{"id":14802,"date":"2012-05-18T10:48:52","date_gmt":"2012-05-18T16:48:52","guid":{"rendered":"https:\/\/praytellblog.com\/?p=14802"},"modified":"2012-05-20T05:46:53","modified_gmt":"2012-05-20T11:46:53","slug":"sacro-pop-at-the-catholic-fest-in-germany","status":"publish","type":"post","link":"https:\/\/praytellblog.com\/index.php\/2012\/05\/18\/sacro-pop-at-the-catholic-fest-in-germany\/","title":{"rendered":"Sacro-Pop at the Catholic Fest in Germany"},"content":{"rendered":"

The Katholikentag<\/a> (\u201cCatholic Fest\u201d) is now happening in Mannheim, as Vatican Radio reports<\/a>. The German Catholics have been doing this<\/a> since 1848, and this year some 60,000 participants are expected. UPDATE: <\/strong>80,000 participated, according to organizers.<\/p>\n

This year\u2019s theme is Einen neuen Aufbruch wagen<\/em> \u2013 \u201cDare a New Breakthrough.\u201d (That\u2019s almost impossible to translate idiomatically, btw.) You can watch the opening celebration, complete with dance, here<\/a> \u2013 scroll down to \u201cEr\u00f6ffnungs-Feier.\u201d<\/p>\n

Here is the official Mutmachlied<\/em><\/a> \u2013 \u201cCourage-Making Song\u201d (That\u2019s almost impossible to translate idiomatically, btw.) It rhymes in German, but not in my rough English translation:<\/p>\n

It is time to arise from sleep,
\nto view the day with clear eyes,
\nWith open hearts and watchful senses,
\nintent on attaining the hidden treasure.
\nLife is a breakthrough into God\u2019s time.
\nFor this he has given us days and hours,
\nBelieve in the future he promises us.
\nLife is a breakthrough with the Holy Spirit.<\/p>\n

It is time to abandon the fortress
\nand open old barricades,
\nTo understand humanity\u2019s longing for God
\nand to walk with them into the open.
\nLife is a breakthrough into a new land.
\nJesus extends his hand as a brother.
\nHear his voice and follow his star.
\nLife is a breakthrough with Christ the Lord.<\/p>\n

It is time to divide the cloak,
\nto heal lovingly with words,
\nTo treasure the dignity and riches of others,
\nand take steps for giving and receiving.
\nLive is a breakthrough into the Kingdom of God,
\nalready here and at the same time distant.
\nTrust in his word that brings reconciliation.
\nLife is a breakthrough with the power of God.<\/p>\n

You can listen to the Mutmachlied<\/em> here<\/a> \u2013 click \u201cLeben ist Aufbruch anh\u00f6ren\u201d down on the right side.<\/p>\n

The music setting for the closing Mass, apparently composed for this Catholic Fest, is really interesting. The Missa pro nobis<\/em>\u00a0is what German-speakers call \u201cSacro-Pop.\u201d There are congregational responsorial refrains<\/a>\u00a0for each acclamation. You can listen to each Mass part here<\/a> \u2013 scroll down on the right side. \u201cAnh\u00f6ren\u201d means \u201clisten to,\u201d and I\u2019m sure you can find \u201cKyrie,\u201d \u201cGloria,\u201d \u201cCredo,\u201d Sanctus and Hosanna,\u201d \u201cAgnus Dei\u201d there.<\/p>\n

Pretty amazing, ja?<\/p>\n

Any of us could easily write up the critique (or attack) from traditional quarters: this is secular, not sacred, unworthy of the sacred mysteries, artistically mediocre, contrary to church teachings, not what Vatican II intended, not what Pope Benedict XVI wishes, not inspired by Gregorian chant which should have pride of place, doesn\u2019t sound \u201cCatholic,\u201d sounds like a night club, and so forth.<\/p>\n

One could always throw in that it no doubt comes from aging hippies stuck in the 60s trying to keep alive a failed revolution. We\u2019ve heard for at least thirty years now, and will probably hear for at least another thirty, that the time for this sort of thing has passed.<\/p>\n

What do I think of the sacro-pop Mass setting?<\/p>\n

I don\u2019t like it, mostly. I prefer Latin chant, English chant, choral music from Palestrina to P\u00e4rt, organ-based English Mass settings, ecumenical mainline strophic hymnody, loud organ music, and brass.<\/p>\n

I purposely put that in subjective terms (\u201cI prefer\u201d), to avoid claiming too easily that I speak for God, that my convictions are identical to God\u2019s. In questions of aesthetic judgment, it is important to acknowledge that one comes from a particular time and place. This is true also of official Church directives, which of course have changed much over the course of time and can\u2019t be cited too hastily as objective truth or the final word.<\/p>\n

