The New Texts: A Seminar for Composers

[John Ainslie]

So let's have music that truly serves the spirit and the meaning of the new liturgical texts - so that these texts can be truly brought alive in song (whatever their mood) - and become heartfelt prayer. We're aiming for full, conscious, active - heartfelt! - participation - noble simplicity - and a sign of the heart's joy - aren't we? Let's have those in this seminar, please.

Hear! Hear! It's going to take some imagination and creativity to make these antiphons come to life.

Consider this. The texts in the missal or Graduale Romanum, dating from the late 8th century or earlier, were never intended to be sung by congregations, but by scholae cantorum, i.e. trained choirs. It is therefore arguable that, to make them more suitable for congregational use as refrains, they need some radical re-management. Even Professor László Dobszay, doughty custodian of all ancient texts, concedes in his projected Graduale Parvum that some antiphons need to be shortened for this purpose, the excised text being added to the psalm verses.

My purpose in compiling the Processional, far from setting some standard in hyperorthodoxy, is simply to present the texts as they are as a resource for composers. You will note in the sample provided (see above) that I have indicated where antiphon texts relate to the readings of the day. Psallite is another resource recommended for study.

Let me make one further point about the use of refrains in general. I have nothing against the suitable use of traditional-format hymns and songs, where they genuinely serve both the liturgy and the people celebrating it. But with the increasingly cosmopolitan, multicultural and mobile nature of our congregations, inherited repertoires of congregational music have an increasingly short shelf-life. An inspiring refrain (think Taizé, for example) can be attractive, easy to learn, memorable and also uniting. If we need more leaders, cantors - and yes, choirs - to make this possible, then what are we doing about it?

[johnquinn39]

So let's have music that truly serves the spirit and the meaning of the new liturgical texts - so that these texts can be truly brought alive in song (whatever their mood) - and become heartfelt prayer. We're aiming for full, conscious, active - heartfelt! - participation - noble simplicity - and a sign of the heart's joy - aren't we? Let's have those in this seminar, please.

Absolutely!

- Perhaps this is moving towards another thread, but basically, people like a good tune. When it is a good tune (e.g. Eagles wings - One bread, one body - Safe in the shadow (Warren), then they will take ownership and have a good sing. (Okay, some RC's just refuse to sing in church - not much we can do about this).

Could we supplement the work of our composers by hiring professional musicians to augment their work?

Would it be a good idea to have a tune as good as the theme from 'Morse' as the Agnus Dei?

Or a tune as good as 'Hey Jude' for the Sanctus?

Perhaps musicians writing in the Motown style could be employed?

What do poeple think?

[Southern Comfort]

the last thing I want to hear/take part in, at the Entrance and at the Communion procession is another Responsorial Psalm. As John Ainslie has pointed out elsewhere in another thread - at the Entrance and at Communion, it's the Antiphon that matters most - at the Gradual, it's the Psalm.

And in the other thread already adverted to, in answer to the same point from Alan29, I said:

It might be useful to point out that (a) the Entrance and Communion psalms will be much longer than the Responsorial Psalm, and (b) that there is (or should be) quite a difference between music designed to be sung while people are sitting, reflecting on a reading, and music which is designed to be processed to, with people standing up while this happening. The two animals are quite distinct.

This point was discussed a number of years ago at a Universa Laus meeting in a paper by Jean-Michel Dieuaide. The form may be similar but the implementation will be, or should be, different.

[JoeWilkinson]

Of course there is also the matter of resources. Decani are apparently updating Laudate, but I can't see our church replacing the existing versions in a hurry. So, for new stuff) we will be left with sheets (probably illegal unless ICEL waives copyright - some hope this!) or the existing repertoire for some time. I suspect we'll carry on as we are until the existing books fall apart (they seem too well-constructed for that to be much before 2015). As for Chanting the entry antiphon etc: a recipe for chaos and shrinking congregations. Charles Wesley showed some time back that congregations join in when they are given a good tune.

[Nick Baty]

...unless ICEL waives copyright - some hope this!)

