This article, originally published on June 5, 2020, is reprinted with permission courtesy of the Missive, the blog of the Priestly Fraternity of St. Peter.
***
A recent online survey of 1779 adults from 39 states found that the “Traditional Latin Mass is experiencing a high volume of participation and interest in the 18-39 demographic.”
Fr. Donald Kloster of the diocese of Bridgeport, CT, with the help of other contributors, conducted the survey between October 22, 2019 and March 1, 2020.
Fr. Kloster directed his study not at a general Catholic audience but at those within the age range who at least prefer the Latin Mass. And his findings are remarkable. The survey showed an astounding 98% weekly Mass attendance in the 18-39 age group . These adults would have been born roughly in the range of 1980-2001, and therefore largely represent the Millennial generation (1981-1996) and the earliest individuals in Gen Z (1996-2010).
How does that compare to statistics in the church at large? Research done by Gallup shows dramatic declines in church attendance since 1955 in all age categories: with the 21-29 age group consistently at the bottom, at 25% weekly Mass attendance. The Gallup data shows a steep drop from 73% attendance in 1955 to percentages in the mid-30s by 1975. This drop began with the members of the Silent generation (born 1928-1945) and the early Baby Boomer generation (1946-1955). After holding steady for a decade, it dropped to a low point with Generation X (1964-1979), where it has largely remained for the Millennials.
Although a large majority of the respondents said that their parents regularly attended Church, only 10% of those surveyed were raised in Traditional Latin Mass households, and only 16% reported that their parents had led them to the ancient liturgy.
The reasons that did lead them to Mass, ranked in descending order, are as follows:
35% Reverence
16% Parents
13% Friends
12% Curiosity
8% Solemnity
8% Other
5% Spouse
3% Music
Combining some of this data, we can see that personal preferences (reverence, curiosity, solemnity, and music) account for 58% of the total, while peer influences (friends, spouses) account for 18% of the total. Thus, to the tune of 76%, the impetus to attend the Latin Mass among 18- to 39-year-olds seems to be largely coming internally from within their own generation, rather than being inherited from previous generations.
One important factor in the study seems to be a strong religious family life: 65% of the respondents’ fathers regularly attended Church, 75% of their mothers regularly attended Church, and fully 84% were raised in a married (but not remarried) household. And note that these fathers and mothers are the Baby Boomers and Gen Xers whose generations saw the steep decline in Mass attendance mentioned earlier.
It seems that those Boomers and Xers in the parent generations who retained a solid family structure and regularly attended Mass—whether or not they themselves attended a Latin Mass—helped set the stage for the Millennials and early Gen Z to rediscover tradition through personal and peer channels. Of course we cannot discount intellectual influence from older traditionalists online or elsewhere, but the trope of “cultish” parental influence is not borne out at all in this data. Fr. Kloster’s study suggests that these generations have come to the Latin Mass largely on their own and for their own reasons.
Fully 80% of Fr. Kloster’s respondents had thought of a priestly or religious vocation. This finding will come as little surprise to those in Latin Mass communities that, while often small, tend to generate vocations well beyond the norm. Moreover, men comprised 57% of those responding to the survey, while only being 49% of the population. All of these numbers are highly relevant to the priest shortage, and suggest a clear way out of it.
And as far as the laity goes, if the trend of 98% Mass attendance continues to hold across the wider Catholic world, it hints not just at potential to reverse the decline in attendance since Vatican II but to go even further and surpass the 1955 numbers of 73%-77% attendance across all age groups.
Fr. Kloster shared his thoughts with the Missive about that possibility. He theorizes that, in a few key respects, the Latin Mass today is unlike the Latin Mass of the 1950s. Priests are now saying the Mass slower, and they are offering more high Masses and solemn Masses. That more reverential approach seems to be bearing fruit.
“We are doing what the Vatican Council was supposed to do,” he said. “We are fixing all the gaps that should have been fixed.”
Overall, the findings are very encouraging, and this study will be worth continuing to unpack in the coming months and years. Kudos to Fr. Kloster and his team for taking the time to put data and actual numbers behind the anecdotal evidence that has been bandied about for a while.
Posted inUncategorized|Tagged2020, FSSP, TLM|Comments Off on The Latin Mass among Millennials and Gen Z: a national study
Organum Novi Mundi(of the 13th century Benedictine plainsong) by Mark Emerson Donnelly (1989)
(Links to both the PDF and practice video below)
***
This week concludes the annual liturgical cycle, which begins with the eager anticipation of the Messiah’s birth at Christmas and ends with the descent of the Holy Spirit and the birth of the Church at Pentecost. But right off the bat, in this Time after Pentecost, we have two great devotional feasts: the Solemnities of the Blessed Trinity and of the Blessed Sacrament (Corpus Christi: Body of Christ).
