Pray Tell already reported on this saga here and here. Now Philadelphia magazine has all sorts of further inside info. It ain’t all pretty. Read it here: Ahead of Pope Francis’ Visit, a Musical Schism in the Philadelphia Archdiocese.
Still More on Romeri and Chaput in Philly
Comments
19 responses to “Still More on Romeri and Chaput in Philly”
-
One would hope that a Catholic archbishop had something more informed, intelligent, professional, mature, balanced and pastoral to say than “yeah, I hated everything.” If there is more to the story the diocesan office really ought to make a statement, rather than just ignoring a public split like this.
Does the archbishop have any kind of clear, well-articulated vision for liturgy and music in his archdiocese and at his Cathedral? In that case, you could examine how it differs from Romeri’s, and at least give some objective context to the situation. If he has not taken the time to formulate and publish a clear statement about his musical ideals, it might behoove him to be a bit less precipitous in his judgments of those with a great deal of experience in the field. But again, it’s hard to know if there’s more to the story. -
I think it’s time for the Archdiocese to respond more substantially to this story; it has really become fairly well publicized nationally. Also, if the Cathedral wants to get another good musician, the archbishop should explain what’s going on. My take on the situation is that the archbishop is being dictatorial about the music at the Cathedral, and doesn’t really seem to care that Romeri’s livelihood has been changed or the fact that his own name is being blackened amongst the music world across the U.S. There could be two sides to this story. But I’m kind of beginning to think that this is not the case. Many musicians have come forward on the blogs to say that Chaput was basically a brat about the music at the Cathedral. It is also evident that he never seemed to communicate his concerns to Romeri about the music, and just went through Fr. Gill as an intermediary.
This story is reinforcing what many organists have said for years about working for the RC Church: basically that a lot of prelates don’t care for organ based liturgical music and that they will make your life difficult if you disagree with them. This is not a positive story for Catholic music in the United States. Unless Chaput addresses his conduct, I’m inclined to think negative thoughts about his leadership.
-
I find it fairly disturbing that everyone “sits there” in rapt attention to the end of Christmas Mass then jumps to their feet to give the performers a standing ovation. This reinforces the idea that Christmas Mass is a performance, a concert.
How about a standing ovation at the consecration?
-
@Rita Ferrone:
Rita, that comment took me aback too, but I think he was simply contrasting the fact that a liturgy that had widespread appreciation was not liked by the archbishop. Christmas Midnight Mass at cathedrals tends to be an “event” attended by many who don’t normally go to Mass, and thus are not familiar with the liturgical ins and outs of what their proper role and response to liturgical servants should be. I wouldn’t read too much into it. Knowing Romeri’s work, I highly doubt that he would program liturgical music specifically to get that kind of response – he has been in it for the right reasons. -
@Rita Ferrone:
Exactly. I don’t know the personalities involved, but reading the comments I get the impression that Archbishop Chaput would prefer liturgical music consonant with the spirit of SIng to the Lord. People in support of Romeri make comments about the quality of the music, which I am sure is excellent. But, Chaput seems more interested in the congregation as participants rather than as a rapt audience. It’s unfortunate they could not find a way to achieve both objectives.-
@Charles Day:
Charles, that’s reading a lot into this story. I think that if you look at their booklet for the Triduum, you would find that the music is fully consonant with SIng to the Lord, and encourages the congregation’s role as participants. It seems to me that it does in fact achieve both objectives. If you disagree, please be specific. We need to get past this odd and silly notion in the Church that a high choral standard for elements of the liturgy that are permitted to be choral is somehow contrary to caring about the people in the pews. It’s ridiculous. Furthermore, as Jared wrote, it’s not clear as to exactly what Chaput’s vision is. It is only articulated in a negative way of responding to something else. Until we know more, I think it best not to assume.
-
-
@Rita Ferrone:
Are they mutually exclusive?
-
-
I think it’s unlikely that an archbishop, or any pastor, would make such damning statements about a member of staff within earshot of a violinist or a member of the choir, so I assume that the quotes attributed to Chaput from Banos and Pavlock in the article are the latter two simply regurgitating or summarizing what they’ve heard 2nd- or 3rd-hand.
