OCM Introduction 22-23: Psalms at Communion

Let’s wrap up our examination of the Ordo Cantus Missae with a look back at Communion psalms:

22. The numbers of psalms and of their verses are taken from the Nova Vulgata edition (Vatican Polyglot Press, 1969). The verses and parts thereof are arranged as in the book of the Liturgy of the Hours (Vatican Polyglot Press, 1971).

23. An asterisk placed after the number of a psalm indicates that the antiphon was not taken from the psalter, and that the psalm was assigned to it ad libitum. In that case, another psalm can be substituted, if it is more pleasing, for example, Psalm 33, which has been used at communion from ancient tradition.

When Psalm 33 is indicated as the psalm at Communion, there is no preference among the verses to be selected, any of which is very suitable.

Psalm “33″ referred to here is the “Taste and See” psalm, the 34th as numbered in most Bibles. Psalm 34, by the way, is used often in the liturgy. It’s one of the nine common psalms for Ordinary Time, it appears in the Rite of Acceptance for adult Christian Initiation, and in a number of sacramental rites, including marriage. It’s also an “acrostic” psalm, taking the first letter of each verse as a subsequent letter of the Hebrew alphabet. The ABC approach can be a bit scattered, but the common theme throughout is a thanksgiving offered to God for deliverance from danger, and for protection and wisdom.

I appreciate the kind contribution of Richard Chonak who translated the Latin original of the second edition (1988) which was used in this series.

 

OCM Introduction 19-21: How to Use the Order of Chant for Mass

As always, I note the kind contribution of Richard Chonak who translated the Latin original of the second edition (1988). Today, some guidance on how to use the repertoire in the Roman Gradual for the reformed liturgy:

19. Since a great variety of readings has been introduced to the Missale Romanum, while the chants of the Mass from received tradition cannot be changed, the assignment of chants is
being brought into accord with the various readings, according to the three-year cycle (A, B, C) of the Lectionary established for Sundays.

Also, for ferial days, the chants of the preceding Sunday are repeated, and they are being brought into accord with the readings assigned to each day of the special seasons of Advent, Lent, and Easter, as well as with the first readings during Ordinary Time, according to the two-year cycle (I, II).

If a chant appears that is joined in a more or less strict relation to some readings, it ought to be brought with them if the readings happen to be transferred.

20. Any exceptions that may be added to the Proper of Seasons are represented in this Order, after each basic assignment, by the following written abbreviations: A, B, C for Sundays, solemnities and certain feasts; I and II with the numbers of weekdays (Saturday is indicated with the number 7) for ferial days in Ordinary Time; numbers of weekdays alone for the ferias of other seasons. The abbreviations written in this way are placed in another part of this book, where all the exceptions are linked together, no. 136-141.

21. The chief norm which this Order of Chant for the Mass follows is that it strives to observe the Missale Romanum as much as possible in its ordering. For this reason some of the assignments of chants are being transferred or altered.

Those who work closely with the proper chants and the Roman Rite may be able to relate if this adaptation has been more or less successful in harmonizing with the Lectionary readings and seasonal considerations. Anyone?

 

OCM Introduction 13-18: Liturgy of the Eucharist, Concluding Rites

Let’s roll through the remainder of the Mass. OCM doesn’t give a lot of instruction on this part, but keep in mind that everything written about the music at entrance (OCM 1) applies to singing during the Communion Procession (OCM 17)

13. After the Offertory antiphon, verses can be sung according to tradition, though they can be omitted also at any time, even in the antiphon Domine Jesu Christe, in the Mass for the Dead. After each individual verse, part of the antiphon is repeated, starting at the place indicated.

More Roman pragmatism here. The music fills the time alotted for the ritual action. Music itself should not prolong the preparation of the altar and gifts.

14. After the Preface has been completed, all sing the Sanctus; after the consecration is made, all sing the anamnesis acclamation.

The rubrics also state the assembly is to sing these pieces.

15. When the doxology of the eucharisitic Prayer has been completed, all respond: Amen. Then the priest, alone, offers the invitation to the Lord’s Prayer, which all sing with him. He alone supplies the embolism, which all conclude with the doxology.