These two feast days have a special connection for my family. The main chapel at Thomas Aquinas College (TAC), alma mater for seven of us(!), is dedicated to Our Lady of the Most Holy Trinity. And it was Saint Thomas who was commissioned by Pope Urban IV to write the hymns for the Solemnity of Corpus Christi.
Of the many sublime masterpieces he created for this feast, which include the Lauda Sion, Pange Lingua/Tantum Ergo, and O Salutaris, perhaps the most beloved is the Adoro Te Devote (I adore Thee devoutly).
Although we do not know the melody used for this hymn when the feast was first celebrated in 1264, we do know that, at least sometime in that century, Adoro Te Devote was sung to the same Benedictine plainsong with which we associate it today.
I first encountered this tune, in my late teens, as the hymn “Humbly We Adore Thee.” Though Gregorian melodies are often haunting, I found this one rather gentle, while at the same time soaring. It became for me, as for others, a favourite.
The Birth of Organum Novi Mundi
Having already completed my music degree at the University of British Columbia (UBC), it seemed natural that my work-scholarship at TAC would be that of student choir director. My fellow UBC music grad, Michael Perry, had the position before me.
The greater part of my duties was to prepare the music for the sung Latin Mass on Sundays and other major feast days. In my sophomore year, when looking for Lenten music, I happened upon the 1661 Mainz Hymnal harmonization of the simple strophic chant Stabat Mater. The notation seemed to suggest that it was to be sung as a regular hymn, i.e., slower and more rhythmically inflexible than Gregorian Chant. We tried singing it as a hymn. In that manner, it seemed like it would take FOREVER to get through the 20 verses!
As an experiment, I suggested to the choir, “Let’s sing it quicker and lighter, like the chant, BUT WITH THE HARMONY.” Voilà! Musically, it came to life, but in a very fresh and unique way! At the faster tempo, the rapidly changing simple harmonies added a sparkle we had not heard before.
Fast forward two years. Freshly graduated from TAC and newlywed to Catherine, I was, once again, conducting the choir at the Latin Mass back in Vancouver. That lovely melody I sang as a teenager, but now with its traditional Latin text, was part of the choir’s repertoire. How exactly it came to me, I don’t recall, but in the fall of 1989, I wrote my own Mainz-style Adoro Te Devote.
In my mind, I wanted to push it beyond the Mainz Stabat Mater; I wanted to synthesize the sober delight of Medieval organum (without the bass drone) with traditional diatonic harmonies (no accidental sharps or flats), while at the same time making it seem to the choir that they were singing four simultaneous melodies!
Well, I completed it that fall, and we’ve been singing it now for over 30 years. My kids have performed it when they’ve directed their own choirs. My daughter Colleen specifically requested this setting for her nuptial mass two years ago, and it continues to be one of her devotional favourites.
I remember meeting someone several years ago at a TAC graduation. Upon introducing myself, she said, “Oh, you’re Mark Donnelly! We sing your Adoro Te at my parish!” I guess people like it.
Sometime in that fall of 1989, one of the singers in our choir came up to me and said, “You know, Mark, this is really great! You have to do this for all the Gregorian hymns!” Well, I haven’t managed that, but I have written over forty ONM. There’s more to come. Stay tuned!
Why Novi Mundi?
Two reasons:
I wanted to distinguish what I write from European (Old World) Medieval organum, which died out in the 14th and 15th centuries as more complex harmony and counterpoint developed.
I live in the New World, that is, the Americas. To be honest, I’ve never been outside of North America. One of our rather ambitious projects involves Europe, but that’s all I can say for now. In the meantime, you can keep it in your prayers. God willing, we’ll have an announcement about it soon!
***
Score: Adoro Te Devote (ONM-MED)
For this edition, I have added the equally sublime English rendering by the great 19th century poet, Gerard Manley Hopkins, S.J. Seldom do we find practical translations which are not only beautiful but also faithful to the original’s spirit and meaning.
Formatting Note: The score is margin-optimized for reading on a tablet or phone. It can still be printed in Adobe Reader, using the “Actual size” setting.
As with the previous scores, the accompanying YouTube video is for practice use, but feel free to enjoy listening to it.
Performance notes
As with all my ONM, the movement and expression is according to the “Old Solesmes Method.” However, this setting assumes the following liberties common to the singing of this tune:
The timings at the half bars are treated like full bars.
The direction to sing the second syllable of “veritátis” (verse 2) and the word “ab” (verse 6) as single beats is ignored; i.e., they are sung as a dotted punctum (mora vocis), as in the other verses.
For this recording, we chose to sing a semi-tone lower than is indicated in the score (D-flat instead of D). FYI: We sing at A = 432 Hz. Try it, you’ll like it!
This article by Francis Lee first appeared in Crisis Magazine on May 28, 2020.
***
An interview with the Reverend Canon Matthew Talarico, Director of Vocations and Provincial Superior of the Institute of Christ the King Sovereign Priest.
Canon Talarico celebrating Mass in the Shrine church (ICKSP)
Q: What led you to choose your priestly vocation in the Institute and your personal devotion to the Traditional Latin Mass?