-
@Jim Pauwels:
Sadly, it’s amazing, frightening, dismaying, depressing, etc. etc. what one can see and hear in sacristies, rectories and chanceries… anywhere.-
@Dismas:
Yo, Bro. Dismas,
We ain’t seen nuthin’ yet.
-
-
-
In my observation, it’s not uncommon that a pastor and a music director wouldn’t see eye to eye on questions of style and repertoire. In fact, has it ever happened, ever in the history of the world, that the two parties are perfectly aligned on these questions?
This unfortunate episode in Philadelphia raises the question of how tolerant the boss should be when the music director’s work or approach isn’t completely to his liking. Let’s take it as a given that there is no question of Romeri’s musical competence, so this isn’t a question of how to deal with someone who is incompetent. Rather, the various stories seem to hint that this is a clash of pastoral approaches.
In my view, pastors need to be willing to accord a generous amount of leeway to music directors whose approach is proven and is clearly bearing good fruit (however that is understood). Music directors, for their part, need to be willing to adapt their approach to the pastoral direction of the pastor and the pastoral team. There has to be some openness and flexibility on both sides.
As most of us aren’t infinitely open and flexible, and that’s probably a good thing on the whole, there will be situations where a meeting of the minds won’t be possible. But it’s incumbent on both parties, within these constraints of openness and flexibility, to be as Christian (i.e. respectful, loving, forgiving, serving, etc.) as they can be. If both parties behave that way but are not able to find common ground, then both parties can say with sincerity, ‘the differences between us are irreconcilable’. Perhaps the parting can then be respectful, maybe even amicable.
Just my view of how these things should work.
-
I find the intense interest in this story very disturbing. Turning an unfortunate situation into a media circus makes this look like a liturgical version of the National Inquirer. People longing for more information regarding these two gentlmen is a little like drivers rubber necking past a wreck on the road.
-
Whatever successes John Romeri has had in St. Louis and Philadelphia with his diocesan choirs (and community-building among parish musicians), he has also had a strong reputation for promoting the “full, conscious, active” (and vocal) participation of the whole liturgical assembly. Among North American cathedral musicians, he was a leader in bringing many of that group into the NPM/DMMD fold, while building bridges with all sorts of other professional associations (AGO, RSCM, Pueri Cantores, and others). As speculation continues about all of this, I would hate for Romeri to be portrayed as some prima donna musician lacking in pastoral sense. He has been consistently for years quite the opposite, which makes the current situation all the more perplexing.
-
The comment about the applause on Christmas Eve seems to have been from a professional instrumentalist (not necessarily Catholic) referring to a postlude, perhaps something such as the Messiah Halleluia chorus, after the recessional, and I think it is most appropriate and traditional for those who remain to show appreciation for the musicians at that time (not during the Mass itself).
Since the rector and director of the office of worship, Fr. Dennis Gill, is the author of the extensive LTP-published companion to Sing to the Lord, I think it’s safe to assume that both he and Dr. Romeri buy into its tenets.
-
@Jeff Rice:
I agree. In a concert performance, the audience applauds to show appreciation for the extraordinary effort of the performer for them. The performer bows in humility, as if to say he/she is unworthy of the response. In light of that interpretation, is there anything so wrong about applauding the efforts of some at the conclusion of the Mass? The reason I have always felt uneasy when I have been on the receiving end of such appreciation at a Mass is not that it connotes a spectator-performer aesthetic, but rather that it doesn’t seem fair – if they applaud the musicians, then they should rightly applaud all the liturgical ministers, the clergy, and indeed themselves for their performances in the liturgical drama that has just been presented.-
In an article entitled Hold Your Applause, John Hajda writes, “The choir is affirmed by the assembly’s full, active, and conscious participation. Therefore, the choir and liturgical planning committee request that members of the assembly continue to sing out praise to God but refrain from applauding. Instead, we invite you to continue building the body of Christ by ministering to those around you at the conclusion of the closing song.” Did someone say, “Amen”?
-
-
-
It seems that almost the entire story is based in hearsay. I don’t doubt that there’s something to it, but it’s quite difficult to know how to assess the apparent conflict.
-
http://www.onepeterfive.com/chaput-romeri-and-the-battle-over-music-in-philadelphia/
Here is another thoughtful article about the situation!
by
Tags:
Please leave a reply.