TWO POPES ON CHURCH MUSIC: IMAGINARY BUT PLAUSIBLE REFLECTIONS
The brief interview above with a Benedictine music scholar serves as a mini-warm-up to this very unusual survey of Church music today - where it is, why it is where it is, and what it could and should be.
These are imaginary reflections by the current Pope and his predecessor on the state of Church music, as plausibly - and audaciously, in the case of the imagined JP-II 'undelivered address' - presented by one of the world's leading experts on Gregorian chant and other forms of pre-modern liturgical music.
These reflections are hymns in themselves to liturgy as adoration of the Lord and not a vehicle for self-celebration or self-expression.
----------------------------------------------------------------
Gregorian Chant:
The Secret Thoughts of Joseph Ratzinger
They are well explained by Giacomo Baroffio,
a great expert in liturgical music,
using the device of an imaginary discourse
written by the current pope, and a request
for forgiveness left in his predecessor’s desk
by Sandro Magister
ROMA, October 9, 2006 – Let’s imagine that the document that follows is the discourse that Benedict XVI has prepared for the upcoming feast of saint Cecilia, patroness of music, which falls each year on November 22.
The person who “discovered” the document and sent it to
www.chiesa is professor Giacomo Baroffio, one of the world’s leading specialists in Gregorian chant and liturgical music.
Together with this text, Baroffio has sent us another “previously unpublished document“: a request for forgiveness that John Paul II is imagined to have written for the feast of Saint Cecilia in 2003, but then decided not to deliver.
Instead of this penitential address, on November 22, 2003, pope Karol Wojtyla actually signed a document on sacred music that Baroffio sees as highly disappointing: “an academic commemoration that lurches laboriously from one citation of magisterial documents to another.”
Farther down on this page are some of the passages from this imagined new discovery of a request for forgiveness from John Paul II.
But the address by Benedict XVI released here in advance is another that will never be delivered out loud.
That’s because professor Baroffio is playing with a literary device.
The game he’s playing at, however, is dead serious.
Pope Joseph Ratzinger’s thoughts on liturgical music are well known: he has set these forth over the years in articles, books, and speeches.
Also well known are the Church’s needs, expectations, and difficulties in this area.
The imaginary new address attributed to Benedict XVI is the logical outcome of these two factors.
So although it isn’t a genuine address, it’s a plausible one. It was conceived as an imaginative device, but it expresses a dream that could become a reality with this pope.
And here it is:
”I will not let your hopes be disappointed...”
by “Benedict XVI, November 22, 2006”
Beloved brother bishops! Dear Church musicians!
It is with immense joy that I welcome this extensive and representative body of musicians involved in liturgical service from every part of Europe. I great all of you who have come on your own account, or as the appointed representatives of numerous associations and groups.
Let me extend, on everyone’s behalf, a most cordial greeting to the young Bavarian artists, the “Domspatzen,” who graced with beauty the celebrations I presided over in the cathedral of Regensburg, and to the president of the “Consociatio Internationalis Musicæ Sacræ,” with whom I have collaborated on a number of occasions.
You all know of my passion for music, and many of you may be familiar with the pages in which I have written down my reflections on the liturgy and on music during my mission as a university teacher, and during my pastoral ministry in Munich and in Rome.
For my part, I have read with interest, and sometimes with unconcealed amazement and apprehension, certain pages expressing various judgments, desires, and fears, written when I was called to succeed my well-beloved predecessor, John Paul II.
Now bishop of Rome, precisely because I have a special penchant for music, permit me to address you with familiarity and simplicity, what I would almost call the confidence of friendship, which breaks down mistrust and fear.
It is my firm conviction that there is very scarce attention to music in the Catholic Church. Of course, this depends on musical conditions which, in Italy for example, include the widespread musical illiteracy to which young people are condemned through the lack of adequate formation in the schools. The problem, in my humble opinion, is nevertheless far more serious, and transcends the area of music; it concerns our continent, and the entire world.
Wherever there is no deep interest in sacred music, it is because even before this there is no attention to the liturgy. A perverse worldly infiltration has overturned the order of things, and has fostered the rise and spread of a dreadful conviction: that the liturgy is a series of cultural maneuvers created by men according to their individual tastes; as desired, when desired, if desired.
There has been a loss of the mystical sense of what in the Church, and for the life of the Church, was and is the “Opus Dei”: the work that we accomplish in the sight of God by lifting up our prayer to Him, but even before this – and this is the most important thing; it is essential – it is what the Spirit of God carries out in our hearts, and brings to fulfillment when, in the totality of our personhood, we are transfigured and made capable of calling God by the tender name of “abba,” “daddy.”