I came to know the Traditional Latin Mass when I was about thirteen years old. The Mass I attended was celebrated by priests in the Diocese of Pittsburgh. I was inspired by the sacred reverence of the Latin Mass and soon found myself serving at the altar, which I had done for several years at my former Novus Ordo parish. I was quickly drawn to the overall beauty of this ancient form of worship and, as a language enthusiast, was interested in learning Latin.
This early introduction to tradition provided an abundant source of inspiration to me as a teenager. I realized that the way I conducted myself at the altar should influence and uplift my behavior in everyday life. I remember that, as a teenager, sometimes I acted as teenagers do by default. With this natural youthful disposition in mind, serving at the Latin Mass, at the holy altar, and the sacred reverence of that environment radically altered my daily behavior when I was at home and school during the week.
When I was deciding where to pursue my priestly vocation, I was drawn to the Institute, in particular, due to its warm family spirit, which stems from the spirituality of Saint Francis de Sales. In the Institute, I sensed a supernatural charity and a profound spirituality based upon the truths of our Faith. Likewise, I sensed that the Institute would offer a traditional formation in an authentic spirit of Romanitas. I was drawn to the Institute’s focus on restoring the sacred liturgy but also to its mission to restore and renew a sense of Catholic culture in the public square. In other words, the attitude and behavior which we have in church during the liturgy should inspire and edify us in our daily lives—how we sing, what we say, what we do in our social life with other people in the world. So, in the Institute, I sensed there was a wholeness to this Catholic approach and that was very attractive to me.
Q: The Institute was canonically erected in 1990. Since then, the Institute has grown to include 80 apostolates in twelve countries, 120 priests, and more than 90 seminarians. You will soon celebrate the 30th anniversary of the Institute’s founding this September. Where do you see the Institute in the future?
First, we are planning a pilgrimage of thanksgiving to Rome, to celebrate our 30th anniversary, around the Feast of Our Lady of the Immaculate Conception, since Mary Immaculate is our Patroness. The trip we put together is on our website, and though the present moment is not the best time to make definite plans, we are still planning this trip to Rome from December 6–8.
Acknowledging that no one is a prophet who can predict the future, I can see, from the ground now, that there has been a sharp increase in men who are inquiring about a vocation, either as a priest or brother. This increase has occurred in the last few years and the last twelve months most notably. Even during this pandemic, we continue to receive phone calls and emails about vocational inquiries. There are a couple of dozen men planning to make a discernment visit over the next few months. I would say that the increasing amount of vocational inquiries is very encouraging.
Also, bishops are reaching out to us. This is always a pleasant and welcoming affirmation of our Institute’s work. Just last week, a diocesan bishop called us to have a conversation about establishing an apostolate in his diocese. So there are bishops who are stating their desire to have communities, like the Institute, in their dioceses. We are blessed by God to have many vocations in order to fulfill this great spiritual need facing the Catholic Church in America. In the past eight months, we started two new apostolates in the United States—one in Waterbury, Connecticut, and the other in Lake Charles, Louisiana. I think that grace will allow the Institute to continue its growth so that priests and the brothers will be present to people for fulfilling their spiritual needs where such support is lacking.
The Sisters Adorers of the Royal Heart of Jesus Christ Sovereign Priest, the vital female branch of the Institute family, continue to grow as well. There are over fifty Sisters now. This spring, we planned for seven Sisters to receive the habit but, unfortunately, due to the pandemic, we had to postpone the ceremony which was to take place on the Feast of Saint Joseph. Considering that the seven Sisters come from six different countries, there exists a very international character. In regards to the Faith and, especially, to the liturgy and spirituality, I am always edified by how the love for tradition brings people together from across the globe. In Europe and also in Africa, the Institute also operates several schools and I have full hopes that this ministry will continue to grow as well.
Veni Creator Spiritus Gregorian Chant (9th Century) Organum Novi Mundi by Mark Emerson Donnelly (1990)
(Links to both the PDF and practice video below)
*****
It seems to be a universal sentiment in the literature of ancient Greece, that all artists (poets, sculptors, musicians, playwrights, etc.) create by motive from the heavenly Muses. These daughters of Zeus were thought to infuse the mind of the artist with a creativity not attainable through mortal reason alone.
I think the Greeks got things partially right; the creative urge is divine, but not from “the Muses.” As a Catholic composer, I think (and feel) that the inspiration to create is from the Holy Spirit. That’s what the word “inspiration” means, to be infused with the spirit.
Forty days after His resurrection from the dead, Jesus ascended, leaving His fragile few gazing up into the heavens. But He promised not to leave them (and us!) orphaned. He would send an Advocate, a Comforter.
As the Apostles did 2,000 years ago, we begin the novena of novenas, the original nine days of prayer, to prepare for the descent of the Paraclete (Comforter) on Pentecost!