16. When the breaking of the Bread and the commingling are being carried out, the invocation Agnus Dei is sung by the cantors, with all responding. This invocation can be repeated as many times as necessary to accompany the breaking of the Bread, keeping the musical form in view. The last time, the invocation is concluded with the words Dona nobis pacem.

17. When the priest receives the Body of the Lord, the Communion antiphon is begun. The chant is carried out in the same manner as the Introit chant, and in such a way the cantors also may receive the sacrament.

See this post for our previous discussion on the entrance chant.

18. After the blessing by the priest, the deacon presents the admonition: Ite, missa est, and all give the acclamation Deo gratias.

Comments?

As always, I note the kind contribution of Richard Chonak who translated the Latin original of the second edition (1988).

 

OCM Introduction 9-12: Liturgy of the Word, Two Readings

As always, I note the kind contribution of Richard Chonak who translated the Latin original of the second edition (1988). Today, we look at the situation when there are two readings, not three, in the Liturgy of the Word:

9. When there is only one reading before the Gospel, the Gradual Responsory is sung after it, or the Alleluia with its verse. In Paschaltide, either one of the Alleluia chants is sung.

10. At the singing of the Gospel, after the final proper cadence, the conclusion Verbum Domini is added, as notated in the common tones; then all respond: Laus tibi, Christe.

For a weekday Mass, sing the Psalm or the Alleluia. During Easter, sing either Alleluia chant.

11. The Credo is sung in the customary manner either by all or in alternation.

12. The Universal Prayer [Prayer of the Faithful] is carried out according to local custom.

I’ll state the singing of the Credo has always been a mystery to me. For the faithful to state the faith: this seems a spiritual priority, and if a musical setting can enhance it, well and good. But if the musical setting were in any way an obstacle, the sung version should be dropped.

 

OCM Introduction 7-8: Alleluia and Sequence

Today, a look at the liturgical moments before the Gospel:

7. The second reading is followed by the Alleluia or the Tract. The Alleluia chant is arranged in this way: Alleluia is sung completely, with its melismatic neume, by the cantors and is repeated by the choir. If appropriate, it can even be sung by all. The verse is presented by the cantors, up to its end; after that is done, Alleluia is repeated by all.

During Lent, in place of Alleluia the Tract is sung; its verses are sung in alternation by two parts of the choir responding to each other, or by a cantor and choir. The last verse can be sung by all.

8. The Sequence, if there is one, is sung after the last Alleluia, in alternation by cantors and a choir, or by two parts of a choir, omitting the Amen at the end. If the Alleluia is not sung with its verse, the Sequence is omitted.

A few observations:

I’d like a peek at the Latin original; it’s not entirely clear to me if “all” means the entire music ministry or the whole assembly.

The Sequence is placed after the Alleluia. This makes for a rather awkward liturgical moment: in the US people customarily stand for the start of the Gospel Procession. Standing for a Sequence, especially a performance one, would be an interesting conclusion to the procession, especially when people (and clergy) expect the proclamation of the Gospel.

If the Alleluia is not sung, or not sung with the verse, the Sequence is omitted. My guess is that this text instructs that if a community isn’t singing the Gospel Acclamation, they shouldn’t recite the Sequence. Singing a verse wouldn’t seem to be the determining factor. Perhaps Paul Ford or Richard Chonak could shed some light.

Note: I appreciate Richard’s translation of the Latin original of the OCM’s second edition (1988).

 

OCM Introduction 4-6: Readings and Psalms

After the Gloria, catch a quick breath; the Liturgy of the Word awaits. You did know that the readings may be sung, right?

4. When there are two readings before the Gospel, the first reading, which is usually taken from the Old Testament, is presented according to the tone for readings from the Prophets, and is ended with the customary form for a period. The conclusion Verbum Domini is also sung with the same form for a period. Then all respond Deo gratias, in the customary way at the end of readings.

5. After the first reading, the Gradual Responsory is sung by the cantors or by the choir. The verse is presented by the cantors up to the end. Hence there is no reason to have the  asterisk, by which is indicated the resumption of the chant, to be made by the choir in the end of the Gradual verse, the Alleluia verse, and the last verse of the Tract. However, when it is seen as suitable, it is permitted to repeat the first part of the Responsory up to the verse.

