NPM 2018 Convention YouTube videos
  • MarkB
    Posts: 671

    Nothing worth watching so far for informational value. However, if you want to see a self-glorifying ego performance posing as a plenum address, watch ValLimar Jansen's "speech"; her entrance after being introduced tells you all you need to know about her (start at 28:00) and what the subsequent presentation will be. More videos will be posted as the convention continues.

    NPM has really, really, really gone downhill. It gives Peter Kwasniewski and his supporters ammunition that the OF is unredeemable. So sad because plenty of people are doing good liturgical work in OF parishes, and NPM does not represent them nor help them. Would be interesting to know if their membership continues to crater. Maybe NPM will dissolve.

    Interesting that Fr. James Martin, S.J. had originally been slated to address the convention, but I believe he was replaced by ValLimar.
  • kevinfkevinf
    Posts: 1,127
    Gee...its worse than I thought.
    Thanked by 1CharlesW
  • JahazaJahaza
    Posts: 468
    The description for the NPM video:

    Imagine you are in a concert hall and Itzhak Perlman is performing on stage. The hair stands up on the back of your neck and you can barely take a breath. Perlman's passion flows into the room. He is aflame. He has mastered the rules and technique and yet they are far from his thinking. He has transcended the rubrics and yet upholds them. They have become a part of his musical instincts. Passion for the musical moment consumes him and he is consumed by the music.

    Can we praise God like this?
    Can we get there in liturgical music ministry?

    Contrast with this documentary on Itzhak Perlman's playing. It's amazing.
    Thanked by 2MarkB CHGiffen
  • MarkB
    Posts: 671
    Jahaza, I hadn't even bothered to read the NPM video description. Gosh, either NPM or ValLimar has a very inflated self-image. To invoke Itzhak Perlman as anything even remotely analogous to what NPM or ValLimar does is arrogant and absurd.

    I'll add too that when you go to hear Perlman in concert, you are going precisely to hear Perlman perform. When you go to Mass you are going to be immersed in Christ. Liturgical music should facilitate that sacred encounter, not be an end in itself and not draw undue attention to itself nor to any soloists as in a performance. I think a performance, on-stage mentality among NPM, OCP, GIA, WLP, Los Angeles REC musicians is one of the most destructive traits plaguing contemporary liturgical music today.
  • melofluentmelofluent
    Posts: 4,160
    Personally I've long felt that NPM's wheels came off in 1999 Pittsburgh national. That year they became fully vested in the P&W camp as rep'd by OCP and WLP "hymnal" products for da yout'. This, while also further distancing themselves from folks like J.Michael Thompson, Janet Sullivan Whitaker and others, whose work is estimable. The mashup of VaLimar's gospel warbling (often off pitch, something foreign to Perlman) and the cumbia-flavored "Alabare" with dueling vibratos only points out that this school of thought, namely Liturgy of, by and for THE PEOPLE, is infinitely more based upon a false charism and, as mentioned, ego advancing than any traditional practicums out there chanting tracts and propers and soaring with choral polyphony.
    The sad irony is that very seldom does any of this steroid induced hubris get realized in St. Normals, where you'll likely find an aging Bob Hurd wannabe or a lilting, sparrow voiced soprano trying to condense arena rock style into their lone twelve string as the "Leader of Song." Bereft. Bare-ruined choirs indeed.
  • I am at NPM. ValLimar’s speech was very well received. To call her speech an ego trip is just... wrong. She clearly feels and means what she says in a style most of us don’t regularly encounter. But last night, we had a gospel concert, and the morning prayer this morning was also gospel-style. (I must confess to loving gospel-style music.) In that context, she fit right in.

    If she’s not your cup of tea, fine. I didn’t care for the parts where she wanted folks to say something to their neighbors, but most people were fine with it.

    IIRC, Fr. Martin was scheduled to speak yesterday, not today. His replacement was fine for what it was.