The vespers hymn for the Feast of Pentecost, “Veni Creator Spiritus,” is the best known Gregorian Chant in honour of this supreme Comforter. Though the authorship is not known for certain (it’s even been ascribed to Charlemagne), most scholars attribute it to Blessed Rabanus Maurus, O.S.B. (c.776-856).
As we struggle through the wearying protocols coincident with the SARS-CoV-2 virus, it may be a good idea to turn to God-the-Spirit. If, when writing the “Veni Creator,” Blessed Rabanus really was inspired by the Third Person of the Trinity, then the Holy Spirit is our Comforter (verse 2), will pour love into our hearts and strengthen our bodies (verse 4), and drive off our foes and help us avoid harm [literally, avert that which is noxious!] (verse 5).
I think we all could use some of that stuff right now!
*****
What Is “Organum Novi Mundi”?!
Well, for the record, it has NOTHING to do with the New World Order!
Organum Novi Mundi (organum of the new world) is a Gregorian compositional technique pioneered by Mark Emerson Donnelly in 1989. Drawing on the tradition and inspiration of Medieval Organum, Donnelly combines this with the harmonic development of the high Renaissance. Sung in the same rhythmic manner of the original Gregorian plainsong, ONM expands on and embellishes the chant’s simple beauty without drawing the mind of the listener away from the text. Often alternated with unison plainchant, ONM may be in two to six parts. To date, Donnelly has produced dozens of these compositions for parochial use.
Well, that’s it in a nutshell. I hope you like the score and practice video that follow.
NOTE: Sorry, this is an old score (no word accents or translation). But I wanted to give you something you could use for Pentecost, and still have enough time to prepare it! When I get the new one finished, I’ll make it available.
(The score is margin-optimized for reading on a tablet or phone. It can still be printed in Adobe Reader, using the “Actual size” setting.)
For practice use only (at least primarily; you are allowed to enjoy listening to it).
ONM Performance Practice Notes
I consider the rhythmic and expressive style of the “Old Solesmes Method” integral to Organum Novi Mundi. This is reflected in the performance on the video.
Over the years, we have found that, if the chord inversions are not affected, it is often best to have one male voice double the chant tune on the ONM verses. (I’m the melody guy on this recording.)
Come Creator Spirit,
And visit the minds of Thy people:
Fill Thou with heavenly grace
The hearts which Thou hast made.
2. O Thou Who art called the Comforter,
The gift of God most High,
The living Wellspring, Fire, Charity,
And spiritual Anointing.
3. Thou givest sevenfold gifts of grace,
O finger of the Father’s right hand:
Thou art truly the promise of the Father,
Endowing our throats with holy speech.
4. Enkindle Thou light in our senses,
Pour Thou love into our hearts,
And the weaknesses of our bodies
Strengthen Thou with Thine unfailing strength.
5. Drive Thou far away our foe,
And continually grant us Thy peace;
For with Thee thus going before us as our guide,
We may avoid all harm.
6. Grant that through Thee we may know the Father,
And come to know the Son;
And may we trust in Thee at all times,
Who art the Spirit of Them both.
7. To God the Father be glory,
And to the Son who hath risen from the dead,
And also to the Holy Comforter,
Forever, world without end. Amen.
The US Conference of Catholic Bishops (USCCB) has stated that it is “possible to distribute [Holy Communion] on the tongue without unreasonable risk.” According to a memo sent on April 30 to all US bishops by USCCB Committee on Divine Worship chairman Abp. Leonard Blair of Hartford, Connecticut:
We have carefully considered the question of Communion on the tongue vs. Communion in the hand. Given the Church’s existing guidance on this point (see Redemptionis Sacramentum, no. 92), and recognizing the differing judgments and sensibilities that are involved, we believe that, with the precautions listed here, it is possible to distribute on the tongue without unreasonable risk.
Redemptionis Sacramentum is a universally binding instruction issued by the Congregation of Divine Worship in 2004.
It should be noted that in the celebration of Mass in the Extraordinary Form of the Roman Rite, Holy Communion must be distributed only on the tongue, according to the universal liturgical law applicable to such celebrations.
The Mass setting, first considered by Mark when he was in college in the 1980s, was not completed until 2012. Mark talks about the journey “from motet to Mass” in this video.
From Motet to Mass: Missa Sicut Cervus by Mark Donnelly
With financial support from generous donors, Mark’s Missa Sicut Cervus and several of his other works were filmed and recorded in February this year at St. Augustine’s Church in Vancouver (built in 1932) with the gracious permission of its pastor, Fr. Andrew Stendzina, OMI. With Nathan Douglas and his team from Motet Films behind the camera, and Malcolm Paterson handling the recording, Mark’s work was brought to life by OFFERTORIUM, a chamber ensemble drawn from Chorus Faustinae, the main choir at Holy Family Parish, which Mark has directed for many years.
