If it’s only on paper, support burns easily
Marie makes an observation regarding the promotion of parish-level chant:
The best advice I can give is find a Church and a pastor who supports Gregorian chant so passionately that he is willing to make this choir assist at a regular Sunday liturgy.
It is not enough that Vatican encourages the use of Latin songs in celebration of the Novus Ordo. The choir actually needs a priest, preferrably a pastor—or priests, as many as they can enlist—to give it moral support.
They’ll need the pastor’s shield for when the bullets start flying from the influential aging hippies among the parishioners who absolutely hate Latin.
Or the chancery, for that matter. See Dallas.
If there is a parish in my current neck of the woods (eastern Nassau County, N.Y.) with a pastor (and music director) willing to commit, long-term, to develop a Gregorian chant Mass and schola, and who would do what he could within his power to ensure the liturgy’s successful integration to parish liturgical life in the event of his transfer or death—including catechesis, active support, and perhaps even recruitment on his part—please let me know; I’d like to help.
I’m not going to actively search for such a situation, though. I’ll always have the “ideal liturgy” in my head, and at this point, that’s just about good enough for me. Even if I should find myself at a puppet Mass.
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Our Lady of Lourdes in Massapequa Park has some sort of Gregorian Chant lessons every Wednesday evening. One Mass every Sunday (I think 7:15 am) includes Gregorian Chant.
Ah, a note of despair! Still, the post addresses the key problem in liturgical music today: the transition from what is to what should be. The issue involves a huge number of strategic, political, social, ecclesiastical, and even ethical issues.
Every parish situation is different, of course, and the barriers are always more obvious than the opportunities. The key is to find the opening, and then dedicate yourself to working very hard, without pay and with good cheer. The goal should be to let good liturgical music speak for itself.
It can take years of work to establish a single liturgy that is consistently and reliable liturgical–a depressing thought but that is the reality today. It can be done, but only with great personal dedication to the goal. Certainly, it is worth every effort. Arlene Oost-Zinner and I have a piece addressing this topic in the Spring 2003 issue of Sacred Music.
I am astonished that OLL parish would be that, shall we say, adventerous. The music program there for decades was pretty doleful (no matter what your taste — if music got in the way of the sacrament factory, it was barely tolerated at best most of the time). One would have thought St. Kilian’s in Farmingdale to its north might have been a more likely locus of such an effort, as it was in its heyday one of the great centers (being a Benedictine parish outside of complete diocesan control until 1974) of at least the musical dimensions of the Liturgical Movement — at least in the old St. Kilian’s church (now ballooned by expansion and compromised by unhappy amplification).








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