Text courtesy of Maria V for Una Voce Canada; photos courtesy of Ryan Bjorgaard, BC Sacred Music Symposium
Panel discussion at the 2019 BC Sacred Music Symposium
Restoration of our beloved musical heritage in the liturgy has proceeded with renewed vigour in the Fraser Valley of British Columbia with the second annual BC Sacred Music Symposium, held at Sts. Joachim and Ann Parish in Aldergrove, on August 2-4, 2019. It was an opportunity for musicians across the province, and some from the United States, to learn, share advice, network, and compare and contrast their own experiences with those of others. This year’s symposium was a huge success, with over one hundred participants and more classes, teachers, and ceremonies than last year. The complete experience was unique to this conference, with participants receiving training from professional musicians according to their skill level, learning polyphonic pieces as well as how to sing Gregorian chant. This year saw the addition of a chant immersion class, allowing for greater depth of learning and more intensive training. Besides acquiring knowledge that could be applied in their own parishes, participants promptly put it into action by contributing to the music of the Masses – in both the Ordinary and Extraordinary Forms – celebrated on Saturday and Sunday. Besides this, there was the Liturgy of the Hours in both English and Latin, including sung Lauds, Vespers, and Compline, with accompanying instruction on how to sing the psalm tones.
This year’s keynote speaker was Msgr. Andrew Wadsworth from the International Commission on English in the Liturgy (ICEL), who also officiated at the ceremonies. Msgr. Wadsworth also spoke about his work with ICEL, particularly the commission’s current project translating hymns for the Revised Liturgy of the Hours that are faithful to the original Latin. Participants could also choose from other presentations, including a study of liturgical vesture, its history and symbolism; the theology and praxis of Vespers; the teaching of Pope Benedict XVI on the Sacred Liturgy; and an overview of the history of Gregorian chant. Participants had a unique opportunity to ask questions, make their concerns heard, and express their opinions during the panel discussion on the first day and throughout the conference. Appropriately, the High Mass in the Extraordinary Form was the highlight, being the most elevated form of the Mass, but a purpose of the conference was also to demonstrate to the faithful how the Mass can also be said reverently and properly in the Ordinary Form, what that looks like, and especially what it sounds like.
Msgr. Andrew Wadsworth gave the keynote address …
… and celebrated the final Mass of the symposium
What is sacred music?
In order to improve the situation of music in the liturgy, one must first understand what is meant by sacred music, including its origin, idea, and end. First, sacred music is a liturgical action. Therefore, a false understanding of the liturgy will lead likewise to one in its musical apparel. If the sole purpose of the liturgy is the worship of God, then it is done for the glory of God, and not for our own personal satisfaction. In the words of Msgr. Wadsworth, “the liturgy is a gift we receive from the patrimony of the Church, not something we make for ourselves.” Therefore, sacred music must be based upon what Christ wants, as taught through the Church. Our obligation is to know what the teachings are and then to carry them out.
Second, if sacred music is by its very nature a liturgical action, this means that music is integral rather than incidental to the liturgy, specifically the Sung Mass and the Divine Office. It is not something added, but it is the Mass in its most elevated form. As the saying goes, “we must sing the Mass, rather than sing at Mass.” The texts of the Mass themselves are meant to be sung, in contrast to the Protestant alternative of surrounding everything with music, where we have a veritable “hymn sandwich,” regardless of the good intentions and good taste of the musicians. This also means that music must not hinder the ceremonies it accompanies. It is not an intermission between parts of the Mass, but rather is the parts of the Mass, and must flow smoothly with the ceremonies. It must also avoid becoming a performance, but instead focus our attention on the Sacrifice.
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