In Paschaltide, the Gradual Responsory being omitted, Alleluia is sung, as described below.

6. The second reading, which is taken from the New Testament, is sung on the Epistle tone, with its proper final cadence. It can also be sung on the tone of the first reading. The conclusion Verbum Domini is sung according to the second melody notated in the common tones, and then all respond Deo gratias.

This set of options might benefit from a flow chart. Anyone see anything worth a commentary? That Easter provision for omitting the gradual responsory (responsorial psalm) and replacing with an alleluia psalm–I’ve got that part right don’t I?

Translation of the OCM, 1988 second edition is by Richard Chonak.

 

OCM Introduction 3: Gloria

We continue the examination of the document Ordo Cantus Missae, which forms part of the introduction to the Roman Gradual, the official Roman Catholic book of music. As always, I note the kind contribution of Richard Chonak who translated the Latin original of the second edition (1988). After the Kyrie (or its replacement) comes not a strophic hymn, but a traditional piece cited as a “hymn”::

3. The hymn Gloria in excelsis is begun by the priest, or, if appropriate, by a cantor. It is presented either by a cantor and choir in alternation, or by two choirs responding to one another. The division of verses, marked with a double line in the Graduale Romanum, need not be preserved if a more suitable manner is found that can be combined with the melody.

When the rite of blessing and sprinkling holy water is used in Sunday Masses, this rite takes the place of the penitential act.

Roman practicality at work: the priest-celebrant begins the intonation, but if he is unable, a cantor will.

Perhaps we should be surprised the OCM doesn’t address that bugaboo of many American church musicians, the responsorial Gloria. It does give an alternate method for singing the piece: alternating choirs. More traditional? Perhaps. My own preference is through-sung, with the assembly. As a stepping stone to full participation, I have no problem with phasing in the Gloria, from a choir-only piece to a responsorial form, to a setting sung through by everyone.

 

OCM Introduction 2: Kyrie

As always, I note the kind contribution of Richard Chonak who translated the Latin original of the second edition (1988). Let’s look at the Ordinary music of the Introductory Rites:

2. The acclamations Kyrie, eleison can be distributed among two or three cantors or choirs, if
appropriate. Each acclamation is to be sung in a two-fold manner, yet a greater number is not excluded, especially considering reasons of musical art, as indicated below, n. 491.1

When the Kyrie is sung as part of the penitential act, brief tropes are placed before the
individual acclamations.

You might expect my criticism of this section lies along the principle that the assembly should be singing a good portion of a penitential act. After all, it is for the benefit of confessing one’s own need for mercy, not allowing the choir to serve a quasi-priestly function.

The relevant section cited above is reproduced here:

1. For chants in the Order of Mass the Kyriale Romanum and Kyriale simplex are to be It is permitted for the selection of chants to depend first of all on the ability or capacity of the singers; more ornate melodies are preferred in more solemn celebrations.

This music is at the service of a sense of progressive solemnity. Still, I would be hesitant about removing the people’s voices from this part of the Ordinary on those solemn celebrations, where the options for ritual are many and varied.

Note that the three-plus-three-plus-three format should be retained to respect the composition of a piece:

2. Pertaining to the chant of the Kyrie, when nine invocations are notated fully, the musical form requires that they be sung in their entirety. In contrast, when one melody is to be repeated for the first invocations of Kyrie, this invocation is only sung twice. Similarly for the following invocations Christe and Kyrie (for example, Kyrie V). When the final Kyrie is written with a distinct melody (e.g., Kyrie I), the Kyrie preceding it is only sung once. In this way the general rule of repeating each invocation once is preserved.

3. When the Kyrie is employed as a response to some invocation in the penitential act, the melody of this response should be chosen either from Kyrie XVI or XVIII of the Kyriale Romanum, or a melody from the Kyriale Simplex.

An important liturgical reminder, namely that the Kyrie Eleison is not an automatic part of the Sunday Eucharist:

4. When the rite of blessing and sprinkling holy water is done in place of the penitential act in Sunday Masses, the antiphon Asperges me is sung, or in Paschaltide, Vidi aquam.

