Here is Bach’s Prelude and Fugue in F Major BWV 556. Bach wrote these in a collection of Eight Little Preludes and Fugues. Which was designed for organ students. This one is my favorite in the collection. The footwork of the Prelude is easy but the running triplets in both hands are a challenge to play well and at tempo.
By the way the organ used here is known as a “tracker” It works with an entirely mechanical action of levers and trackers much like the manual typewriters of old. Occasionally in this piece you can hear the mechanical action “clacking” in the background. Trackers usually require stronger fingers and a more certain touch of the fingers and feet, again just like the old manual typewriters required a stronger and more certain touch. (Are you old enough to remember manual typewriters?) OK, enjoy this short sample of the music of the pipe organ.
We have already discussed how the Old Testament Reading, the Epistle and Gospel came to be in their place and how the number and variety of those readings varied over the years and even today in the various Rites and Forms of the Liturgy. Now we consider the Responsorial Psalm which has a history of its own.
In a way, if you were to walk into Mass for the first time you might find the presence of a sung psalm a bit odd. Here we are reading the Word of God and suddenly another song breaks out! What is going on here. Is it another reading, is it a prayer. What is its purpose? Well let us read and see.
The responsorial psalm or optional “gradual” comes after the first reading. The psalm is an integral part of the liturgy of the word and is ordinarily taken from the lectionary, since these texts are directly related to and depend upon the respective readings. The cantor of the psalm sings the verse at the lectern or other suitable place, while the people remain seated and listen. Ordinarily the congregation takes part by singing the response, unless the psalm
is sung straight through without response. If sung, the following texts may be chosen:
the psalm in the lectionary,
The Gradual in the Roman Gradual,
or the Antiphon or the psalm in the Simple Gradual
History – In the early Church there was a pattern to the psalm response much like our own today. That is to say, there was an antiphon or verse sung by all followed by extended verses of a particular psalm chosen for the day with the antiphon intervening every so often by way of a response. Many of the Fathers of the Church make mention of this format. St. Augustine makes explicit mention of the practice in his sermons; likewise, St. John Chrysostom and St. Leo the Great among others. In the early days, the psalm texts were sung in their entirety. This was true even of the lengthier psalms. (Today, there are usually selected verses of the psalm used. It is rare that a whole psalm be sung unless it be brief in itself). The responsorial psalm was seen as an integral part of the liturgy with its own significance. This is in contrast to some of the other singing we have previously discussed such as the Entrance Antiphon (Introit) which was sung originally to cover a movement or fill a space of time and set a tone. In this way it existed for a purpose beyond itself. Here the chant has an importance in itself and does not exist to cover motion etc. It was seen as a moment of pious meditation, a lyrical rejoicing after the word of God had been received into the heart of the believer. Originally the deacon was the singer of this psalm and versicle. Later the task moved to the subdeacon & later still to the schola Cantorum (Choir).
It is interesting to note that when the singer mounted the lectern (or ambo, or pulpit) he did not go all the way to the top of the platform but rather stood on one of the steps just below the platform.This was once again due to the reverence given the proclamation of the Gospel which alone was proclaimed from the top platform. Since the singer stood on a step (“gradus“, in Latin) the psalm came to be known as a “Graduale.”
Over time the responsorial psalm began to shrink in size and lose its responsorial character. This seems to have happened for two reasons.
First the music for these chants began to become more and more elaborate. We saw this tendency with the Entrance Antiphon. The simple forms slowly gave way to other, more elaborate forms. Thus, the antiphon which was intended for the people became more ornate and difficult and thus slipped from their grasp. Its execution fell more frequently to the schola. Likewise, as the antiphon became more elaborate it began to overshadow the verses of the psalm themselves which were sheered away slowly. Eventually only one verse remained along with the antiphon. This remained its form until the recent changes in the Mass at Vatican II.
A second factor seems to have been the dropping of the first reading from the Old Testament in the Sixth Century. By this time however the responsorial character of the psalm was well on its way out. Thus this effect may not be direct but may help explain that other factors were at work in the background.