From ICEL's website: http://www.icelweb.org/copyright.htm

No royalty is charged for reprinting ICEL translations in a publication for use at a specific Mass or celebration of an individual congregation or institution.

[HallamPhil]

Whilst acknowledging your fears, Joe, we already have a situation in which during the procession to communion it is not adviseable to sing a hymn since this requires walking with a book. Many parishes have already started looking at music which is processional and eucharistic in nature and which can easily be committed to memory being tuneful. All that might be suggested here is the setting of the Antiphon texts in a similar manner which engages those in procession. Some of the texts will be more difficult to set than others but that is the challenge to composers. A smaller congregation may choose to restrict themselves to Taize-style repetition of the antiphon alone whilst elsewhere it might be desireable to include verses from the appropriate psalm perhaps sung by the cantor. Of course there will be some who will choose to set the texts in a manner which pleases only the musicians with a singular musical bent. The challenge to them is not to be so narrow-minded and to imagine that there may be alternatives expessions. Psallite, for instance, offers one avenue worthy of exploration but it is not the only avenue. As I am often reminded, God's favourite colour is tartan!

Happy Christmas, all.

[VML]

This balanced, informed discussion should be read, and joined, by anyone involved the new translations and the logistics.
Thank you all for helping a very ordinary parish musician to stay moderately informed.

Christmas Blessings to you all, and may all your music tonight and tomorrow truly enrich the liturgies, and warm the hearts of congregations.

[docmattc]

Lest we get bogged down in antiphons, remember that these seminars are concerned with all the texts for singing, antiphons are only a part. The Ordinary will be, I'm sure, of more immediate interest for most of us.

[presbyter]

The Ordinary will be, I'm sure, of more immediate interest for most of us.

Oh doc - that's the easy bit. I happen to know that Peter Jones, for example, is thinking of looking at six different musical approaches to the text of the Gloria, for example.

Yet the afternoon sessions of these seminars are about the new Bishops' Composers Guide to the entire Mass - only in draft form at the moment and cannot be published until we have the definitive Missal text.

Look at some of the proposed text of that guide -

Entrance Antiphon

42.The antiphons are sentences from scripture for singing by the assembly with psalm verses sung by a cantor or choir. Though the format is similar to the Responsorial Psalm; their function and context, accompanying the Entrance procession rather than responding to the word, suggests a more forthright style.
The psalm verses should be taken from an approved translation. A doxology is usually sung at the conclusion of the psalm.
The texts of the antiphons can provide a useful resource of texts to composers which might be used in a variety of forms. Consideration should be given to the use of antiphons over a liturgical season or group of Sundays of Ordinary Time.

43.Another hymn or song that is suited to this part of the Mass, the day, or the season may, of course, be sung. It should be recalled that hymns at this point are a recent innovation within the Roman Rite. The closed form of a hymn—regular stanzas with some narrative progression to unchanging melody— means that it does not necessarily sit well with the liturgical action.

Communion Procession & Antiphon

90. While the Priest is receiving the Sacrament, the Communion chant is begun, its purpose being to express the spiritual union of the communicants by means of the unity of their voices, to show gladness of heart, and to bring out more clearly the “communitarian” character of the procession to receive the Eucharist. The singing is prolonged for as long as the Sacrament is being administered to the faithful. However, if there is to be a hymn after Communion, the Communion chant should be ended in a timely manner.
Care should be taken that singers, too, can receive Communion with ease.

For singing at Communion, it is possible to use the antiphon from the Graduale Romanum, with or without the Psalm, or the antiphon with Psalm from the Graduale Simplex, or some other suitable liturgical chant approved by the Conference of Bishops. This is sung either by the choir alone or by the choir or a cantor with the people.
GIRM 86–87

The Communion of priest and people is helpfully accompanied by prayerful congregational song. This singing is meant to express the communicants’ union in spirit by means of the unity of their voices, to give evidence of joy of heart, and to highlight more the “communitarian” nature of the Communion procession. The Roman Rite provides an antiphon to be sung at this point. The antiphon may be replaced by a psalm or suitable liturgical song. The text and the music should be suited to the mystery being celebrated, the part of the Mass, the liturgical season or the day. The singing continues for as long as the faithful are receiving the Sacrament. If, however, there is to be a hymn after Communion, the Communion chant should be ended at the right time.

