Friday, July 6th, 2012


I’ve never played a funeral or attended one in which Psalm 143 was chosen. I suspect many planners stop at the 23rd and look no further. Or draw on the more commonly used settings of other psalms–the 143rd does not appear often in the Lectionary. My parish doesn’t have a setting in its repertoire.

Psalm 143 is one of seven psalms Saint Augustine identified as “penitential.” Know these numbers when you have your Psalter and a heavy case of conscience: 6, 32, 38, 51, 102, 130, and 143. The given antiphon for this funeral selection is simple enough:

O Lord, hear my prayer.

In time of grief and doubt, perhaps there is no better way to approach God. Hearts are breaking, minds are confused, spirits disconsolate. God, are you listening?

The verses:

Lord, listen to my prayer:
turn your ear to my appeal.
You are faithful, you are just; give answer.
Do not call your servant to judgment
for no one is just in your sight.

I remember the days that are past:
I ponder all your works.
I muse on what your hand has wrought
and to you I stretch out my hands.
Like a parched land my soul thirsts for you.

Lord, make haste and give me answer:
for my spirit fails within me.
In the morning let me know your love
for I put my trust in you.

Teach me to do your will
for you, O Lord, are my God.
Let your good spirit guide me
in ways that are level and smooth.

What’s interesting to me is that in the context of the funeral, Psalm 143:2 (highlighted in blue) shifts from a third-person reference to self to a petition for the deceased. The selected verses then seem less like an individual lament and take on more of the character of a community in mourning.

In the second stanza, the mourners acknowledge good days that are past–and there is an undeniable urge in modern funerals to think well of the deceased. How to channel that urge fruitfully? I would think by recounting how God blessed the life of the departed. And we include a healthy acknowledgement of our own emptiness–that often-used reference to “thirsting” for God (see Psalm 63:2 for the classic and common expression; also Psalm 42:2 from the Easter Vigil, and John 4:13 from the Third Lenten Sunday, cycle A).

Stanza three illustrates that the believer is insistent on God’s intervention. And this is a proper stance when we are in need. Stanza four returns the mourning community to center. Though grieving the loss of a loved one, the focus is on God, and how we align ourselves with his will, and how we open ourselves to spiritual guidance.

The most well-known musical setting is the Taize “O Lord Hear My Prayer.” Usually just presented as a repeated chorus (rendered very slowly here) I would use it with chanted verses (of course) and take it a bit up tempo from the audio. Multi-lingual version here in a good tempo.

We continue a look at Pope John Paul II’s chirograph. Today, yet another endorsement for active participation. And more, “intense” participation.

3. On various occasions I too have recalled the precious role and great importance of music and song for a more active and intense participation in liturgical celebrations[9]. I have also stressed the need to “purify worship from ugliness of style, from distasteful forms of expression, from uninspired musical texts which are not worthy of the great act that is being celebrated”[10], to guarantee dignity and excellence to liturgical compositions.

In this perspective, in the light of the Magisterium of St Pius X and my other Predecessors and taking into account in particular the pronouncements of the Second Vatican Council, I would like to re-propose several fundamental principles for this important sector of the life of the Church, with the intention of ensuring that liturgical music corresponds ever more closely to its specific function.

[9] Cf. e.g., Address to the Pontifical Institute of Sacred Music for its 90th Anniversary (19 January 2001), 1: L’Osservatore Romano English Edition [ORE], 7 February 2001, p. 7.

[10] General Audience, 26 February 2003, n. 3:  [ORE], 5 March 2003, p. 11.

In the next several posts, we’ll look at these “fundamental principles.” These will not necessarily be new to the Church; John Paul II is mostly taking older aspects of music and liturgy and applying them to his view of the Church in 2003. These principles are not only aimed at the music itself, but of necessity, look to the “specific function” spoken of earlier: the worship of God and the sanctification of the faithful. Any effort in liturgical music is aimed there first.

Comments?

Part five of chapter IV is brief, just this one numbered section, but I think it gives us a good springboard for discussing within the parish how to prepare people for the celebration:

26. The people are to be informed in good time about the dedication of a new altar and they are to be properly prepared to take an active part in the rite. Accordingly, they should be taught what each rite means and how it is carried out. For the purpose of giving this instruction, use may be made of what has been said earlier about the nature and dignity of an altar and the meaning and import of the rites. In this way the people will be imbued with the rightful love that is owed to the altar.

Follow

Get every new post delivered to your Inbox.

Join 97 other followers