    Also, FWIW, I went to Dan Schutte’s talk this morning, and he made a very gracious, unprompted plug for using chant (and polyphony) at Mass. I think he surprised many of the fans there to see him what with that suggestion.

    I also went to a presentation on why young Catholics leave the Church. Liturgy didn’t come up.

    Noel said something on an earlier post to the tune of I would get something out of being here. He is right.

    [edited to fix typo]
  • MarkB
    Posts: 671
    Robert Feduccia's presentation this morning is worth watching:

    He does the currently faddish hand-wringing about millennials' exodus from and disinterest in the Church. Makes some good general (and fairly obvious) points about the importance of parishes and liturgy in the work of evangelization. Utterly fails -- as does almost every speaker on this trendy topic -- to give specific examples and particular advice about how to succeed. Feduccia works for OCP. Tell you what, Robert, the music that OCP has published for the past twenty years and the artists and music currently being pushed on parishes via OCP's stranglehold on half of the country's liturgical music programs are not the right approach.

    I get around to a variety of parishes. In parishes that use OCP's pew music products, churches don't sing the new contemporary songs. They sing the old contemporary songs, mostly written before 2000. Not saying that's the right approach either, but it shows that parishes (in my area at least) are not singing the new compositions even though they are forced to buy them because of their annual subscriptions to OCP's pew music resources. Yet OCP keeps churning out new, lousy compositions that very few are actually singing.

    He does take a dig at the sacred music crowd by saying (starting at 48:30) that the Church is growing in Africa, they use drums at Mass in Africa, therefore it's wrong for people to suggest that drums are out of place for Mass in America.

    Feduccia diagnoses the problem, which isn't hard to do and which had already been done, but he doesn't offer solutions beyond vague appeals that boil down to "we've got to do better, and if we could only communicate and share the treasure of Catholic faith and worship more effectively we'd be evangelizing our communities better" Well, duh. The question is, precisely how do you suggest we do that? You'd think NPM would offer more practical solutions.
    Thanked by 1CharlesW
  • CharlesW
    Posts: 11,223
    I don't think NPM has any solutions. They were and are shills for the major music publishers.
  • MarkB
    Posts: 671
    GIA's NPM Showcase:

    The poor quality of performance surprised me. Not a good way to sell people on your music. I've heard better volunteer parish choirs and better volunteer parish cantors. These people set the standard?

    Many of the songs sound like they belong in the soundtrack of a Muppets movie.
    Thanked by 2CharlesW MNadalin
  • Liam
    Posts: 4,358
    Feduccia's argument about drums is an illustration of poor logic responding to poor logical strawmen. But everyone can return to their corners feeling they've been a wit, which is what a low-rent version of classical rhetorical argument, customarily reserved for debates after several rounds of drinks but now is our ordinary type of argument on the Internet (though sometimes interpolated with cut-and-paste of cherry-picked citations to authority to dress up the rhetorical Potemkin village). (Then again, why should we be surprised, when competitive debate teams indulge in a more vociferous version of the same?)

    As for the videos and what they illustrate: they mainly serve to illustrate how awful so many convention venues are for making music together (regardless of kind).

    I've been to one NPM convention - if memory serves, in 1988 here in Boston, and the sessions I participated in were in, of all places, the inimitable Trinity Church (Episcopal). It was different.

  • TCJ
    Posts: 775
    The videos are painful. "Come all you people, come and praise your neighbor." Did I hear that right?!
  • CharlesW
    Posts: 11,223
    Some years ago our pastor stopped paying for NPM memberships for us. He didn't do it out of the blue but checked with us first. He said he thought we had grown beyond anything NPM had to offer. I still agree with his assessment.
  • chonakchonak
    Posts: 8,691
    "...praise your maker". It's close to some liturgical texts, but I don't think it quite matches any.