If anyone has comments on the particular repertoire of the Kyriale, happy to hear it. You can link in the comboxes, if you’re careful. Other thoughts?

 

OCM Introduction 1: Singing at the Entrance

The OCM next addresses the various parts of the Mass and outlines how the singing of individual elements is to take place. The next eighteen numbered sections address the Mass from entrance to conclusion.

Today, we’ll look at the longest of these sections, treating the singing at the very beginning of Mass. The relevant GIRM sections on which this is based are 47-48.

1. When the people have been gathered, and the priest is approaching the altar with the servers, the Introit antiphon is started. Its intonation can be made shorter or longer as appropriate, or, better, the chant can be started by all at once. Hence the asterisk which is found in the Graduale marking the part of the intonation is only to be taken as an indication.

When the antiphon has been sung by the choir, a verse is presented by one or more cantors, and then the antiphon is repeated by the choir.

In this manner, the alternation of the antiphon and verses can be as long as is necessary to accompany the procession. However, before the antiphon is repeated at the end, Gloria  Patri, Sicut erat, can be sung as a final verse, in the same manner as one of the verses  already sung. If the Gloria Patri has a particular melodic ending, that same ending is to be used in all the verses.

If it happens that the chant, without the verse Gloria Patri and the repetition of the antiphon, becomes too protracted, the doxology is omitted. If the procession is shorter, only one verse of the psalm is used, or even the antiphon alone, with no verses added.

When a liturgical procession precedes the Mass, the Introit antiphon is sung when the procession enters the Church, or else it is omitted, as is provided in the specific cases in the liturgical books.

Commentary:

At first I was a little distracted by “the chant can be started by all at once.” Maybe that refers to the choir. Maybe the people. Perhaps the Latin is clearer as to who “all” is.

The GIRM speaks of the entrance chant as a dialogue between the choir (or cantor) and assembly. There’s no reason to think that won’t work best here. Some sort of dialogue with the antiphon and psalm verses is to be expected, it would seem. A mature singing faith community would have no problem chanting psalms verses here.

There are practical considerations, that the entrance psalm shouldn’t be “too protracted.” I would think as long as the prescriptions of GIRM 47 are followed–those four goals of the entrance music–the local liturgyis on firm ground.

Church musicians should know when the introit is omitted. It can and does happen on Sundays.

Other comments?

Translation courtesy of Richard Chonak who worked with the Latin original of the second edition (1988).

 

OCM Introduction D: A Pastoral Option

As always, I note the kind contribution of Richard Chonak who translated the Latin original of the second edition (1988). What do you make of the pastoral adaptation permitted below?

For like reason permission is given to choose among pertinent chants of the Proper of the Seasons, as for the proper text of the day another text of the same season may be substituted, if appropriate.

This seems sound to me, and an out for the “new music of the week” syndrome so often (and appropriately) criticized in the early post-conciliar years. The “like reason” is to “generously satisfy” the pastoral needs of any or all individual communities. By the standard of the Roman Gradual, it would be permissible to repeat a smaller repertoire of chant to permit the people a more gradual introduction to the singing of this music. The easy implementation would be to choose one Advent antiphon, for example, and employ different psalm verses on successive weeks. I wonder if anybody is attempting this as an alternative to choir-only implementation on Gregorian propers.

Also, norms for chant in the Mass already present in the introduction of the Graduale Romanum, are thus reexamined and amended, so that the function of each chant may be shown more clearly.

Comments?

 

OCM Introduction C: Neo-Gregorian Melodies

Perhaps a musical expert can tell us where the dividing line is between the authentic and the imitation:

Moreover the removal of pieces that display later, neo-gregorian imitations, particularly in the feasts of the Saints, has made it possible that only Gregorian melodies be retained, although it is always permitted that those who prefer, may retain and sing those neo-gregorian melodies. None of these is completely expunged from the Graduale Romanum. Indeed, for some that have been accepted into universal use (e.g., in the Solemnities of the Most Sacred Heart of Jesus, of Christ the King; of the Immaculate Conception of the B.V.M.), no substitution has been made. In the place of others, however, selected chants from the authentic repertory have been placed, bearing the same texts, when possible.