Missa Sicut Cervus “Gloria”
A Word on OFFERTORIUM by Mark Emerson Donnelly
When I first approached Nathan Douglas of Motet Films about producing promotional videos of some of my music, we discussed several options regarding the singing ensemble. Due to the short time between securing the singers and the recording date, I decided to turn to the people who knew my music best and how I envisioned it to be performed: my family, and four excellent church musicians (and dear friends) with whom I have sung for many years: Veronica Roenitz, Ed De Vita, Christopher Suen, and Gabriel Uy.
The performance for the recording was so breathtaking, it seemed a shame not to continue as an ensemble. Since we had all cut our polyphonic teeth singing the exquisite Offertoria totius anni (Offertories for the whole year) by Palestrina, the name “OFFERTORIUM” (singular of offertoria) was chosen, in homage to the great composer, but also to name, simply, that which we are trying to produce – an offering.
We didn’t know quite how much God would take us up on our offer. OFFERTORIUM has been pressed into hyper-service during this time of Missae cantatae sine populo. We have continued to sing throughout Passiontide and, now, into the Easter season (in a socially distanced formation of course!), both streaming and pre-recorded. Please visit YouTube: VocalArt.ca to listen to the videos we have produced for our parish, Holy Family! Also, sung Masses are streamed here.
A writer and director based in Vancouver, Nathan received his BFA in Film from Simon Fraser University in 2012. Since 2015, his short films have screened worldwide at festivals including Locarno, Clermont-Ferrand, FNC Montreal, and the Vancouver International Film Festival. His first feature is in development. He says: “I’m fascinated by the contemplative and liturgical properties of cinema. The act of seeing – of beholding – is the common ground between religious worship and film-watching and my work is focused on exploring this rich territory.” Nathan’s work can be viewed here.
To donate, please click here and select “MED Composer” from the Fund menu. Charitable donation receipts will be issued to donors in Canada. Eligible donors will also receive a complimentary first-year membership in Una Voce Canada for gifts of $40 or more.
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On March 25, 2020, the Congregation for the Doctrine of the Faith (CDF) issued two decreesaffecting the Extraordinary Form of the Roman Rite (Traditional Latin Mass). The International Una Voce Federation (FIUV) has issued the following press release. More information about FIUV and its work can be found on its website, http://www.fiuv.org/. A copy of the press release may be downloaded here.
Press Release: CDF Decrees on new Prefaces and Saints for the Extraordinary Form From the President and Officers of the FIUV 26th March 2020
Yesterday the Congregation for the Doctrine of the Faith (CDF), now exercising the functions of the Pontifical Commission Ecclesia Dei, has issued two decrees, one on Prefaces to be added to the 1962 Missal (Quo Magis), and the other on the possibility of saints, canonised since 1962 to have Masses celebrated in their honour (Cum Sanctissima). (English summary here.)
The Federation was consulted on both issues, and we would like to thank the CDF for taking the views of our members into account in developing these decrees. The Federation welcomes in particular the possibility of making a liturgical commemoration of saints canonised since 1962, without excessive disruption to the Sanctoral Calendar as it has come down to us. We wish, however, to issue some notes of caution.
On Prefaces, we note that the Note presenting the decree explains that while three of the seven newly permitted Prefaces are of the ‘Neo-Gallican’ tradition (of 18th century French origin), the other four are Prefaces used in the Ordinary Form, though not composed from scratch for the reformed Mass: ‘their central section(s), known as the “embolism”, appear in ancient liturgical sources’.
This implies that these ancient Prefaces have been adapted for use in the Ordinary Form, a process which makes them conform less, rather than more, with the spirit of the Extraordinary Form. If the value of these Prefaces lies in their antiquity, it is not clear what is to be gained by their being used in the Extraordinary Form in a redaction designed to make them conform to the themes and preferences of the Ordinary Form.
Further, we would like to appeal to priests celebrating the Extraordinary Form to bear in mind the great antiquity, theological importance, and centrality to the ancient Roman liturgical tradition, of the Preface of Trinity Sunday, and the Common Preface, whose use would become less frequent if the newly optional Prefaces were systematically employed. These two Prefaces have been of such centrality to the celebration of ancient Mass up to this point, that to downgrade them to mere options among others would be to make a fundamental change in the balance of texts and theological ideas which the Missal presents to the Faithful over the course of the year.
On the Saints, we note the list of saints celebrated as 3rd Class feasts, whose celebration remains obligatory. We recognise that in order to make possible the celebration of the new saints room must somehow be made for them, and we endorse the method proposed. We have reservations, however, about the composition of this list.
We note with particular dismay that the only male lay saints on the list are SS Cosmas and Damian: this seems an omission in need of correction, particularly as the excluded category include men central to the development of their countries: St Louis of France, St Stephen of Hungary, St Henry the Emperor of Germany, St Edward the Confessor of England, and St Wenceslas of Bohemia, outstanding examples of the vocation of the laity to ‘to penetrate and perfect the temporal order with the spirit of the Gospel’.[1]
Also completely absent are female founders of religious orders, such as St Angela Merici, St Juliana of Falconieri, and St Jane Francis de Chantal.
