To "seed hope and encouragement," as some have suggested:
This Sunday, some three years on from my taking this post, we sang the principal Mass with a choir consisting of 11 children choristers of the parish as trebles and six members of the parish vocal ensemble singing ATB beneath them.
My pseudo-lay-clerks and I chanted the Proper Antiphons (Introit in Latin and Communio in English). We sang a polyphonic third repetition on each invocation of the Kyrie SATB and the ICEL Chants in English (except with the Danish Amen, as one cannot ever guarantee presbyteral singing in my location, and I strongly believe in a sung Amen at this point, be it great or not); the trebles sang the invocations on the Lamb of God, as well as introducing the Gospel Acclamation, which was sung rousingly and with full organ to an adapted Nigerian tune.
I even got in the Offertory during the (somewhat misplaced) dismissal of the catechumens! :)
When I looked around at the 17 singers in the gallery, I realized that, three years ago, when I began work here, only one of these singers was involved in parish music at that time, and only two of them had ever been involved in the parish music before. My choir for Stations of the Cross on Fridays of Lent has grown from myself, my wife, and four friends from outside the parish to a potluck of (mostly in-parish) singers, getting each week an average of 10-12 singers from a pool of about 20. We have been able to tackle such repertoire as the Byrd Ave Verum, the Bruckner Vexilla Regis, and the Victoria O Vos Omnes, as well as a movement of the Rheinberger Stabat Mater in G minor and some simpler pieces (such as "Do Not Lament Me, O Mother," from the Byzantine Holy Saturday liturgy, which we sing at the 14th Station).
The Entrance and Communion Propers are now chanted at every Mass, and printed in the service folders, and the response to these has been the adoption of a prayerful attitude of silence before Masses and appreciation from those (not necessarily few) parishioners who do understand why this is so important.
The parish school choir has risen from the dead, and has a talented pool of about 12-14 singers, including 4 absolutely marvelous 6th graders.
We have returned without incident to the use of the Lectionary Psalms from psalm paraphrases (largely by using these paraphrases at other points in the liturgy as congregational hymns, which from a perspective of length and text is much more apt). We have vested the choirs decently, and all the ensembles, including the Parish "Adult" Choir that I initially inherited are growing (from 7-9 and no altos, one bass, and one tenor to 12-18 singers and three altos, two basses, and three to four tenors) and have a very high and positive sense of morale, purpose, and direction.
This is at a normal parish that would never consider a Mass in the Extraordinary Form, that uses Gather Comprehensive II, and is perfectly normal in nearly every way. So be encouraged; it is possible.
We're halfway to where you're at. Walked into a post-praise-band situation. Pastor had done away with drums and guitars some years ago, but the repertoire was still the same.
Mix of terrible contemporary ordinaries, R&A psalms, and Jesus-Is-My-Boyfriend type songs. Communion proper was sung ONCE all of last year, and nobody understood (incl choir) what it even was - it was just a chant thing the choir happened to do during the Triduum.
This is all in a strange cafeteria-style building (linoleum floors, plastic chairs...) with a dying sound system and a piano that has been appraised at a value of ZERO. There is a fantastic new building set to open this summer: cruciform church, barrel vaulted ceilings, marble columns & altar, baldacchino ... yet when I took this job 6 months ago there was almost nothing happening musically that would make a bit of sense in the new space.
Fast forward six months and they are singing the RM3 ordinary (which was touched on before, but poorly done), communion proper at EVERY Mass, Psalms from the Lumen Christi Series, and traditional hymnody now outnumbers the schlock pieces. Entrance antiphons will be introduced soon and we'll have a temporary digital organ in place by Easter. There will some day be a real pipe organ in the new church, perhaps as soon as this summer.
The reception to all of this has been largely positive, with only occasional insanity.*** The parish has gained 400 families in the past year, and the collection baskets are fuller than ever. The multiple volunteer choirs have maintained steady numbers, losing only a few in the change (whose voices were appreciated, but not necessary to the group), and in most cases grown in size, in musicality, and in liturgical understanding.
***Mine was one of the parishes mentioned in the thread about bizarre arguments against sacred music. The lady ranting about how we need praise music or else everyone is going to convert to Islam (or become a liberal atheist) emailed our entire staff with her manifesto. It was dismissed.