Lastly, care was taken to more suitably arrange the authentic Gregorian repertory, purged of inauthentic melodies, so as to avoid repetitions of their texts as much as possible, and let other pieces of the best form, that only occur once a year, assume their places. Hence in every way effort was made whereby the Communions were enriched, gathering into those chants everything that was not strictly proper to some Saint, and hence can be taken up for all the Saints of the same order. Furthermore, the commons  have been enriched with various chants, derived from the Proper of Seasons, which were rarely used. The rubrics present a more ample permission to draw from the newly arranged Commons, so that pastoral needs can also be more generously satisfied.

So there’s a good deal of flexibility in this. A core repertoire of “authentic” Gregorian music is identified, but anyone wishing to use newer music is permitted to sing it. There seemed to be an efort to ensure good pieces weren’t sidelined because the celebrations to which they were attached were less prominent liturgically. What do those folks fully familiar with the Roman Gradual have to say on these points? Have they worked for you?

Thanks to Richard Chonak who translated the second edition (1988) quoted here.

 

OCM Introduction B: Retaining and Reviving Gregorian Treasures

I note the kind contribution of Richard Chonak who translated the Latin original of the second edition (1988). The deletion of some observances (like the Pentecost octave) meant some chants were unassigned in the new calendar. However, the expansion of two cycles of readings meant a new opportunity to assign these chants plus some others to the Church’s liturgy.

Above all, care was taken to preserve the authentic Gregorian treasury in its integrity. Accordingly,  chants pertaining to Masses which no longer had a place in the liturgical year were assigned to form other Masses (for example, for the weekdays of Advent, for weekdays between Ascension and Pentecost), or were substituted for others that occurred more than once in the year. (for example, in Lent or on Sundays of Ordinary Time), or if appropriate to their character, were assigned to the celebrations of Saints.

As well, about twenty authentic Gregorian texts, which had been taken out of the repertory, through various changes made in the course of time, were restored to it. Provision was made that none of the authentic chants were disfigured or mutilated, excepting certain elements that perchance were inappropriate to the liturgical season, such as Alleluia, which occurred in the text of antiphons with notes that constituted an integral part of the melody.

There was clearly a lot of care on two fronts: ensuring that the fullest repertoire was available, and that the music would be put at the service of the Church’s liturgy, not vice versa.

 

OCM Introduction A: Reform of the Graduale Romanum

I want to note the kind contribution of Richard Chonak who translated the Latin original of the second edition (1988). He has given us generous permission to review this document on this site in our vernacular. Hopefully we’ll all gain some insights we can apply to our ministries, our spiritual life, and ideally both.

I had a chance last night to review the whole OCM introduction and I can say I saw a few eye-openers.

A note on today’s title and that of the next three posts … This section of the introduction contains eight unnumbered paragraphs. It serves as sort of an introduction to the introduction, outlining how the conciliar reforms guided and affected the presentation of the Gregorian chant repertoire for the Church’s liturgy. I’ll present two paragraphs a day and letter these A through D so we can keep the order of posts aligned with the text as it occurs in the OCM introduction.

Vatican II called for liturgical reform and renewal. It also called for the heritage of sacred music to be preserved. How would this be accomplished?

The revision of the general Calendar and the liturgical books, especially of the Missal and Lectionary, has resulted in some necessary changes and adjustments, including to the Graduale Romanum. Because some celebrations in the liturgical year have been suppressed, such as the season of Septuagesima, the octave of Pentecost, and the Ember Days, their corresponding Masses were set aside; in addition, as some Saints have been transferred to other times of the year, appropriate adaptations were to be made; and then, on the other hand, where new Masses have been introduced, proper chants were to be provided. Also the new ordering of the biblical readings required that some texts, for example, communion antiphons which are closely connected with those readings, be transferred to other days.

In this way a new ordering of the Graduale Romanum was made, keeping in view what was taught by n. 114 of the Constitution on the Sacred Liturgy, Sacrosanctum Concilium: “The treasury of sacred music must be preserved and fostered with the greatest care.” Thus the authentic Gregorian repertory has not suffered any harm; but rather was renewed, in a way; more recent imitations were set aside and ancient texts were more suitably set in place through some additional norms, which will make the use of that repertory easier and more varied.