CTM 213

91.The notes on the Opening Antiphon apply (42–43).
Musical settings should be suitable to be sung in procession; memorable so that people are not encumbered by participation aids.

This is not a question of getting bogged down with antiphons. It's an important and exciting challenge - providing pastoral music so that the faithful can pray the Mass in song.

[presbyter]

And as regards the Gloria, Peter suggests we look at GIRM, CTM and the text of the draft guide:

Prescribed Texts

20. The repetition of words and phrases within a particular text is permissible but it should neither unduly prolong the setting nor adversely affect the structure or meaning of the text.
21.To facilitate participation refrains for the assembly, based on the text, may be added to texts such as the Gloria. The placing of the refrain should be consonant with the meaning of the surrounding text. Care should be taken that the setting is not unduly lengthened.
22. Texts which are paraphrased (the expression of the meaning of the text in different words) or versified (the amending of the text so that it fits a verse form in metre and sometimes rhyme) may not replace the prescribed liturgical texts.

Gloria
51.
The Glória in excélsis (Glory to God in the highest) is a most ancient and venerable hymn by which the Church, gathered in the Holy Spirit, glorifies and entreats God the Father and the Lamb. The text of this hymn may not be replaced by any other. It is intoned by the Priest or, if appropriate, by a cantor or by the choir; but it is sung either by everyone together, or by the people alternately with the choir, or by the choir alone. If not sung, it is to be recited either by everybody together or by two choirs responding one to the other.
It is sung or said on Sundays outside Advent and Lent, and also on Solemnities and Feasts, and at particular celebrations of a more solemn character.
GIRM 53

52. The Gloria may be sung in directum (straight through) or with a refrain(s) for the people. Though the refrain form is popular and allows easy participation it is recommended that communities have in their repertoire a mixture of both through settings and those with refrains and that this includes settings where the assembly sings the whole text.

CTM

Gloria
148 The Gloria is one of the Church’s most ancient hymns. In
the West its use was originally restricted to the opening of only
the most solemn eucharistic celebrations.
• The Gloria is by nature a festive hymn and is normally sung
entirely, or in part, by the people. The text of this hymn
may not be replaced by another text.
• The Gloria is sung on Sundays outside the seasons of
Advent and Lent, on Solemnities and Feasts, and at special
celebrations of a more solemn character.

Note that our Bishops are not keen on the Gloria being a choral offering sung by the choir alone.

[Mithras]

I have suggested this before and although it is not strictly within the topic, what is the case for resituating the Gloria as a post-communion (or thanksgiving) hymn thus redressing the musical imbalance often experienced during the opening rite of Mass?

M

[musicus]

If you plan to attend one of these seminars, let me encourage you to send in your application now. There is full information and a contact link here.

[HallamPhil]

Thanks for the reminder, Musicus. I wonder whether there might also be a telephone contact as well as email to Mary Rouse. For those who just see a print out on a noticeboard there is no contact given.

[MaryR]

Hello Phil,

I think what you've seen must have been the page printed from the SSG website which, of course, provides a link to my email, rather than my actual address. The advertising information, which is being distributed in the next two weeks via the journal and email, will have my email address in full and, as most people have access to email, we thought that would be sufficient.

I'm usually carefully about giving my phone number to strange men but, in your case, Phil, I'll make an exception. In seriousness, I'll ask the webmaster to add my telephone number to the online information.

Just to let folk know that places are already filling up for these seminars; I think/hope they will be of interest to many people, and not just composers. We do need people to book places so we can ensure there are enough participants' packs available, so please let me know if you'd like to attend - by email or phone.

[HallamPhil]

Thanks Mary for your reply. I presume, therefore, that the 31 January deadline is a moveable feast!