The liturgy is not a moment in the journey of faith that can be relativized, that can be performed or omitted as one pleases, nor can it be manipulated and twisted in a breathless quest for support and applause.
The liturgy is a privileged and unique moment in the history of salvation: it has as its protagonist Christ the Lord, who calls us to follow him through his hidden life in Nazareth and his public life – in social engagement, in spreading the good news of the Beatitudes, and in the silent wonder of adoration.
The liturgy is, in the first place, the memorializing of the passion, death, and resurrection of the Lord, who opened his heart in confiding his deepest secrets through the words of the Gospel.
For these reasons, dear friends, your formation as Church musicians cannot be limited to choral exercises, to the study of instruments, and to a deeper understanding of compositional techniques.
In your formative development, too, there us a priority: a rigorous and passionate contact with the Word of God. This commitment finds support in the study of the Church’s life and in becoming historians of the liturgical rites, of their theological and spiritual meaning.
These forms of knowledge must not, of course, be limited to sterile rote learning, but rather are the beginning of a journey toward interior maturation that leads to spiritual wisdom, to a taste for the things of God, to the perception of the reality and value of the liturgy in daily life.
So then, you will be thinking: soon the pope will tell us that we should sing only Gregorian chant. I would say so instinctively, and with great emotion.
But there are two considerations that hold me back: the first, which is tragic – and I know the weight of this word! – is that very few communities today would be ready to implement a demanding musical program in a dignified manner.
Don’t be fooled by appearances: Gregorian chant, what we today sing with a single melody, is a musical form that is as difficult as any to interpret in a creative way. I think, among other things, of the simple line of psalmody: the smooth execution of this requires a spiritual energy and a verbal precision that are acquired only through enduring effort in the areas of personal prayer and communal singing.
The second consideration: Gregorian chant constitutes a fundamental and still relevant experience in the life of the Church, as can be said also, to a different extent, of sacred polyphony.
But the Church’s vitality, which is also manifested in the contemporary realization of the experience of prayer from the past (not because it belongs to the past, but because our forefathers made achievements of permanent validity), requires discerning symphonic composition between “nova et vetera,” between preservation and innovation.
Some of you will be disappointed, but well-considered and prudent choices must be made at this particularly critical moment in the life of the Christian community.
This community is adrift and confused; it has lost, or cannot find, precise points of reference. I don’t believe it is opportune to say this or that is forbidden. I think that the teachings of the Church’s magisterium, and the norms of canon law, are already sufficiently explicit and clear. I am convinced that the most urgent thing is the recovery of Christian identity through a renewed spiritual commitment.
Church musicians: before singing, playing, or composing some work for the glorification of God and the sanctification of your assemblies, pray, meditate on the Word and on the texts of the sacred liturgy.
Pray. Set aside silent time for adoration, kneel before the Eucharist, give yourselves the gift of hours of astonished adoration. The renewal of sacred music demands a deep piety that blossoms from listening to the Word and from the prayer derived from this. Let us lay the foundations for a renewed ecclesial body distinguished by its beauty and harmony, its luminosity and transparency.
In order that this journey may receive a concrete and effective impulse, I would like to issue a pressing invitation to you, my beloved brothers in the episcopate.
Look after the formation of the clergy! Help the seminarians to become ministers of the Word, and not cold bureaucrats and mere organizers.
May each one be encouraged to find the time for the “otium” necessary to engage in reading that is not directly related to passing academic exams, but is necessary for the complete formation of the person: reading poetic texts, reading and listening to music, “reading” works of painting and sculpture, “reading” architectural structures that give the sense of interior spaces that extend, not on high, but rather toward the Most High.
May music be cultivated in the seminaries as the discovery and lived experience of ineffable and limitless interior vibrations.
May some selection from the Gregorian patrimony be sung every day in a dignified way, partly with the intention of equipping pastors of souls with the sense of liturgical singing. Thus they will acquire a solid standard of judgment for accepting new compositions in the future which may be different in language, but are similar in spiritual meaning.
I won’t keep you any longer, dear friends, but I assure you that you are present in my heart. I will not let your hopes for a renewal of sacred music be disappointed.
I hope to be able to give to you an official document within a few months, perhaps an encyclical or a “motu proprio.” I am thinking about a document that would face the questions of sacred music in a positive and systematic way, a “Magna Carta” that would outline the liturgical universe and its music, and provide prompts for theological-spiritual reflection and clear operating guidelines.
Dear Church musicians! I hope to meet you again soon, imbued with that sensibility that makes you all active collaborators in the field of the Lord.