Commentary:

Chants were not lifted directly from the preconciliar liturgy into the three- and two-year cycles without forethought. The repertoire of music was realigned with seasons, Sundays, and feasts.

The music itself was not altered. Indeed, the body of repertoire in the Roman Gradual was itself reexamined so as to emphasize chants part of the authentic Roman repertoire. Later imitations of Gregorian chant were sidelined–but not trashed, as we will see. Those revising and reassembling the Ordo Cantus Missae believe their work made it easier for post-conciliar musicians while keeping some degree of variety–I presume for the sake of the repertoire and for the demands of the new liturgy.

Your thoughts? Do those of you working with the traditional chants agree the reform gave “a more appropriate place” to this repertoire? Is the new Roman Gradual easier to use?

 

Ordo Cantus Missae

Thanks to Liam for suggesting we look at the introduction to the Ordo Cantus Missae. I’m especially indebted to Richard Chonak who translated the Latin original of the second edition (1988) which, we think, has yet to be officially translated into English. You can find the translation of the first edition in the Liturgy Press compilation Documents on the Liturgy.

It might be that another Latin edition is in the pipeline somewhere to bring this document up-to-date with the third edition of the Roman Missal. It’s about due, for the 1988 edition of the OCM postdated MR2 by seven years, and the first edition goes way back to the early 70′s, pretty much on the heels of the Ordo Missae of MR1.

Over the next few weeks we’ll take an extended look at this overlooked piece of post-conciliar liturgy documentation. It might do us well to understand exactly what we’re dealing with here.

What is the Ordo Cantus Missae? The Order of Chant for Mass is part of the Roman Missal. The book “lists the assignment of chants from the 1961 Graduale to the celebrations in the revised General Roman Calendar,” writes Mr Chonak. The OCM is not a hymnal as such–you have to look to the Roman Gradual itself for the actual stuff that will get the chant out of your own mouth.

Here on this site, we will look at the introduction to this document which describes some of the changes in the chant repertoire as the musical treasury of chant moved from the 1962 Missal to the post-conciliar celebrations of liturgy. This is contained in an unnumbered eight paragraph section.

We will look at legislation on singing at Mass (nos. 1-18). Third, this introduction provides a how-to for using the main body of the OCM (19-21). Next, an interesting bit on singing psalms during Communion (22-23). And lastly, four numbered sections on the Kyriale.

On the scribd site, feel free to access the decrees which appear before the introductions of the liturgical documents from the CDWDS. These are dated 1972 (for the first edition) and 1986 (for the second). We’ll begin posting in earnest tomorrow. Meanwhile, any comments as we begin this journey?

 

CCTLS 15: John Paul’s Hopes

Let’s wrap up our examination of John Paul’s chirograph on sacred music. The last entry:

15. I hope that the centenary commemoration of the Motu Proprio Tra le Sollecitudini, through the intercession of their holy Author together with that of St Cecilia, patroness of sacred music, may be an encouragement and incentive to those who are involved in this important aspect of liturgical celebrations. Sacred music lovers, by dedicating themselves with renewed impetus to a sector of such vital importance, will contribute to the spiritual growth of the People of God. The faithful, for their part, in expressing their faith harmoniously and solemnly in song, will experience its richness ever more fully and will abide by the commitment to express its impulses in their daily life. In this way, through the unanimous agreement of pastors of souls, musicians and faithful, it will be possible to achieve what the Constitution Sacrosanctum Concilium describes as the true “purpose of sacred music”, that is, “the glory of God and the sanctification of the faithful”[SC 112].

May your example and model in this be the Virgin Mary, whose praise in the Magnificat of the marvels God works in human history remains beyond compare. With this hope, I impart my Blessing to everyone with affection.

Focusing on the higher things, avoiding the easy path of the hermeneutic of subtraction: this section suggests a higher calling for the church musician of today: being encouraged by the witness of those whose shoulders on which we stand. Note especially the prominence given to the expression of faith in song by the entire people of God.

Suppose you were giving a final encouraging word to the musicians of today. What would be your one point you would want to communicate? How would you conclude John Paul’s letter in your own words?