July 2009

XIV Award "Father S. Zimarino" to help the choir Aquilana

reporting on Ettore Sisino, pleased to publish this statement from the 'Association of Musical Culture Choir" Stella Maris "

After the painful events and numerous deaths that have affected the Abruzzo, and especially the city of L'Aquila, our Association has decided to cancel the competition part of the fourteenth edition of the PS Zimarino - national competition for polyphonic choirs - and to allocate financial contributions, public and private sector gathered for the realization of the competition, the chorus of L'Aquila.
With the availability and sensitivity of Archbishop Bruno Forte will be retained only the part of the event with the liturgical celebration of a Solemn Mass, on 11 October 2009 at the Cathedral of St. Justin in Chieti, with implementation of the "Missa Sanctae Familiae" P. Septimius Zimarino choirs met Aquila. The
S. Mass will also be an opportunity to formally welcome the remains of Pope St. Celestine V, who will be guests for a month from the diocese of Chieti - Vasto, and the presence of choral Aquila certainly further enrich the meaning of the whole celebration.
Choirs Aquila contacted for participation in the S. Mass, amid all the imaginable difficulties and uncertainties about their future, have agreed to our initiative with the hope that this moment of encounter and solidarity aggregation may be an opportunity for momentum from which to draw strength for the future.
The dispersion of the components of the choirs in the region, for obvious reasons consequential earthquake of 6 April 2009, the loss of all or part of the historical memory of the choirs as well as past and current executive of the material (folders, tabs, etc.). and tools, makes it difficult for the survival of choral groups that Aquila historically have always been time to gather and cultural and social reference for the entire city of L'Aquila and our entire region.
We hope our association can contribute to the resumption of the choral Aquila allocating the funds of our "National Competition for Polyphonic Choir PS Zimarino" colleagues of L'Aquila and we invite all those who wish to lend a hand by contacting us through our website www.coropolifonicostellamaris.it

Choir "Stella Maris" - Vasto Marina (CH)

PREMIUM PS Zimarino

National Competition Choirs polyphonic
XIV edition

. ... dedicated to Coral Aquilana

Chieti October 11, 2009 Cathedral of San Giustino

S. Solemn Mass celebrated by Archbishop Bruno Forte
with performance of the "Missa Sanctae Familiae" by P. Septimius Zimarino
meeting in Cori Aquilani
in occasion of the transfer of the remains of Pope St. Celestine V
in the diocese of Chieti - Vasto

Gregorian chant returns from exile. Maybe.

Da Ettore Sisino, director of the Sine Nomine Choir of Nepezzano (TE) receive and publish an interesting article on the reintroduction of Gregorian chant in the functions liturgical

Valentino Miserachs Grau, head of the Pontifical Institute of Sacred Music, he invokes the recovery.
Pope Joseph Ratzinger wants. But the path is full of obstacles .

Di Sandro Magister

ROME, Dec. 7, 2005 - As at other times in the past, this year, December 5, the Vatican congregation for worship dedicated one day to study sacred music, on the anniversary of constitution of Vatican II on liturgy, "Sacrosanctum Concilium". The previous days have never produced anything significant. But now there is a pope, Benedict XVI, who on sacred music is highly competent, is severely critical of the degeneration of post-Vatican II music, and wrote several times what he thinks and what he wants: to give new place in the Catholic liturgy the great music that "from Gregorian chant through music of the great cathedrals and polyphony The music of the Renaissance and Baroque goes to Bruckner and beyond. "
the congress, meeting in the New Synod, Pope Benedict XVI has sent a written encouragement "for reflection and debate on the relationship between music and liturgy, always watch over practice and experimentation." And the Pope's encouragement fell on an audience made up of musicians and liturgists from many nations, for some disagree with his positions on the matter.
At the conclusion of Cardinal Francis Arinze, prefect of the congregation for worship, and the former secretary of the same congregation, Domenico Sorrentino, recently promoted to bishop of Assisi, have declined to draw any conclusions. Arinze has criticized the current musical trends in many churches, "uncontrolled, trivializing, which is not good for the liturgy." The opening music of the day of study, however, had been entrusted to the exponent of a style of its most critical, very sentimental, vaguely "new age", the maestro Marco Frisina, director of the choir of the cathedral of Rome
.
The study day however, has reversed the trend, and in the direction dear to Pope Joseph Ratzinger.
music and liturgy of the "new" post-Vatican II were forced to have to justify, in front of an audience that was mostly directed at reviving the great tradition of liturgical music, Gregorian chant in the first place. This was understood by the applause that greeted strong and confident relations Dom Philippe Dupont, abbot of Solesmes, a great scholar of Gregorian chant, by Martin Baker, choirmaster of the cathedral of Westminster, and Jean Marie Bodo, Cameroon, "where we sing Gregorian chant at Mass every Sunday, and well, because it is the song of the Church."
But it is understood primarily by ovations that punctuated and concluded the intervention of Monsignor Valentino Miserachs Grau, head of the Pontifical Institute of Sacred Music in Rome, the "conservatory" liturgicomusicale the Holy See, which has the task of training Church musicians from around the world.
Miserachs pleaded with arguments tightened the restoration of Gregorian chant from dallecattedrali and monasteries, which should take the lead in this rebirth. It has called the Church of Rome finally act "with authority" in the field of liturgical music, not just documents and exhortations, but by establishing an office responsible for such as he did with the Pontifical Commission responsible for the cultural heritage of the Church. "This is an opportune time, and no time to lose," said Miserachs, with a clear mind to the reigning pope.
Here is the intervention of the head of the Pontifical Institute of Sacred Music: Gregorian Chant