    The setting of text to music could surely be improved. The refrain has a rather artificial rhythm imposed on the text in Procrustean fashion.
    Thanked by 1CharlesW
  • a_f_hawkins
    Posts: 2,699
    I see a footnote to an edition of the original that it is 'a great favourite among children in Zimbabwe'. Ok, but is a lot easier to get small children to church than to keep them there as they grow up, and this is not the music to achieve it.
  • melofluentmelofluent
    Posts: 4,160
    How the mighty have fallen.
    GIA needs a re-branding, stat!
    Notes on OCP’s Showcase (In case of show, please break the glass!)
    *Though comprised of many otherwise respectable composer/arrangers, the choral assemblage of OCP is hardly more capable than the GIA group. *Funny to see Űber Choral Expert Elaine Rendler McQueeny never once look at conductor A. Westhoff, who otherwise has a lovely, deep tan! *Perhaps NPM has steered the “showchoirs” away from competent professionalism in a noble effort to reflect both the demographic and abilities of most contemporary choir/ensembles in St Normal’s. However, the absolute lack of coherence in the Hurd/Kingsbury FINLANDIA in the faux-Proulx second verse was quite on display as it was difficult to tell if “it” was the arrangement or the quire “at fault.” *Also per this arrangement, anybody else think of mariachi trumpet duet embolisms punctuating the first verse strophs? *The Alstott/Soper hymn was palatable, but never give a descant to any soprano with a, ahem, bold vibrato. *The Sullivan-Whitaker piece is true to her convictions, but where she stands above other OCP writers is that she was classically trained (by our own Frank LaRocca.) *Schutte “ Saints and Beloved fairly drips with honey and unicorn tears; what is a “brave communion?” *Why does Angela bother to conduct the audience, as if they’re not actually glued to the score they’re SIGHT-READING?! *”Nuestra alegria” is evidently a bilingual arena anthem beholden to no Latino style or tradition I’m aware of. But be sure to wait for the solo duet of “Yeah, yeah, yeah! (after “She loves you, yeah yeah yeah.) You’ve thunk OCP learned that lesson after Maher’s first incarnation of “Your Grace is enough.” *”Te Deum” is mashup of Ben Hur trumpet blasts in organum and bluster-filled solo verses; someone actually believes a congregation (sorry, assembly) will actually take this up. *The Jesus Song”- nice Martin D-28, and the humble refrain is serviceable, but I’d wonder if individuals in congregations would feel “exposed” if taking up the puerile melody/lyric combo. *O joy, a Landry tune from “Hey God 7”- somebody shoot me now, thank you. *
    I need an intermission and a tonic. Be back for the second half.
  • melofluentmelofluent
    Posts: 4,160
    Well, I did take in the second half, and there were again a couple of serviceable pieces. That said, the thought occurred to me: would I spend thousands of dollars in travel and lodging in order to glean a few "serviceable" works that may, or likely may not, translate well in our locale? I might add at the expense of a great and vast repertoire of unsung chant, polyphony and hymnody that could unlock voices and hearts with their richness? Great camaraderie is one thing, being true to the God-given art is quite another.
    Thanked by 2CHGiffen irishtenor
  • Since I am here at NPM, I will offer a few more reflections:

    * I have been to three excellent concerts — one men’s a cappella (including several polyphonic pieces), one choral/orchestra (including the Vivaldi Gloria), one organ. All played to full houses in their respective venues. I think there’s a piano concert (the classical kind) tomorrow, and I will go to it.

    * The top award went to the late Fr. Kelly, OSB. He received a richly deserved ovation. The morning prayer used his chant tones.

    * I attended a session today with David Haas, who, like Schutte yesterday, was very gracious toward traditional music. He was also very kind in a brief conversation I had with him.

    * I had a chat with Ken Canedo about his books on the folk era and the ‘70s/early ‘80s in Church music. As I was not around for those eras but most of my choir was (and largely prefers that music), these books will be a helpful reference for me.

    * I wasn’t wild about anything in the GIA presentation. There are a couple things in the OCP presentation I liked but my choir probably can’t do.