Today the original responsorial format has been reintroduced as an option. This therefore returns to the more ancient practice and also makes the response once again a song or response of the assembly. However, the option still exists to use a Gradual in the from the Graduale Romanum which retains the format of the Traditional Latin Mass instead of a responsorial format. This would generally have to be sung by a trained schola.
Pastoral Reflections – It is true to say that the Psalm is “another reading” in the sense that the psalm, like the other readings comes from the scriptures, the written Word of God. However, a caution is in order. The psalm should also be seen to enhance the prayer and praise that is integral to the Liturgy of the Word. Thus, it is not merely a “listening event” but also involves prayer and praise in the truest sense of the term. The psalms were (and still are) the prayer book of the Jews and it is our prayer book as well. Hence, the psalm is prayer and not only “another reading.”
The title “responsorial psalm” is not given because there is a response or antiphon for the people to sing. The “response” referred to is the reflection of the assembly on the proclamation of the reading which just took place. The psalm is usually related in some direct way to the theme of the Old Testament reading (and by that very fact to the Gospel which is to come). Thus, the people “respond” to the Word of God, make it their own and proclaim it prayerfully. By its nature, the psalm is a song and should thus be sung if at all possible; especially on Sunday.
The option of using the gradual from the Graduale Romanum should not be forgotten. There is once again the need to remember that a glorious heritage of Gregorian Chants exists which belongs to faithful by their right. It is sad if this heritage is never heard or sampled. However, it will be admitted that these Chants are difficult indeed and require a skilled choir. This and the fact that they are in Latin can make them less accessible. This usually means that the Graduals are seldom if ever done in the average parish. Again, a sad loss that a little extra training might overcome.
OK, so bottom line is once again the same: YOU’RE SUPPOSED TO PRAY. The Liturgy is not just some ritual to get through, it is a time of prayer. The Psalm response or gradule is meant to invite you into a prayerful response. Are you praying? Next time you’re at Mass, don’t miss the main point here.
The following video is of a Gradual. In the place of the more common “Responsorial Psalm” it is always permited to sing the “Gradual” which is an elaborate antiphon and one verse of the psalm. The one in this video is from the Vigil Mass for Christmas here is the text in Latin and an English Translation:
Hodie scietis, quia veniet Dominus, et salvabit nos: et mane videbitis gloriam eius. Qui regis Israel, intende: qui deducis velut ovem Ioseph: qui sedes super Cherubim, appare coram Ephraim, Beniamin, et Manasse.
Today you will know that the Lord is coming to save us: and tomorrow you shall see his glory. Thou that rulest Israel, hear us: thou that leadest Joseph like a flock, thou that sittest upon the Cherubim – appear Thou to Ephraim, Benjamin, and Manasse.
The following information was supplied by Susan Gibbs, Director of Communications for the Archdiocese of Washington in response to a reader who asked how they can help turn back a possible decision to cancel the TV Mass for shut-ins. The original article appeared in this blog here: ORIGINAL ARTICLE Ms. Gibbs’ response was posted in the comments section but in case you missed it, I want also to include it out here on the main page:
Thank you to everyone interested in helping the Mass. The archdiocese is committed to continuing to offer this ministry, though the cost of moving to a broadcast station, which is important to reach our homebound and elderly viewers, is really significant (it could be as high as $100,000 per year). In addition, it can be very difficult to move viewers to a new station. The Mass has been on air in the DC area for 60 years, and on WHUT since the mid-1990s.
We have been working with the Shrine on seeking a production grant, which would help if we could get it. Unlike televangelist programs, the Mass does not solicit donations on-air through an 800 number. This program truly is a service to the elderly and homebound so they can attend Mass (we have Catholic and non-Catholic viewers).
In terms of next steps, the US Conference of Catholic Bishops and other faith groups are seeking a meeting with PBS. From what we understand, PBS reportedly has decided to implement membership policies that date to 1985 (24 years ago), but were never implemented. The policies would prevent their member stations from including religious programming as part of overall community programming, even if the local community wants it. Our Mass features participants from around the Washington region (DC, MD and VA) so it’s definitely a local program anda community service.
If you want to weigh in, the contact at WHUT is Jennifer Lawson,[email protected]. WHUT has been a wonderful partner in providing this community service since the mid-1990s. This change would be a real loss to our viewers.