It goes without saying that official directives should be taken seriously. It goes without saying that liturgical, theological, musical, musicological study should inform our judgments and help move us a bit closer to an objective judgment. But the subjective element will always be there.<\/p>\n

With all that in mind, I\u2019d say something like this about the Katholikentag Mass setting.<\/p>\n

I wonder if this setting has the associations you want for an occasion like a Catholic fest. It sounds happy and joyful, and that\u2019s a good thing. The part of my soul that happy and generous and open (yes, it\u2019s down there somewhere in me) genuinely likes this music. But there is a possible danger that it sounds too lightweight for the participants. It could even give the impression that the Catholic Church doesn\u2019t really know what its identity is and is grabbing at straws. On the other hand, you don\u2019t want your music to be so confident about Catholic identity that it sounds triumphalistic and pretentious. We\u2019ve done plenty of that down through the centuries, and the Gospel stands in judgment of it.<\/p>\n

I wonder if it wouldn\u2019t be possible to have music that better says \u201cCatholic tradition, connected to the past but still alive and developing, confident of itself and also open to dialog with the modern world.\u201d I don\u2019t know, maybe a fairly traditional setting with brass, sounding like an old German congregational hymn, but with little hints at jazzy harmonies here and there. Or maybe a newly-written melody that sounds rather like an old folk hymn, but with contemporary major-seventh and minor-seventh chords.<\/p>\n

You have to find a way to avoid being unreconstructed retro, as if the Catholic faith is a museum from the past, hermetically sealed from anything in today\u2019s evil world. The good thing about this setting is that it engages the modern world and tries to say that Christianity is still alive in it.<\/p>\n

I suppose all that sounds rather vague. It\u2019s kind of hard to describe music. So let me give you an example of a festive Mass setting I\u2019m fond of: the Eucharistic acclamations of Michael Joncas\u2019s Missa ad Gentes<\/em><\/a>, with alternation between choir in Latin and congregation in English. You can listen to it here<\/a>. The melody writing is like in traditional hymnody, almost. Good, solid, step-wise with logical leaps, but with just a few jumps vaguely reminiscent of pop music without sounding cheesy or being too difficult to sing. The harmonies and voice-leading are pretty much traditional polyphony, but it sounds quintessentially American<\/em>. One hears the influence of Brahms or Vaughn Williams, but even more Bernstein. It is solid, festive, exuberant, but the beautiful, soft harmonies prevent it from sounding too regal or militaristic.<\/p>\n

I\u2019d prefer if the German Catholics had found their version of a Michael Joncas and created something a bit classier and more traditional, but still fresh and new.<\/p>\n

But. In such matters, the But is important. All of us on all sides must be ready to question our own assumptions and preferences and well-thought-out positions, and be ready to respect the worldview and liturgical work of fellow Catholics who take different approaches. I have many Buts.<\/p>\n

I\u2019m critical of the Katholikentag setting, but I don\u2019t know the cultural context as a native. I\u2019ve read about the horrific scandals and the turmoil the Catholic Church has been through, but it\u2019s not for me to say what the pastoral need is now. I gather that Catholic tradition and the Catholic hierarchy have credibility problems in Germany. The majority of theologians and theology professors have signed a statement calling for reforms and changes in Church teaching. Frustration with Church officials seems to be pretty high. All this plays a role in music selection. Perhaps the German planners had good reasons for wanting a setting that said \u201cnew, innovative\u201d as a sign of hope for a demoralized Church with demoralized clergy and pastoral ministers.<\/p>\n

I\u2019m critical of this setting, but I would hesitate to call it \u201csecular\u201d and not \u201csacred.\u201d There are massive theological problems with drawing this distinction too sharply. Everything God created is good, including blues notes and jazz chords. The incarnation is about bringing sacred and secular together, about the divine entering into our human world.<\/p>\n

There are musicological problems with the sacred\/secular distinction as well. For much of church history, great composers did not make the distinction. Think of the great similarity between Palestrina\u2019s Mass settings and his madrigals, or between Bach\u2019s chamber music and his church cantatas. The distinction between sacred and secular music mostly dates to the 19th century, when the sociological context was the Church\u2019s retreat from what was seen as a hostile modern world.<\/p>\n

This setting isn\u2019t my preferred style for the occasion, but I wouldn\u2019t push too far the point that it is \u201csecular.\u201d Every jazz or blues chord can probably be found somewhere in the music of Messiaen or Poulence, however different the context. The Katholikentag Mass is too jazzy for my tastes, but I must say that it sounds like quite good jazz to me. The harmonies are musically interesting and appealing. And this is an important aspect: the \u201csacred\u201d has to do with quality, not just style. \u201cThe glory of God is in a human fully alive,\u201d as Irenaeus said, and I find more of the spirit of God in good jazz than in mediocre, dull, second-rate imitation of the past that are supposed to sound \u201cCatholic.\u201d<\/p>\n