Although we are pleased to see two widows on the list—St Monica and St Francis of Rome—it would seem in general that non-clerical vocations, of the active or the religious life, which are richly represented in the ancient sanctoral calendar, have been set aside as of marginal importance.
Another category poorly represented on the list are Doctors of the Church. Some of the highest importance have been excluded: St Isidore, St John Damascene, St Bede, and St Irenaeus.
The imbalance represented by the list of obligatory saints appears to have been inherited from the list of non-optional Memorials found in the sanctoral cycle of the Ordinary Form, which it closely resembles. The lack of interest in the lay vocation and in the Doctors of the Church shown by the reformers of the 1960s should not be allowed to distort the presentation of the Church’s great patrimony of saints in celebrations of the Extraordinary Form today.
In choosing when to avail themselves of the option to celebrate newly canonised saints, we would like to appeal to priests celebrating the Extraordinary Form to consider carefully the balance of the categories of the saints, the importance of maintaining the connection to the distant past represented by the most ancient saints, and the value of the Marian devotional feasts also now rendered optional, such as Our Lady of Lourdes and the Presentation of Mary.
As an indication of feasts which we regard as particularly worthy of continued celebration, we give the following, non-exhaustive, list.
14/01 St Hilary 10/02 St Scholastica 11/02 Apparition of the Blessed Virgin Mary (of Lourdes) 17/03 St Patrick 18/03 St Cyril of Jerusalem 27/03 St John Damascene 4/04 St Isidore 27/05 St Bede 3/07 St Irenaeus 15/07 St Henry, Emperor 25/08 St Louis, King 30/08 St Rose of Lima 2/09 St Stephen, King 28/09 St Wenceslas, Duke and Martyr 8/10 St Bridget, Widow 13/10 St Edward, King 24/10 St Rafael the Archangel 15/11 St Albert the Great 21/11 Presentation of the Blessed Virgin Mary 25/11 St Catherine of Alexandria
[1] Second Vatican Council Decree on the Apostolate of the Laity Apostolicam actuositatem 5
I have also conducted elementary,
high school, and college choirs, and barbershop choruses, and have been a
dramatic and music director for many stage productions, as well as a private
voice instructor.
Despite all of this, the one musical constant in my life has been singing and conducting Gregorian Chant and sacred polyphony of the classical Roman School, mostly for the Catholic Church. I’ve also composed vocal music, off and on, for the same period of time, but more intensely for the last ten years. (That is, as intensely as I can, given that my wife Catherine and I have nine children.) I’ve written classical art songs, hymns, psalm settings, and LOTS of polyphony!
Recently, Catherine and I were
talking about why I compose sacred music.
It was a curious conversation; after thirty years of marriage she has a pretty
good idea of why I do it. Yet, after
the simple (but TRUE) response: For the greater glory of God and the
sanctification of souls, the answer gets a little bit more complicated.
As time would have it, a couple of
days later, Henry, a friend and mentor of mine, said, “Your music is NOT ONLY GOOD, BUT VITAL! You have to get it
out there. People gotta hear it! And
not just in your parish.” This echoed what a local pastor told me several
years ago (after hearing my Missa Sicut
cervus): “Your music doesn’t do anyone any good if nobody knows about it!”
As I said earlier, I’ve been doing
this for decades, primarily as a parochial musician. All I’ve ever wanted to do
was provide beautiful music for the Mass. I’ve written other stuff along the
way, but church music has always been my focus and love.
To that end, let me try to answer the
question which prompted Catherine’s and my discussion: Why do I write sacred music?
To answer fully, I need to answer three more pointed questions:
Why do I write sacred music THE WAY I DO?
Is Henry correct: Is it VITAL?
How do we determine if it’s GOOD or WORTHWHILE?
1. Pope Benedict XVI (then Cardinal Ratzinger) said in 2002
that “Christian art today is caught between two fires”: (1) the cult of the ugly, which rejects beauty
as truth, and (2) the deceptive beauty,
which does not bring human beings out of themselves toward the Divine, but only
stirs up a desire for power and pleasure; a desire to possess things and others, rather than be possessed by Truth and
Goodness.
In short, the Christian artist today
must be vigilant in rejecting the ugly while embracing true
beauty, not the deceptive beauty which cultivates
inwardness, leading to narcissism and selfishness.
Taking the lead from St. Pius X(Tra le sollecitudini, 1903), the formula seemed easy: The more sacred music is like Gregorian Chant and classical Roman
Polyphony, the better suited it is for Mass, and, thus, more likely to “bring
human beings out of themselves toward the Divine.” So that’s what I did, and
continue to do.
So, HOW do I do this? Traditional Functional Harmony!