Finally, if you are interested in being a part of the congregation, please join us. The next taping is June 4, 7:30 p.m. (we tape two half-hour Masses so expect to be there until 8:45 p.m.) at the Basilica Crypt Church. Email [email protected] if if you want a schedule for the tapings.
L’Osservatore Romano Is the Newspaper of the Vatican. It’s editorials, while not considered official statements of the Vatican are nevertheless seen indicative of the general thinking in Rome. The paper has sounded an “upbeat” note in terms of recent postures of the President toward abortion, including the recent speech. . I am not sure how to interpret the editorial. Is is just wishful thinking? Is it an olive branch? How is one to interpret such an editorial in light of the very different position announced by Archbishop Raymond Burke, a Vatican Official? Hmm…
Here are excerpts from the summary article on the editorial published by Catholic News Service:
The search for a common ground: This seems to be the path chosen by the president of the United States, Barack Obama, in facing the delicate question of abortion,” the newspaper said….It said Obama had set aside the “strident tone” of the 2008 political campaign on the abortion issue….”Yesterday Obama confirmed … that enacting a new law on abortion was not a priority of his administration,” it said…The newspaper noted that Obama had called for reducing the number of unwanted pregnancies, facilitating adoption and supporting women who want to carry their babies to term, and that he had also spoken of drafting a “conscience clause” for medical personnel who are morally opposed to participating in abortions.
Compare the tone of this article to that of Prefect of the Vatican’s Supreme Court Archbishop Raymond Burke. Who really speaks for the Vatican? Who best represents the sentiments of the Vatican?
The full text of the Archbishop’s Address to the National Catholic Prayer Breakfast is HERE
Did you ever think you’d read a headline like this: “Catholic Priest Arrested At Catholic College for Protesting Abortion” ?? The video below records the event.
Some will say that trespassing laws have to be enforced to prevent Notre Dame campus from being over-run by protesters. But if Notre Dame wanted to avoid protests and controversy maybe it should avoid doing things that are controversial. Also, in recent years it has often been said that Catholic Colleges can’t just be places where Catholic teaching is promoted since the “academic environment” demands an open discussion of issues with all sides of the issue aired openly. As is often the case such “lofty principles” are shown the door when the issue is abortion or some other facet of traditional Catholic moral teaching.
As for Father Weslin, he surely knew the consequences of his actions. Those who engage in civil disobedience are usually well trained as to what to expect. He was told he’d be arrested and so he was. But doesn’t it seem odd for a Catholic College to arrest a Catholic Priest for protesting abortion? What’s wrong with this picture?
The Pope’s trip to the Holy Land has stirred bith praise and controversy. He has clearly spoken against violence and injustice in the Holy Land and called for a Palestinian State. This has angered some and pleased others. He has also sought to encourage Catholics in the Holy Land many of whom suffer injustice and economic hardship. Here is the latest report from Gloria TV
Pope Benedict’s trip to the Holy Land is a great lesson in the Church’s commitment to inter-religious dialogue. Catholics have two very different relationships with Judaism and Islam and if you follow the papal trip to the Holy Land you will learn quite a bit.
Pope John Paul II liked to speak of the Jews as our older sisters and brothers highlighting our shared roots. With regard to Islam, Pope Benedict highlights our common values.
We often think that dialogue is meant to highlight what we share in common and while that if often a good starting point, dialogue is also understanding our differences in order to have a better understanding of the other and a better understanding of ourselves. I had a professor who once said that good dialogue helps us learn more about ourselves and more about our partner in dialogue.
Pope Benedict in a speech in Jordan speaks of Islam and Christianity as “natural allies in defense of common values and a positive role for religion in society.” He added that Muslims and Christians must also “bear witness to all that is good and true, especially the common origin and dignity of all human persons.” This foundation offers many possibilities for collaboration. In his speeches though, he also raises the areas in which the two faiths have quite different perspectives. He affirms that Christianity rejects extremism with regard to religious freedom. Pope Benedict would like to see more freedom for Christians living is Islamic countries both with regard to worship and civil issues like employment. He will speak of this often during his trip.