This morning we sang OLD HUNDREDTH, Kyrie XVI, modal psalm and gospel acclamation, ST FLAVIAN, Sanctus/Mem. Acc./Agnus from RM3, English communion antiphon w/ verses, Attende Domine, and KINGSFOLD. (For reasons, there was also a mellow contemporary piece after the communion antiphon.)
We changed the Psalm and Communion to match the readings used for scrutinies. The choir understood why. None of these things happened last year.
There ARE priests and deacons who want this sort of change. I am grateful to be working with a half dozen such men.
I'm just glad to be part of a small schola who are individually and collectively committed to tackling anything put before them. Our director is thoughtful and an expert organist, constantly searching for the right balance between the priest, the congregation, and the singers.
Being on sabbatical, he's handed over the reins to one of his students who is doing a stupendous job!
It's all about being humble and having a sense of humor. And remembering that it's about serving God above all.
I wore a pink shirt to fit in with the day, vestments, and altar coverings. Some of the choir also wore pink. I have been annoying the priests about some of the rose vestments being actual pink, but they have been good-natured about it.
We sang a psalm, some good hymns, and even a Proper or two. I also played some Reger and a good time was had by all. Did I mention the Latin Ordinary? It was a very good day!
We sang Vespers at 4:15 pm at the cathedral in Sherbrooke, Quebec; Latin Gregorian opening, hymn, antiphons and Tantum Ergo for Benediction afterwards. Psalms were a mix of Latin for Ps. 109, French for Ps. 111 and the NT canticle, and Latin for the Magnificat. We used some French psalm settings set to Gregorian modes, for the French psalms, prepared by the local Benedictines. Both Latin psalmodies (Ps. 109 and Magnificat) were in Mode VIIIg thus quite easy though the Magnificat antiphon was fairly challenging for a mode VII.
Then after a brief pause we moved from the choir stalls in the sanctuary (Vespers is attended by a small number and everyone sits in the choir stalls), to the organ loft, where we sang the propers for the introit (Laetare...) the Offertory and the Communion antiphon, plus the Greek/Latin ordinary. For the responsorial psalm and Gospel acclamation, we used French antiphons and psalmody on Gregorian tones. Still can't convince our choirmaster to use the Gradual...
It all came out quite splendidly considering we have 4 or 5 newbies in the choir (of about 15 that show up any one time), with less than a year's experience, plus one really green newbie who joined us a couple of weeks ago.
Our Newman Center chant group sang for the 7pm mass last night, out of Fr. Weber's book of English propers, with full verses (and male/female organum chant on the Offertory) as well as starting off mass with the Jernberg/Clayton St. Michael Prayer. This is the fifth or so liturgical function we've sung at the Newman Center this year; our next is the chanting of Reproaches for Good Friday, which, according to the regular choir director, may be the only place in the diocese which may be singing them. The group grows by leaps and bounds, having doubled in size since last fall, and now has enough members for SATB pieces as well as chant. Our project of the year is recording a CD of selections from Tenebrae, including both the chant as well as motets by Perosi, Ronan, Haydn, etc.
Meanwhile, I've arranged a Sung Mass for St. Joseph's with an all-male schola, singing Gounod's Convent Mass as well as some Palestrina and Corsican Chant. I'm in talks right now with another very prominent forum member about arranging an orchestra for Mozart's Coronation Mass, and we're planning a polyphonic mass for Ascension Thursday as well.
Finally, the best news I heard this whole weekend - through the generous help of an organist friend of mine, my TLM schola finally has a parish willing to host us on a regular basis for rehearsals. This will be the first time our choir can have its own practice space.
If you would've told me a year ago all this would've happened, I wouldn't have believed it.
Rejoice in the LORD, for He is good; and His mercy endures forever.
Wore the smart three hued white/pink/rose striped tie. One of my tenors remarked I looked like an ad for Victoria's Secret. That's odd....in so many ways.
Since this Laetare Sunday was the 1st of the month, a quintet made up of our director and the four section leaders from our choir did the Introit & Communion propers in Latin--in the original notation. (On the other Sundays, the full choir sings them in English, but in chant notation.) It was also Confirmation, so His Grace the Bishop of our Diocese was principal celebrant. The confirmandi had to number in the hundreds, judging by the number of rows they took up. As for the rest of the program, we did Austin Lovelace's arrangement of Haydn's God So Loved the World for the Offeratory, and as a post-Communion meditation, we did a bilingual (Latin-English) arrangement of Confirma hoc Deus.
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