mark’s compositional work through Una Voce Canada, please click here and choose “MED Composer” from the dropdown menu. Canadian donors will be provided with tax receipts.
On June 8, 2020, the International Una Voce Federation (FIUV) issued the following press release (PDF version).
***
In light of the recent statement (and here) by Archbishop Thomas J. Rodi of Mobile, Alabama, in the United States of America, on social distancing during the reception of Holy Communion, and related issues surrounding the reception of Holy Communion around the world in the context of the Coronavirus epidemic, the Foederatio Internationalis Una Voce (FIUV) would like to make the following observations.
In the Ordinary Form, the universal law of the Church gives every Catholic the right to receive on the tongue. This was reaffirmed by the Congregation of Divine Worship in the context of earlier public health concerns, the so-called ‘Swine flu’ epidemic of 2009. (See, for example, Redemptionis Sacramentum(2004) 92; Letter of the Congregation of Divine Worship 24th July 2009, Prot. N. 655/09/L.).
In the Extraordinary Form, the universal law of the Church allows for the reception of Holy Communion only on the tongue. (See Universae Ecclesiae(2011) 28; Memoriale Domini (1969).)
In neither case can the law of the Church be set aside by the Ordinary.
The problem of maintaining physical distance between Minister and Communicant during the Reception of Holy Communion applies equally to Reception in the Hand as to Reception on the Tongue. In both cases Minister and Communicant are obliged to come close to each other, if only for a short time, and without touching. It is difficult to see how even the use of an instrument such as a pair of tongs (for which there are historical precedents) would enable Minister and Communicant to maintain a distance of six feet or two meters.
Canon law is rightly very restrictive in the penalties which bishops can impose on their priests for the breach of regulations of their own devising. Bishop Rodi’s attempt to prohibit priests who do not obey his regulations to celebrate public Masses—something which amounts to a partial suspension of a priest—goes beyond what Canon law would appear to justify. (See Canons 1316-1319).
It has become increasingly evident that there is no clear scientific basis for the claim that Reception on the Tongue is more likely to transmit the Coronavirus than Reception in the Hand. This has been the expert advice given to Archbishop Sample of Portland, Oregon, USA, and to Archbishop José Antonio Eguren, of Piura, Peru, and it is also the view of the experts involved in the guidelines of the Thomistic Institute of Washington, DC, in the USA. If any bishops around the world are in possession of studies or expert opinions in conflict with this growing consensus, it behooves them to make these public as a matter of urgency.
Where local circumstances demand it, the suspension of the Reception of Holy Communion, of the celebration of Masses open to the public, and even the opening of churches for private prayer, have been ordered by bishops and public authorities. These measures are at least even-handed and, insofar as they are justified by genuine public health concerns, do not infringe the rights of the Faithful. As these measures are gradually lifted around the world, we urge bishops to continue to act in accordance with expert advice, not arbitrarily picking out certain priests and faithful for greater restrictions than those imposed on others, and with respect for the rights of the Faithful.
The President and Officers of the Foederatio Internationalis Una Voce, 8th June 2020
———–
ABOUT THE FOEDERATIO INTERNATIONALIS UNA VOCE (FIUV)
The FIUV represents the needs and concerns of the world-wide laity attached to the ancient Latin liturgical tradition, the Extraordinary Form. It has more than 45 member associations from Europe, North and South America, Africa, and Asia.
The Federation has a biennial General Assembly in Rome, and publishes a magazine twice a year, Gregorius Magnus.
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking “Accept”, you consent to the use of ALL the cookies. Click on "Cookie settings" to select your options.
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