Last Sunday was Baccalaureate at St. John\u2019s University, and I was responsible for the music at the abbey\/university Mass. I took a quite different approach for this festive occasion than what we see at the Katholikentag (see it online here<\/a> until next Monday morning \u2013 it starts at the homily because Your Truly forgot to tell the media people that Mass started a half hour earlier than usual.) The leaflet is here<\/a>, here<\/a>, and here<\/a>.<\/p>\n

With the music we went pretty classical, dangerously traditional. What\u2019s with the monks, I thought they were liberal progressives?!<\/p>\n

I didn\u2019t intend to give in to my tastes so thoroughly, but it got away from me. The suggestion was to do Latin chant for the prelude as a way to quiet the noisy congregation (I admit, I wish Catholics wouldn\u2019t do that in church before Mass) and establish the sacred context. We did traditional hymnody, (two hymn tunes most everyone knows) because that seems to work better in this space than more contemporary music with syncopation and quick-moving notes. (I wonder how that will work for thousands of Germans, btw.) Then I decided to have a few women sing Vidi aquam<\/em> during the Sprinkling because they had just sung it a week before and knew it, and that seemed like a nice relief between the loud hymn and the loud, festive Proulx Gloria.<\/p>\n

When the congregation is coming in from all over, you have to do either a Mass setting that everyone knows, or call-and-response music that works instantly. With the new Missal, we don\u2019t yet know whether Haugen Creation or Proulx Community or Janco Wisdom or something else is widely known, so that left call-and-response. As much as I like Joncas Gentes,<\/em> I feared that the switch of languages would impede participation for this assembly (we\u2019ve done Gentes<\/em> at Midnight Mass and the Easter vigil with very good results, but the congregation there is more used to our abbey worship.) We did Proulx Corpus Christi<\/em><\/a> , based on the chant Adoro te devote<\/em>. The congregation seemed to pick it up and join in quite well.<\/p>\n

The schola sang Tallis<\/a>, with its text that fits the day\u2019s Scripture readings. But near the end of Communion \u2013 after all that traditional, Western music, the schola provided some welcome diversity with a Kenyan folk song, \u201cWana Baraka\u201d (here<\/a> is an excerpt from this piece at the Easter vigil).<\/p>\n

I think the Baccalaureate Mass was a good celebration, and I\u2019m happy with the music we did.<\/p>\n

But. Just as we must add a \u201cBut\u201d and question our criticism of others, so we must do with our own work.<\/p>\n

I think the upbeat hymns and trumpet and Kenyan choir piece made for a joyful celebration, but I wonder whether the music as a whole was too serious, or too far above the sensitivities of the participants. Maybe there should have been some well-known \u201ccontemporary\/popular\u201d Catholic liturgical music.<\/p>\n

I think the use of Latin chant was OK \u2013 we do that all the time here \u2013 but I wonder whether the music as a whole gave the right impression of a Benedictine monastery and Catholic university in today\u2019s world. As music director I bear a weighty responsibility for the image and public witness of the abbey and university. (And I admit that I don\u2019t consult with the public relations office\u2026 or the development office.)<\/p>\n

It\u2019s interesting to compare the two, Katholikentag in Mannheim and Baccalaureate in Collegeville. We took a different approach, but I can\u2019t claim that we got it right or that they got it wrong. We can critique others, and we can put forth the rationale for what we do. But. Don\u2019t forget the But.<\/p>\n

awr<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s interesting to compare the two, Katholikentag in Mannheim and Baccalaureate in Collegeville. We took a different approach, but I can\u2019t claim that we got it right or that they got it wrong. We can critique others, and we can put forth the rationale for what we do. But. Don\u2019t forget the But.<\/p>\n","protected":false},"author":27,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"categories":[20],"tags":[2032,2030,2031,768],"class_list":["post-14802","post","type-post","status-publish","format-standard","hentry","category-music-general","tag-baccalaureate","tag-katholikentag","tag-mannheim","tag-saint-johns-university"],"yoast_head":"\nSacro-Pop at the Catholic Fest in Germany - Home<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/praytellblog.com\/index.php\/2012\/05\/18\/sacro-pop-at-the-catholic-fest-in-germany\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sacro-Pop at the Catholic Fest in Germany - Home\" \/>\n<meta property=\"og:description\" content=\"It\u2019s interesting to compare the two, Katholikentag in Mannheim and Baccalaureate in Collegeville. 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Anthony Ruff, OSB, is a monk of St. John's Abbey. He teaches liturgy, liturgical music, and Gregorian chant at St. John's University School of Theology-Seminary. He is widely published and frequently presents across the country on liturgy and music. He is the author of Sacred Music and Liturgical Reform: Treasures and Transformations, and of Responsorial Psalms for Weekday Mass: Advent, Christmas, Lent, Easter. 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