    * I was aware of “The Jesus Song” before this, and it has continually rung in my head—I have sung it a few times in private. It is the opening song tonight for adoration.

    If you are looking for stuff to criticize, inevitably you will find it. But I came hoping to find stuff to help me in my work, and I have done so. It has been worth it for me—and hopefully my parish too, since they paid for it.
  • MarkB
    Posts: 671
    "The Jesus Song" is awful. I swear that composers like Tom Booth, Jesse Manibusan, Sarah Hart, Steve Angrisano, Ken Canedo and nearly all of the OCP artists are given legacy points that ensure their crap gets published. If someone not already affiliated with OCP submitted the same bad quality, cheap guitar music with trite, repetitive lyrics as "The Jesus Song" or Manibusan's "All Are Welcome" (OCP's attempt to take the 'all are welcome' liturgical market share away from GIA and Marty Haugen), or even if they submitted better music, it wouldn't be published because a newbie doesn't get legacy points in their favor. OCP has largely become an insular cult of self-promoting musical mediocrities who are able to sell their banal and liturgically inappropriate music almost entirely because of inertia and laziness among parishes, many of which are so reliant on OCP to tell them what to do for liturgical music that they would be lost without OCP holding their hands and giving them official OCP suggestions.

    Addition: after thinking about it a little bit, I realized that Booth's "The Jesus Song" and Manibusan's "All Are Welcome" have almost exactly the same chord progression in the refrains. You can sing one over the other and vice-versa, even to the chord change for the second ending on the repeated refrain. Shows you how formulaic and unimaginative their compositions and musicians are. Once someone at OCP realizes this fact too, they'll probably produce a medley or a mashup so that a prelude "The Jesus Song" leads into a gathering "All Are Welcome". Coming soon to your LifeTeen youth Mass on Sunday evening.
    Thanked by 2MNadalin hilluminar
  • melofluentmelofluent
    Posts: 4,160
    To be clear, Tim, I'm actually looking for a glimmer of hope and responsibility, not vehicles for criticism. I have been through the same curve as you, having attended NPM's from '79 to '99. In '99 my sphere of influence had already shifted to chant (I always directed polyphony prior,) and "my" discovery of Thompson's choir of St. Peter's in the Loop opened more vistas. But as I said above, NPM's tack was going towards "Spirit and Song," which the OCP showcase didn't unveil its hyper-syncopated nature this time around. I've actually accompanied many of the old guard, including Hurd, Joncas, Conry and the SLJ's/Schutte, and held forth many a chat session. All that said, the cart carrying publisher wares is and has been ahead of the horse, the effect becoming one of stasis and pro-forma. It is a severe shame that the editorial kingpins of the industry have very little vision outside of their cash-cow domains. Good on you for mining where you can.
  • Mark:

    I don’t know Manibusan’s “All Are Welcome,” but I do know and like “The Jesus Song,” and I am willing to defend it on a few points.

    * The lyrics are the Jesus prayer and a sliver of the chaplet of divine mercy. I think we should want people to have these words in mind. They are simple, but they are substantial. They are certainly not trite.
    * It is very clearly a devotional/meditation song. So it is similar to Taize in that regard. It is designed to be picked up quickly and easily.

    For me, it succeeds in what it is trying to do. I remember the song. I have listened to it repeatedly. They are words I should be saying more often, and this gets me to do that. I can see using this as a way to introduce my kids’ choir to these very important prayers. (I have used Carol Browning’s setting of the Jesus prayer in much the same way with my parish, to great effect, during Lent.)

    As it happens, I am soon off to adoration. We will sing it there, as I mentioned before. It will likely ring in my head the rest of the night. That is fine with me.
    Thanked by 1MarkB
  • francisfrancis
    Posts: 9,546
    chords, knockoff of pachelbel canon

    Yeah, Pachelbel certainly sticks around...
  • MarkB
    Posts: 671

    But it's not the Jesus Prayer. The Jesus Prayer ends with "...have mercy on me, a sinner." Booth leaves the sinner part out. If you're going to set a text to music, be faithful to the text. Sin is out, though, (along with masculine pronouns, references to humanity as "man" and references to God as male) as a theological concept among those of a certain mindset.