Here’s a super simple way to understand Functional Harmony:
From
the beginning of a piece of music, every note and chord leads the listener, in
an unconscious way, to the end of the piece.
The degree of skill and inspiration
of the composer determines how well he or she succeeds in producing something
people want to listen to.
Here’s a slightly more involved way to understand Functional Harmony:
Pretty
well every note and chord has its purpose; it has a functionin
the greater whole of a given work, as it proceeds from beginning to end.
This is how Palestrina and Mozart
composed. It took centuries to refine.
However, after Beethoven (d. 1827),
and all the way up to the present day, most composers write notes and harmonies
in an increasingly non-functional way, creating music that is either (1)
dissonance without resolution (an extreme example being atonal music) or (2)
harmonies primarily intended to create an ambience,
resulting in a dreamy, sentimental or melancholy disposition in the listener,
as with Romantic (19th century), jazz and pop music.
The latter of these can be affecting or pretty, but it is not always conducive to bringing the listener out of himself (for example, As Time Goes By, Yesterday, Every Breath You Take; need I go on?!). It is music that fosters what St. Augustine refers to as an “incurvatus in se,” a turning inward upon oneself rather than outward towards God and others. This is Benedict XVI’s second fire, the “deceptive beauty”; it coddles and flatters the listener’s feelings and affections rather than edifying and elevating the person.
Sadly, when composers use these more modern compositional techniques in church music, they can rob their listeners of this truly edifying or elevating experience. To avoid this tragedy, I reject these techniques in my liturgical music. I can use them, and sometimes do in my secular compositions and devotional pieces for concert (listen on Spotify to my “Ballad of the King and the Innocents,” verse 6, or “Silent Night,” verse 3, from my CD Carol of the Bells), BUT NOT FOR CHURCH. I see functional notes and harmonyas integral to worthy liturgical music, because it is this compositional practice that can most effectively lead people out of themselves and point them heavenward.
2. Is it VITAL? I see someone’s hand up in the back. Yes? Your question is: “Mark, I get why you write the way you do, but with all the great sacred music already available, why bother spending time and energy creating new stuff, AND seeking patrons? Aren’t there other more pressing causes to support?“
To answer this entirely valid
question, I’m going to turn, again, to the wisdom of Benedict XVI and also another
current Catholic scholar. Benedict said, in 2010:
“An art that has lost the living root of
transcendence would not be oriented to God … And a faith that had art only in
the past would no longer be faith in the present.”
In other words, for the faith to remain current,
we cannot simply rely on the past for our artistic expression. We must have
art, which is an expression of the eternal truths of the faith, but created
now. We see that with the other arts. Why should music be different?
Cantate Domino canticum novum! Sing ye to the Lord a new song! (Psalm 97:1)
Just as the sublime music of William
Byrd was undoubtedly a product of the dark times for the Catholics of
Elizabethan England, so also, I think, we
need a musical expression of the Faith in our current times of turmoil and
apostasy.
A music inthese times but not ofthem. (cf. 1 John 2:15-17)
“Tradition grounds the past, present, and
future in timelessness. [And] … it is only through Tradition that our present
can have a future.”
So, with regard to art today (most
vitally for liturgical art), as the past informs and guides us in our practice
and creativity, what we do and create in the present will inform future
generations. We need to be the tradition of the future. HOWEVER, if we
do not ground ourselves by emulating tradition as both source and practice, we
banish ourselves to irrelevance for the future. For the sake of our
children, and our children’s children, we must not break the continuity with
our forefathers.
3.
HOW DO I KNOW IF THE MUSIC I CREATE TODAY IS ANY GOOD?
I may be a
coward, but it is not my point in this article to disparage the music of any
particular contemporary composer. If you know me personally, you know I have
very definite opinions on music. However, with regard to current liturgical
music, I would prefer to reserve any judgment for a private discussion or
public forum, where the participants have a chance to respond to any of my assertions,
and I to theirs. It’s not my goal here to stir the pot. Thus, I shall only try
to show the effect my music has had on others.
Now, assuming I’m following the
principles I’ve briefly touched on in sections (1) and (2) above, here’s what
some individuals have said:
“I wanted my mother’s funeral mass to inspire and awaken her family and friends to the depth of mystery, beauty and truth of the Catholic faith. With this hope in mind, I asked Mark Donnelly if he would sing his Requiem Mass [for Soprano and Tenor (2015)] for Mom’s funeral. The performance by Mark and his daughter, Colleen, gave one reason to believe that there is a God.”
– Gemma Cowhig, Holy Family Parishioner, Vancouver, BC
“After receiving communion and returning to my pew, I
heard this luminous music[O Sancta Trinitas
( 2019)]! I wanted to know who the composer was, thinking it was Palestrina or
one of his contemporaries. After consulting the bulletin, I was blown away to
see that it was written by our own choir director, Mark Donnelly!”