Shun, all of you together, the ephemeral weeds of banality and squalor, and cultivate flowers of luxuriant beauty that exude the perfume of the Spirit. May your voices be a prophecy of the Word that proclaims a radiant dawn of hope in the name of the Father, and of the Son, and of the Holy Spirit.
__________
And these are some passages of the address that pope Wojtyla – in the serious game played by professor Baroffio – is imagined to have written, but not delivered, for the feast of saint Cecilia in 2003:
”For this I ask forgiveness today...”
by “John Paul II, November 22, 2003”
Beloved brothers in the episcopate! Beloved believers in Christ Jesus, the blessed!
[...] On a number of occasions during my long pontificate I have felt the urgency of asking forgiveness for the faults that have stained the Church over the course of the centuries. [...]
In the area of music, during recent decades and also during my pontificate, I have witnessed a phenomenon harmful to the entire Church. [...] I have been astonished myself – and for this I ask forgiveness from God today, and ask for clemency from you – by the secular mentality that nests in so many pockets of ecclesial life.
[...] I have permitted the ways of the world to enter into the temple, with proposals prompted by the fear of not having followers, and suggested by the need for immediate and reassuring results. I have forgotten what a wise friend of mine, cardinal Suenens, said during the days of the council: “He who marries fashion today is a widower tomorrow.”
I have favored in everything the fashion for banality, permitting a tide of bizarre noises to smother the Gregorian melodies which are prayers before they are songs. Why? Because of the simple fact that at a certain moment – as a faithful friend of God, the rabbi Abraham Joshua Heschel, has revealed in the Jewish camp – we, too, were concerned more with filling the places of worship with anonymous crowds than with exerting ourselves as much as possible to fill the hearts of the faithful with the Word of God. [...]
I have in fact permitted, among other things, the expulsion of Gregorian chant from the liturgy, and I have favored, instead, the spread of noisy and sappy things which, apart from their artistic incoherence, are not capable of orienting hearts toward God. [...]
With nothing but pretty words of praise for Gregorian chant, I have contributed to the commission of a theft that I hope is not irretrievable.
I have deprived the people of God of a good that was given by the Spirit through the mission of so many poets and cantors who throughout the centuries have constructed that monument to God, with its character of beauty. In part for this reason, many celebrations, I am told, are moments of alienation in an annoyance and distress that cannot be compensated by a legalistic praxis.
And I have something to say to you, young people from all over the world whom I hold close to my heart. [...] I think with sadness of the euphoria that has pervaded so many of our massive encounters, which have often been like soap bubbles that have disappeared into nothingness, leaving bitter tears of burning disappointment. [...]
I would like, finally, to urge the pastors to restate forcefully the centrality of the liturgical life and its music in Christian existence.
Indifference toward sacred music is all the more blameworthy insofar as such an attitude in fact conceals a total lack of interest in the liturgy itself. I am talking about the liturgy and sacred music, and not about their vile substitutes.
The authenticity of the liturgical experience is not confirmed by the enthusiastic welcome of the moment, by the crowd pressing in against the aged pontiff. The liturgy is authentic through the charity that works invisibly, and is nourished by the silence of adoration.
This is the silence from which Gregorian chant was born more than a thousand years ago, a silence that even today is the only vital space in which the new singing for the liturgy of tomorrow can take shape. [...]
Forgive me, brothers and sons! May God grant me a son’s audacity to turn to Him, aided by the singing of your assemblies.
Exert yourselves in finding, in the fear and trembling of adoration, the way to recover Gregorian chant: the guide along our journey of faith, the light that illumines the words of the eternal Father and of his blessed Son, in the gentle power of the Spirit. Amen!
_________
Giacomo Baroffio, the author of the texts presented above, is one of the world’s foremost scholars of Gregorian chant, ancient Roman chant, Ambrosian chant, and medieval liturgies.
He teaches the history of medieval music and the history of the liturgy at the University of Pavia – in the faculty of musicology in Cremona – and medieval musical paleography at the Catholic University of Milan.
From 1982 to 1995, he has been an instructor of Gregorian chant, and rector of the Pontifical Institute of Sacred Music in Rome, the Holy See’s musical conservatory.
Born in Novara in 1940, he studied violin and harmony in Italy, musicology, art history, philosophy, and liturgy in Germany, and in Rome – as a Benedictine – theology and monastic spirituality.
He is director of the “Rivista Internazionale di Musica Sacra.” He is the author of books and essays published in multiple languages. He has produced and conducted recordings of Gregorian and Ambrosian chant.
[Modificato da TERESA BENEDETTA 10/10/2006 19.38]