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Sanctus for the Pope’s DC Mass


Apparently is from the ubiquitous Mass of Creation by Marty Haugen, perhaps the most prolific composer for the Liturgical-Industrial ComplexTM. Jeffrey Tucker asks some pointed questions on NLM (my emphasis added in boldface):

There are 18 incredible chant settings in the Graduale [Romanum]—the 100th anniversary of which we celebrate this year—and many date to the earliest times of the Church and grew up alongside the Mass. There are hundreds of thousands of polyphonic versions composed from the Golden Age to our own. This is a treasure greater than all other arts.

Surely, organizers would not shun this for Benedict XVI and surely they would not bypass this in favor of what might be the most embarrassing aspect of American liturgy? What signal would the organizers be sending to the Pope by scheduling the Mass of Creation by Marty Haugen? That America is stuck in the past, refuses to update itself, refuses the aesthetic leadership of the Vatican, refuses even the approved texts of the Mass, refuses to get past the confused times of the postconciliar era and embrace the new times and make the larger tradition of our faith a living presence in our lives?

And yet it seems increasingly clear that this report is most likely true…

Posted 03.16.2008
by Aristotle A. Esguerra
3 comments.
Filed under: Gregorian Chant; Liturgical Music in Practice; Sacred polyphony.

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3 Comments

Recall that someplace in the “regs” is language which virtually requires “congregational” singing of the Sanctus. Such language certainly eliminates polyphony or choral settings, and leaves only the impoverished stuff you cite here, or Chant.

And the Americans chose impoverishment.


dad29
03.18.2008 @ 12:55 pm #

The problem with Marty Haugen’s Mass of Creation is that is sung so badly and tritely in so many places. Yesterday, however, it was done with elegance, with polyphony (how many have ever heard it that way?) and with wonderful orchestral harmony — and the propers from his Mass were wonderful and inspiring indeed. While my roots and preferences are in the traditional repertoire, there is and must be room for good modern music. And yesterday demonstrated the value in Marty Haugen’s work. For several years, I worked and collaborated with John Flaherty doing some wonderful “high” masses for special occasions at Loyola Marymount University and broadened my experiences, knowledge and practice, since everything John does is absolutely first rate. The problem as I see it is there are only a few voices crying in the wildnerness of parish musical/liturgical practice, and no practicum to teach properly, so most of us who live away from cathedrals or universities (as I now live) are subjected to unspeakable torture and misery. I would prefer no music at Mass to caterwauling such as I must endure on a weekly basis.


Susan Shepard
04.18.2008 @ 11:17 am #

For what it’s worth, I find myself to be a traditional music supporter, even though I grew up with the “new” music. I was so prepared to be upset by the use of Mass of Creation, and then, despite my best efforts I liked it. I got on youtube and listened to some choirs sing “One Bread, One Body” and it felt like I was at home. I hate to say it, but it’s grown on me.


txchad
04.26.2008 @ 1:24 am #

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Next: Holy Week and Easter (1962 Missale) »
A Musical Journey through GIRM