    If the Jesus Prayer were an official liturgical text, the setting would never be approved because it's unfaithful to the original text. It's like leaving out "lead us not into temptation" in the Lord's Prayer because you don't like the theology of the phrase or because it won't fit into your meter.

    I may come across as cantankerous, and I have a very strong dislike for NPM and liturgy conferences in general, but I'm glad you are enjoying the convention and getting good resources and ideas from it. There is good there, but it can be hard to find the wheat among the weeds.

    I hope adoration is a deeply prayerful experience.

    FWIW, I like the Jesus Prayer but I think it's much easier and preferable to say or think the words quietly to oneself, personally. I can say/think the prayer at least five times in the time it takes to sing one of Booth's slow refrains. Some things shouldn't be set to music, I think, such as the rosary and the Divine Mercy Chaplet. For me, music doesn't enhance those prayers; it interferes with them.

    I think Booth wrote his "Jesus Prayer" song with LifeTeen/Steubenville XLT adoration in mind, and that's another topic unto itself. Without taking this thread on another track, I'll just say that I think XLT is Catholic hipster coffee house amateur parish concert time posing as Eucharistic adoration.

    Keep us updated on the good you find.
    Thanked by 1CharlesW
  • rich_enough
    Posts: 874
    There is good there, but it can be hard to find the wheat among the weeds.

    But I always wonder - isn't one's time better spent cultivating what can become a verdant garden rather than foraging among the weeds?
  • CharlesW
    Posts: 11,223
    We easterners take the Jesus Prayer seriously and would likely agree it shouldn't be tinkered with. It's that western cultural affinity for novelty again - never satisfied with anything. Entertain me, I'm bored. Sheesh!

    I think NPM could do more to advance good sacred music. I can't tell if what we would call "serious" musicians have abandoned NPM, or if the crowd that likes the stuff the big 3 publishers push, are the people that actually attend the conventions. Not a criticism, I just don't know the answer.
    Thanked by 1MarkB
  • Liam
    Posts: 4,358
    It boggles my mind* that someone would shave "a sinner" from the Jesus Prayer for sung adaptation, thereby de-linking it from its scriptural anchor in Luke 18:13. To me it's an example of what modern liturgical music publishing incentivizes: publishing unripe pieces, that is, pieces where an editor has not completed the job of making a composer work through the consequences of his or her creative choices. In this case, an editor should have pushed much harder on Mr. Booth in this regard. Ah, editors. I miss them.

  • melofluentmelofluent
    Posts: 4,160
    Tim, can you publish the link to the WLP Showcase?

    Little post-script: in these concerts/showcases I've noticed a lot of "borrowing." In the OCP showcase someone (Chris Walker?) arranged an Easter text (This is the day...) exposing what I'd dub as a half-baked motif that eventually morphed into just another setting of Jesus Christ is Ris'n Today. In the Timothy Concert they faked their way through "Down to the river to pray" whose popularity stems directly from the Coen Bros. film O Brother, where art thou/Allison Krauss's superb version. In addition, Booth and Manibusan let fly a mash of the Portuguese traditional hymn "a Treze de Maio" with some ill-considered chord changes and a forgettable verse model punctuated by the ubiquitous "Ave, ave, ave Maria" refrain.
    My point, and I do have one, centers around my earlier and Liam's complaint: where are the editorial voices prior to the monetization of such ideas? Furthermore, how is it that there is enough consumer base that's willing to fork over what we'd think is non-expendable income to subsidize such second rate projects?
    I really believe the Big Three owe their public an answer, and perhaps much more. Rant over.
  • Liam
    Posts: 4,358

    You always have a point.