This trip to the Holy Land will both highlight the beauty of these three major faiths whose home is the Holy Land and the differences in the answers we have to life’s biggest questions.
So we have gathered, acknowledged God’s presence in several ways (hymn of praise, incense, veneration of the altar and the greeting of the celebrant). We have examined our consciences and asked God to give us pure hearts and minds to praise him. At most Sunday Masses what comes next is a kind of outburst of praise called the Gloria (Glory to God in the highest!) Knowing and experiencing God’s presence and mercy brings forth joy and a desire to praise him. And so we sing:
Glory to God in the highest, and peace to his people on earth. Lord God, heavenly King, almighty God and Father, we worship you, we give you thanks, we praise you for your glory. Lord Jesus Christ, only Son of the Father, Lord God, Lamb of God, you take away the sin of the world: have mercy on us; you are seated at the right hand of the Father: receive our prayer. For you alone are the Holy One, you alone are the Lord, You alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen.
The Gloria is a very old and venerable hymn sung by which the Church. It is sung by the congregation, or by the congregation alternately with the choir. If it is not sung it is to be recited by all in unison or alternately. It is sung on Sundays outside the Advent and Lenten seasons, as well as on solemnities and feasts and at special, more solemn celebrations. The text of the Gloria echoes the song of the angels at the Nativity. Further it praises and invokes both the Father and Son and concludes with a brief doxology to the Trinity.
History – The Gloria was not created originally for the Mass. It is and heirloom from the treasure of ancient church hymns. Indeed it is a precious remnant of a literature now mostly lost but once certainly very rich. These hymns imitated and borrowed from biblical themes. Indeed they may even be said to take after the tradition established by Mary who proclaimed her Magnificat by borrowing heavily from the biblical themes with which she was so familiar. So too Zacharia in his Benedictus. Few of these early hymns of the Church remain however. One other hymn which does remain is the Te Deum and it, unlike the Gloria has retained its existence apart from the Mass. The roots of the Gloria may be found as early as the 4th Century where a text very close to our present text is found. Likewise another text from the 7th Century is also very close. Again, this hymn was not originally part of the Mass but was probably sung as the Te Deum is today, as a thanksgiving hymn for feasts and celebration. It was sometimes included in the Mass as a hymn as early as the 6th Century and perhaps even earlier by some accounts. But definitely by the 6th Century Pope Symmachus permitted its use on Sundays and feasts of martyrs but only at a mass presided over by a Bishop. Pope Gregory allowed its use at the Easter Mass even if the Celebrant be only a priest. It was not until the 11th Century that the distinction allowing it only for Bishop’s masses was dropped. This was due to continual requests that it be allowed. Today, the Gloria is said at all masses of a festive character outside of penitential seasons.
A full analysis of the hymn could be a course in itself. However suffice it to say that it is understood to be a hymn of praise which is almost ecstatic in quality. This is not as well brought out in the present English translation for use in this country. However, a look at the Latin text (see appendix 2) is helpful. Lastly, it is well that the Gloria be sung if possible. Reciting the Gloria is comes in a very poor second. It is kind of like reciting the National anthem. We just don’t do this because the very festivity and honor of the song requires it be sung. The Gloria is like this. If at all possible it should therefore be sung. However this is not always possible and it ends up being recited. It should at least be recited in a vibrant and pious manner to avoid the possibility of the text becoming wooden and dull.
In the end, these introductory rites of procession, penance and praise all serve to establish the fact that we are in the presence of God. Casting aside our sin and sorrow we enter God’s presence with reverence, confidence and joy. Next we will pause to pray before we sit to attentively listen to God speak to us.
The following video shows the opening the movent of Vivaldi’s Gloria in D Major. Church music for the Baroque era became very elaborate with the use of orchestras and large choirs. Sometimes the Gloria and Credo of a Mass could last 20 Minutes or more. Also, the text of the Mass had become so well known and popular that it was not uncommon for settings of the Mass to set by the great composers as concert pieces sung outside of Mass. This was an era when the Church influenced the world much more so than today. Enjoy this festive opening movement of the Gloria in D by Vivaldi, a Catholic priest and composer from the early 18th Century.