: opportunities and conditions for a revival
Valentino Miserachs Grau

That the assembly of the faithful in the celebration of the sacred rites and especially during the Holy Mass, the parties involved in singing the Gregorian chant that belong to them, is not only possible, it is ideal.
This is not my opinion, but it is thought of the Church. See in this regard all the documentation that goes by the motu proprio "Inter Sollicitudines" of Saint Pius X to the present day, through Pius XII ("Musicae Sacrae Disciplina"), Chapter VI of the Constitution on the Liturgy of Vatican II, the next instruction of the Congregation of Rites in 1967, and the recent document of John Paul II, commemorating the centenary of the 'Inter Sollicitudines "1903. That is demonstrated by what you said the last synod of bishops last October, in its conclusions: "The priests, from the seminary, be prepared to understand and celebrate Mass in Latin, and to be able to enhance [...] Gregorian chant. [...] The faithful themselves should be educated in this regard. "
The rationale for this desire is widely demonstrated, if not self-evident. It is incomprehensible what has happened over the last forty years, especially in Latin countries, in relation to the almost total ban on Latin and Gregorian chant. Incomprehensible and deplorable.
Latin and Gregorian chant, deeply linked to the biblical, patristic and liturgical, are part of that "lex orandi" which has been forged over nearly twenty centuries. For such an amputation with a light heart? It would be like cutting the roots, now that so much talk of roots.
obscuring all of a sudden the tradition of prayer formed over two millennia, have created conditions favorable to a heterogeneous and anarchic proliferation of new music products that, in most cases, have not been able to root themselves in the essential tradition of the Church, causing not only a general impoverishment, but damage would be difficult to repair, if you want to put it to an effective remedy.
Gregorian chant assembly not only can but must be restored, together with that of the "schola" and the celebrants, if you want a return to the seriousness of the liturgy, holiness, goodness of form, and universality that should characterize any liturgical music worthy of this name, as shown by St. Pius X reiterated by Pope John Paul II, without changing a comma. How could never dull chants of, trod on the models of the most trivial pop music, the place of the nobility and strength of the Gregorian melodies, even the most simple, capable of lifting the hearts of the people to heaven?
We have undervalued the Christian people in his ability to learn, we have almost forced them to forget the Gregorian melodies he knew, instead of expanding and deepening their knowledge, including through proper instruction on the meaning of texts, we have stuffed them full of banalities.
cutting the umbilical cord in this way the tradition, we have ensured that the new composers of liturgical music in the living languages \u200b\u200b- assuming, without conceding that they have sufficient technical preparation - lack of that 'humus "indispensable for composing in harmony with the spirit of the Church. We
undervalued - I insist - the learning ability of the people. It is obvious that not all of the repertoire is the people: this is a distortion of the rightful participation which requires assembly, as if, in the field of liturgical music, the people should be the only protagonist of the scene. Respect the proper order of things: the people singing what belongs to him, but he also respects the role of the "choir" the cantor, the psalmist and of course the celebrant and the various ministers, who, who often prefer not to sing. As John Paul II points out in his recent document: "From the good coordination of all - the priest and the deacon, the acolytes, altar servers, lectors, the psalmist, 'choir', musicians, cantor, assembly - emerges the right spiritual atmosphere that makes the intense moment of the liturgy, attended and fruitful. "
We want a revival of Gregorian chant assembly? It begins by ccclamazioni, the Pater Noster, the ordinary chants of the Mass, especially the Kyrie, the Sanctus, the Agnus Dei. In many countries the people I knew the III and the entire ordinary of the Mass VIII "de Angelis, and more! How well he knew the Pange Lingua, the Salve Regina and other antiphons. Experience shows that the people behind a simple invitation, will also sing the Missa Brevis and other easy to Gregorian melodies by ear, even if it's the first time they have sung. There is a minimal repertoire to learn, contained within the "Jubilate Deo" of Paul VI, or "Liber Cantualis. If the people grow accustomed to singing the Gregorian repertoire suitable for them, will shape to learn new songs in foreign languages, those songs, one understands, worthy to stand beside the Gregorian repertoire, which should always retain its primacy.
should persevering work of education. This is the first condition for an appropriate and necessary recovery: what we priests often forget, are ready to choose the solutions that involve the least effort. Or do we prefer, instead of substantial spiritual nourishment, teasing the ear with melodies "pleasant" or alienating strumming of guitars, forgetting that, as keenly observed the future Pope Pius X to the clergy of Venice, the pleasure has never been the right criterion for judging in sacred things?
should work training. And how can we train people if we are not the first to be trained? He recently played at the Pontifical Institute of Sacred Music, the general congress of the "Consociatio Internationalis Musicae Sacrae," which dealt with this argument: the formation of the clergy in sacred music. It has existed for many years that almost completely lacks seminarians, and religious training in a real musical tradition of the Church, or even the most basic musical training. St. Pius X knew very well, and with him all the subsequent teaching of the Church, which is not any work of reform or recovery without proper training.
One of the more substantial fruits of the "motu proprio" of 1903, which lasts over time and is being renewed today, it's in Rome, the Pontifical Institute of Sacred Music, now up and running to his centenary. How many masters of Gregorian chant, polyphony, organ, many practitioners of sacred music, scattered in every corner of the Catholic, educated in its halls! Not to mention the other higher schools of sacred music, and even the diocesan schools, and the various courses and training seminars liturgicomusicale.
But there really taught Gregorian chant? And how is it taught? It is the prejudice crept in that Gregorian chant is outdated, to be stored permanently? What a serious mistake! I dare say that without Gregorian chant, the Church is mutilated, that there can not be Church music without Gregorian chant.
The great masters of polyphony are even greater when they are based on Gregorian chant, mining it for themes, modes and rhythmic variations. This spirit imbuing their refined technique and this faithful adherence to the sacred text and the liturgical moment made Palestrina, Lasso, Victoria, Guerrero, Morales, and so on.
Especially valuable is the renewal unleashed by the 'Inter Sollicitudines "as is inspired by Gregorian chant. Perosi the best, the best Refice and, in our times, Bartolucci, made Gregorian chant the essence of their music. And not just in the compositions complex or choir, but also in creating new melodies, Latin and the vernacular, both for the liturgy and for devotional acts.
True sacred popular singing will be more valid and substantial as it takes its inspiration from Gregorian chant. John Paul II made his own the principle asserted by Saint Pius X: "A composition of the Church is all the more sacred and liturgical the more its development, inspiration, and flavor approaches the Gregorian melody, and the less worthy as from that supreme model recognizes dissimilar. "
But how can one address the creation of a high-quality repertoire for the liturgy, including in foreign languages, if the composers This disregards the Gregorian chant?
course, the best school for mastering a repertoire, for penetrating the secrets, is the living practice of it, something that we build a bridge between the old and new, we still had the fortune to experience.
But after us, unfortunately, the curtain fell. Why this resistance to restoring partially or totally depending on the circumstances, the Mass in Gregorian chant and Latin? The generations of today are probably more ignorant than the old ones? The proposed new missal texts ordinary in addition to modern languages, including Latin. The Church
wishes. Why should we lack the courage of a conversion?
Gregorian chant must not remain in academia, or the concert hall, or recordings ndiscografiche must not be mummified like a museum, but must return as living song, sung also by the assembly, which will find in it the fulfillment of the most profound spiritual tensions and feel truly the people of God
It's time to break through the inertia and the cathedrals, the major churches, monasteries, convents, the seminaries and religious houses of formation must be the shining example. And so the humble parishes will eventually become infected with the supreme beauty of the singing of the Church. And the soothing Gregorian chant will reverberate, and consolidate the people in the true sense of catholicity. And the spirit of Gregorian chant will inform the new breed of compositions, and guide with the true "sensus Ecclesiae" the efforts for a proper inculturation. I'd also say that the melodies of the various local traditions, even in distant countries and cultures much different from that of Europe, are near relatives of Gregorian chant, and in this sense, the Gregorian chant is truly universal at all feasible, and capable of acting as an amalgam in accordance
unity and plurality.
Moreover it is these distant lands, these cultures which have recently appeared on the horizon of the Catholic Church to teach the love for singing traditional Church.
These young Churches of Asia, together with ministerial help they are already giving to our tired European Churches, will give us the pride to acknowledge, even in song, the stone that we were cut, and well-being !
Two other factors that I consider essential for the renewal of Gregorian chant and sacred music of sound are as follows:

First, about the necessity of the musical formation of priests, religious and faithful, it seriously so as to avoid the amateurs and the carelessness of some volunteers. Be hired - ensuring a fair return - who has painstakingly prepared that service. We must, in short, how to spend money on music. It is unthinkable that we should spend money on everything, flowers and banners, but not for music. What would encourage young people to study, and then keep them unemployed, if not humiliated or harassed by our whims and our lack of seriousness?

The second necessary factor is harmony in action. He remembered John Paul II: "The musical aspect of liturgical celebrations can not be left to improvisation or decision of individuals, but must be entrusted to well-coordinated direction in accordance with the standards and skills of what an important result adequate liturgical formation. Compliance with the rules, then. And what is already a widespread desire. We are waiting for authoritative and taught with authority. And this is a service, coordinating all the local initiatives and practices, performance of good law to the Church of Rome, the Holy See. This is the opportune moment, and there is no time to lose.

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