    To complete my point with an illustration of it in action. "This will probably seem harsh, but hear me out. I owe this not only to our public but to you. What purpose is served by hacking 'a sinner' away from one of the most ancient Scripture-based Christian prayers? 'A sinner' provides the reason for the plea for mercy. Your choice may be likened to removing the supporting tower from beneath the spire of, say, Strasbourg Cathedral; while the eye is immediately drawn to the loveliness of the spire, without the supporting tower it would blur into its more earthbound surroundings. When you remove the clear foundation in both Scripture and many centuries of ardent Christian prayer for that refrain, you may just end up with a contemporary commonplace. Our culture is already saturated with that; why does it need yours to add to it? I am hardly the only person who will notice this absence, even if many Roman Catholics won't at first blush."
    Thanked by 2MarkB CharlesW
  • redsox1
    Posts: 202
    The concert at the Cathedral of MOQ was excellent and included the Castagnet Messe Salve Regina! The plenum this morning by the Bishop of Bridgeport was spot on! The organ interest breakout was also very productive. I know the NPM president. He’s a good guy who is earnestly trying to well represent different factions. He’s even calling for an organ institute at future conventions. Some good stuff here.
  • I am on my phone and don’t have any easy way to pull up links. I think NPM has been streaming to FB, though.

    I did want to note that WLP specifically cited and lauded two Kathy Pluth texts in their presentation, and their collection had a lot of folks I have never heard of. (And, sigh, John Angotti.) I enjoyed the gospel piece and the versets. The rest was hit or miss.
    Thanked by 1Kathy
  • chonakchonak
    Posts: 8,691
    Dropping "...a sinner" from the Jesus Prayer is like dropping "a wretch like me" from "Amazing Grace".
  • Carol
    Posts: 690
    Wait, Chonak, is that good or bad? No purple? I can't believe you would even reference such a "Protestant" Hymn as "Amazing Grace" or did you learn it from the Judy Collins version as I did?
  • Kathy
    Posts: 5,359
  • I’m new to this forum, and this is my first post, but I’ve been in attendance at NPM and following along the conversations on here to see what your thoughts are and wanted to give my two cents.

    I’m a part of a new track at NPM this year called the Emerging Leaders Institute, which is primarily a bunch of under 30 people who are generally 1-3 years into positions as Directors of Music and Liturgy. This course was quite good. Many of the speakers spoke about the practical side of working in Parishes, and we also talked about Liturgy and Music. It was not the kind of thing I expected from NPM but it was very welcome. Our speaker on Liturgy in particular was not impressed by the “liturgical” music from the GIA showcase we had seen that day which was refreshing to hear (neither was I). He spoke about liturgy in a way that would probably surprise GIA/OCP and their ardent fans. It wasn’t a perfect set of courses, but I thought it was very promising.

    I attended the chant intersection meeting, and there were a surprising number there. Everyone told the section leader of the desire to see more from NPM in promoting chant (whatever that would look like), and a few had attended the CMAA colloquium and spoke of a desire to see more collaboration.

    As someone else mentioned, morning prayer yesterday was in the chant style, and Fr Columba was honored with an award for his work in chant.

    I thought many of the speakers were not so good, and the main showcases left me very unsatisfied. But, I thought just as many speakers were very good, especially Bishop Caggiano. Elaine Rendler McQueeny even took many digs at the typical music in parishes, acknowledging how it’s not working very well. She also gave a positive plug for chant which took me by surprise.

    In general it felt like the whole conference was in some kind of war with itself. On one hand, many of the speakers and people spoke of the need for beauty and transcendence in the liturgy while realizing that what was happening and had happened wasn’t working…. and on the other hand it was self promoting and the big showcases and some plenum speakers fed exactly to what I was expecting from them. So that was depressing. And confusing.

    The one example I can think of in particular was the first speaker (I forget her name) and she said she hates the phrase the unbloody sacrifice of the cross. Then Bishop Caggiano used those exact words in his speech this morning. So it seems as though NPM is making some effort to buck the status quo with its speakers and the things they’re doing, but the power is with the publishers, and they aren’t changing any time soon.