– Mazoe Kaufman, professional sacred artist
“Mark Donnelly’s liturgical motets are truly beautifuland very well
written for allvoices. They hark back to the Renaissance in style,
though at times one can sense they are written in this century …This well-craftedmusic was certainly written with love and
devotion; I would be very happy to have my choir sing this music at my
parish!”
“Mark’s work is of the highest quality. More people need to hear his music. It will
change and move them in a very positive way. Beautiful music, extremely well-crafted.”
“I have experienced Mark’s sacred music for many years. In
both spirit and quality, he is truly keeping the great Catholic musical
tradition alive. His composing is certainly worthy of any and all patronage and support.”
– Most Rev. J. Michael Miller, CSB, Archbishop of Vancouver, BC
Now, you may not consider these words
validation of my position. However, they do help bolster my commitment to compose the way I do, knowing that others
consider this style of music conducive to the spiritual life.
NOTE: This is the first of a regular
series of music articles for Una Voce Canada. Along with what was discussed in
this issue, topics will include: Gregorian Chant, sacred polyphony, and
anything else that touches on liturgical music. Stay tuned and God bless! MED
====
To learn more about the compositions of Mark Emerson Donnelly and how you can support his work, visit his website markemersondonnelly.com.
His current project, the trailer Mark Emerson Donnelly: Composer, and
five music videos, is in production at Motet Films. Filming and recording has already taken place (the rough
edits are outstanding!), and Mark is very excited that he is close to reaching
the financial goal for this project!
RELEASE
DATE: Second quarter 2020
Una Voce Canada is graciously providing tax receipts to Canadian donors giving to his work through UVC.
Interac e-Transfer to composer@unavocecanada.org NOTE: Please include your email and mailing address to receive a tax receipt.
Cheque: Made out to “Una Voce Canada,” Memo: composer. Mail to:
Una Voce Canada P.O. Box 30027 North Vancouver, BC V7H 2Y8
Thank
you to all who have supported this grand endeavour. If you have any questions,
please contact Mark:
The Latin Mass Society of England and Wales has issued the following statement. More information about the Society and its work can be found on its website: www.lms.org.uk or email info@lms.org.uk. A copy of this statement may be downloaded here.
STATEMENT ON COVID-19 (CORONAVIRUS) AND THE RECEPTION OF HOLY COMMUNION AT CELEBRATIONS OF THE MASS ACCORDING TO THE EXTRAORDINARY FORM
LATIN MASS SOCIETY 3rd MARCH 2020
The Bishops of England and Wales have issued ‘Guidelines’ (dated 27th February 2020) on steps to be taken in parishes in relation to the possible spread of COVID-19 (the Coronavirus).
While noting that these guidelines do not take the form of a decree with the force of canon law, we welcome them. We should like to make the following clarifications on their application to celebrations of the Extraordinary Form and other traditional Rites and Usages of the Latin Church, such as the Dominican Rite.
1. In these celebrations the Sign of Peace is not given among members of the congregation; the Precious Blood is not distributed to the Faithful (from the Chalice); and Extraordinary Ministers of Holy Communion are not employed. In these respects these celebrations already adhere to or render unnecessary recommendations given in the Guidelines for a heightened level of hygiene necessary in the case of a more serious outbreak of the virus.
2. In these celebrations Holy Communion (the Host) may not be distributed in the hand, according to the universal liturgical law applicable to them. Should the spread of COVID-19 necessitate the suspension of the distribution of Holy Communion on the tongue, this would mean the suspension of the distribution of Holy Communion to the Faithful in these celebrations.
The Communion of the Faithful is in no way necessary to the validity or liceity (in such circumstances) of the Mass. Should prudence dictate the necessity for such a step, the Faithful should be encouraged to make a ‘Spiritual Communion’. One form of words for making such a Spiritual Communion is given below.
3. We wish to observe, however, that the distribution of the Host in the hand does not appear to be less likely to spread infection than the distribution on the tongue. On the contrary, distribution on the hand has the result that the Host touches possibly infected surfaces, the palm of the left hand and the fingers of the right hand of the communicant, which is avoided in distribution by a priest directly onto the communicant’s tongue.
The Guidelines state:
When giving communion in the hand seek to ensure you place the host in the hand of the recipient in such a way that you do not touch their hands.
In the same spirit the distribution of the Host on the tongue should never involve the touching of the communicant’s tongue by the priest.
Instruction and training on the correct manner of distributing Holy Communion on the tongue, to those not used to this manner of distribution, may be useful in this context.
Issued by the Chairman and Officers of the Latin Mass Society 3rd March 2020
Further information
An Act of Spiritual Communion
My Jesus, I believe that thou art present in the Most Holy Sacrament. I love thee above all things, and I desire to receive thee in my soul. Since I cannot at this moment receive thee sacramentally, come at least spiritually into my heart. I embrace thee as if thou wert already there, and unite myself wholly to thee. Never permit me to be separated from thee. Amen.
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The reasons that did lead them to Mass, ranked in descending order, are as follows:
