Tag: CMOQ

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Holy Week 2015 at CMOQ

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The complete list of music for Holy Week at the Cathedral of Mary Our Queen is available here. The program booklet is available here (cover) and here (pages).

Links to rehearsal or other performance videos are listed below for reference.

Palm Sunday

Anthem: Solus Ad Victimam – Leighton (NCA 79)

Chrism Mass

Mon, Mar 30, 7:30 pm – 6:00 call
Dilexisti justitiam

1. Listen now     

Holy Thursday

Apr 2, 7:30 pm – 6:30 call
Washing of feet: Mandatum Novum – Berthier (W812)

Ubi caritas – Duruflé (58)

Ave Verum – Byrd (36 or NCA8)

Good Friday

Apr 3, 3:00 pm -1:30 call
Timor et Tremor – Poulenc (189.1)

The Reproaches – Victoria
Ecce Quomodo Moritur – Handl

Easter Vigil

Apr 4, 8:00 pm -6:30 call
Ye Choirs of New Jerusalem – Stanford

Hallelujah Chorus (Messiah) – Handel

Easter Sunday

Psalm 118 from the Audubon Park Psalter

2. Listen now     

(Live recording from 10am Easter Mass in 2014 at Holy Redeemer Catholic Church)

Haec est dies – Gallus

Hallelujah Chorus (Messiah) – Handel

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Vernacular Music

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As someone who joined the Catholic Church later in life, I had the opportunity to attend mass many times before becoming Catholic. At least among the other music students who took me to mass, my general impression became “A mass is a mass is a mass.” Very little changed from one celebration to the next or from one parish to the next. Prior to the Second Vatican Council, there was a desire for consistency and uniformity in celebration that kept mass the same from place to place. That changed fifty years ago this weekend. On March 7, 1965, Blessed Paul VI celebrated the first mass in Italian in the parish of Ognissanti (All Saints), Rome. It was the first mass in the vernacular celebrated by the pope in modern times.

With the celebration of mass now in the local language, there was a shift from uniformity to unity. I experienced this when I lived in France. The music and language were different, but the mass was still the same. Even though still a Protestant at that point, I felt more at home worshiping with the Catholics because I knew what was going on. I might not understand the language, but I knew the form. (In fact, the mass helped me learn the language!)

Some people look at new music in the church just as I suspect some people viewed the arrival of the vernacular: a corruption from the secular world that should not be admitted to the realm of the sacred. Instead, I choose to believe music is a vehicle that not only brings us closer to God, but God closer to us. Music is a language that needs to be part of our vernacular as well. As I traveled around Europe, worshiping in many different languages, I hope you will be able to worship with the music here at the Cathedral whether it is old and familiar or new and different.

Glenn

Bulletin Notes for the Cathedral of Mary, Our Queen, March 8, 2015

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Planning music and choosing jelly

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While a certain level of skill and practice is required to be a music director, I find the most difficult part of my job to be choosing the music we sing each week. Once I’ve decided what the music will be, practicing it becomes the easy part.

Before Vatican II, most of the music was dictated by the church (at least the lyrics). With the celebration of Mass now in the vernacular, the music choices multiplied and continue to become more numerous as composers continue to create new works. Choice can be overwhelming and stressful. Just imagine going to the store to buy some jelly. If there are only two or three choices, it’s easy to make a decision, but if you have to pick between forty or fifty varieties, you might just take a little more time. If you think of every song in the two hymnals that we have in the Cathedral as a flavor of jelly, you begin to get an idea of how many choices I have to make every week!

Because “the role of music is to serve the needs of the Liturgy” (Sing to the Lord, #125), I can’t simply choose my favorite songs for us to sing every week. That would only serve my needs. Likewise, while I am happy to hear requests for specific songs, I have to find a place and time during the year when a requested song will fulfill the needs of the liturgy. At the same time however, Sing to the Lord urges a pastoral evaluation of the music:

“Does a musical composition promote the sanctification of the members of the liturgical assembly by drawing them closer to the holy mysteries being celebrated? Does it strengthen their formation in faith by opening their hearts to the mystery being celebrated on this occasion or in this season? Is it capable of expressing the faith that God has planted in their hearts and summoned them to celebrate?” (#130)

So in the end, the music must serve both the people and the liturgy. I know the music and the liturgy, but I am still getting acquainted with everyone here. So that I can make better choices and do the best job possible, help me get to know you better by saying hello and sharing any thoughts you might have about the music here. Stop me after Mass, email or call if you have any feedback to share.

Glenn

Written for the Music Notes column for the parish bulletin of the Cathedral of Mary, Our Queen in Baltimore, MD.

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Vexilla Regis Duo

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This is my first video recorded at the Cathedral of Mary, Our Queen in Baltimore. There are two identical consoles for the organ at the cathedral and pipes at each end of the building. This excerpt from my Suite in French Classical Style on Vexilla Regis was recorded from the console in the sanctuary using only pipes from the gallery. Watch carefully to notice the delay between my fingers and the audio!