    For what its worth, I’ve found the conference useful for my own needs and have much to think about, both professionally and more importantly on a personal level.
  • Kathy
    Posts: 5,359
    I'm really glad to hear of the chant interest.
  • Carol
    Posts: 690
    Welcome to the forum and thanks for your thoughtful words. It is nice to hear of someone young taking on the challenge of Music Director, riverofthenorth.
  • My conference is over, as I must be on the road early tomorrow and I am not going to the (sigh) John Angotti concert.

    Here are my final thoughts:

    * This was a joyful convention. Front-loading the week with the Gospel concert and the energy and enthusiasm of ValLimar was a smart idea, as it set a good tone for the remainder. Folks were happy, even with all the serious talks (and there were a few).

    * There was also a great openness to chant/polyphony, including by folks you might not expect, so it was disappointing to see little representation of it on the exhibition floor—though GIA and OCP both had decent chant selections. (I bought a Simplex at the GIA booth.) Folks, a lot of people here are open to what the CMAA does—but you simply have to make a positive case for it. I doubt many here will dump their music entirely, but they are willing to add chant to a quality church-music diet™.

    * Adoration was very good and moving—apparently, it was the first time NPM had done this, and perhaps 175-200 were there. It would be a good addition to the Colloquium, too—it may have been at prior ones, but I don’t recall it at any of the three I have attended. NPM’s version had Taize, Bob Hurd’s “Ubi Caritas” setting, and the Tantum Ergo in Latin, among other things.

    * The Mass today was all over the map, as is proper in the Lord, but there was plenty of good stuff there. It was a good way to end my convention.

    Between this and the Colloquium, I have had a very good last few weeks. I am heading home tomorrow with plenty to bring to my parish. My drive tomorrow is 11 hours, so I would be grateful for your prayers for safe travel.
  • Paul F. Ford
    Posts: 817
    Prayers for the safety of all travelers.
  • matthewjmatthewj
    Posts: 2,665

    Adoration was very good and moving—apparently, it was the first time NPM had done this, and perhaps 175-200 were there. It would be a good addition to the Colloquium, too—it may have been at prior ones, but I don’t recall it at any of the three I have attended.

    There was adoration with a Holy Hour in 2017 in Minneapolis, if my memory serves me.
  • bhcordovabhcordova
    Posts: 980
    @Chonak, one of them has already done that. Instead of 'saved a wretch like me', they changed the wording to 'saved and set me free'
    Thanked by 1Carol
  • Caleferink
    Posts: 358
    The concert at the Cathedral of MOQ was excellent and included the Castagnet Messe Salve Regina!

    As one who participated in that choir (in fact, I was the one who intoned the Salve Regina chant), I'm glad you enjoyed it @redsox1! Dr. Blackstone was an absolute blast to rehearse and perform with...everything and every word positive. I learned quite a bit rehearsing with him to take back to my own choirs.

    As for the rest of my convention experience, I'd call it hit-or-miss...pretty much par for the course. I was rather underwhelmed by the major showcases from the "Big 3." I did get some good music out of the Lectionary Anthem Project workshop Friday morning (I hope they keep that going; it sounds like NPM has been talking about doing away with it).

    In the exhibit hall: once again GIA and WLP had the biggest booths, followed by OCP - although they appeared much smaller than in previous years, especially in comparison to their compatriots. Liturgical Press has totally gone off the deep end, with books being offered that openly trash every single part of the current RM translation and open support for women's ordination. I overheard one of their exhibitors talking with someone about producing a Psalter that was "inclusive" (i.e. neutering our Lord). Johannus has a new "portable organ" that looks like a synthesizer but has proper organ stops and then other synth sounds like strings, piano, etc. All in all, the highlight of that for me was the free Tootsie Rolls in the silent auction section.
  • cmb
    Posts: 68
    'saved and set me free'

    I have also seen "saved and strengthened me" before. Don't recall who published that, but I could guess.