I would like to inform you of an upcoming concert of special interest to Catholic musicians. This Sunday afternoon, February 19, at 3 p.m., the Seraphim Singers, under the direction of Jennifer Lester, will present a program at the Basilica of Our Lady of Perpetual Help (Mission Church) in Boston featuring rarely performed French choral works that include Louis Vierne’s Messe Solennelle, the four Motets of Marcel Dupré, Jean Langlais’ Messe en style ancien, as well as the more familiar O Sacrum Convivium of Olivier Messiaen.
The Vierne dates from 1901 and was premiered at the church of Saint-Sulpice in Paris with Charles-Marie Widor at the grand organ in the church’s west end loft and Vierne accompanying the choir from the chapel organ. This massive work, following in the footsteps of Widor’s own Messe Solennelle, was of course performed at Mass. Though not part of a liturgy, the Seraphim Singers performance will take advantage of Mission Church’s space (it seats 1500) and a second organ provided by Marshall & Ogletree to replicate conditions Vierne’s masterpiece requires. Heinrich Christensen, music director at King’s Chapel, and Glen Goda from Mission Church, will be the organists. Also, two of Dupré’s motets require two organs.
In addition, the Messe en style ancien by Jean Langlais from 1952 has a strong local connection. It was dedicated to Theodore Marier, at that time director of music publishing at McLaughlin & Reilly.
The concert offers an added novelty in that the second organ will utilize pre-recorded sounds from the Basilica’s famed 1897 Hutchings organ. The challenge will be whether one can distinguish pipes from speakers! At the very least, it will make for interesting post-concert conversation.
My thanks to Richard Chonak for help in correcting the not-so-live links.
I would also like to add a few words on why the era of French Romantic grand solemn high Masses with two organs and massive choirs was short-lived. In 1905 the French Chamber of Deputies enacted a law enshrining laïcité, the strict separation of church and state, with the secular state firmly in control. While the 1905 law’s explicit intention was to deny any state-sanctioned religion, its effectual end was the crippling of Catholic programs dependent on government funding. Resources that sustained large church music programs dried up and the character of French Catholic liturgical music changed dramatically.
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