The Southwest Liturgical Conference

Over 1,500 people attended the 49th Annual Southwest Liturgical Conference Study Week in Salt Lake City. After a year and a half of planning, the study week, which focused on the implementation of the Roman Missal, was a huge success. It was a blessing to gather with so many people from around the United States, Canada, and Guam. During this conference there was a sense of hope and an energy to ensure good catechesis.

As our team here in Salt Lake rests, I thought I’d share with you a link to the Intermountain Catholic, which has some good summaries and reports about the conference.

If you attended the conference, please share your reflections and insights.


  1. Having read some of the materials, I found that I learned much more from the Society for Catholic Liturgy than the SWLC and the FDLC combined.

    1. The nature and purpose of the SCL is quite different from the SWLC and the FDLC, much as what liturgiologists in the academy do is quite different than what pastoral liturgists do.

      Different audiences, different intents — but all the same ends in mind: that God might be glorified and humanity sanctified.

  2. Congratulations, Timothy. This is a huge undertaking by any standard, and you deserve to bask in its success and get some rest!

    1. Linda,

      You can visit the conference website ( to find out how to order recordings of the conference. You can purchase the entire conference or purchase the recordings you might find helpful. I am a little biased, but I think all the plenary speakers were wonderful!

  3. As an attendee who was not from the United States, Canada or Guam (!), allow me to congratulate you, Tim, and all your team, on a very successful conference. I have been coming to SWLC for a number of years, and this one was one of the best — a good lead-up to the 50th anniversary celebration in Dallas in January 2012.

    The local volunteers were excellent, and the Mass in the Cathedral of the Madeleine was a stunning combination of “high liturgy and music” with local ethnic elements, only very occasionally falling off the tightrope into a “choir-showing-off” type of liturgical experience.

    Bishop John Wester is also to be congratulated on coming across as a genuinely pastoral leader of his diocese.

    I hope you are your team are now enjoying a well-deserved break.

    1. Dear Mr. Inwood,

      I am the Director of Liturgy and Music at the Cathedral of the Madeleine. I have never met you, nor do I know of the particular ministry with which you are involved. You state in your comment that the Cathedral Choirs “fell off the tightrope” by showing off.

      I must say I find a comment such as this incredibly prejudicial, condescending and unkind in the extreme. For the children in the Choir School and the volunteer and professional musicians of the Coro Hispano and Cathedral Choir this comment is particularly alarming: they do not dedicate countless hours throughout the year in rehearsal and assisting with the public worship life of the Cathedral to show off. They are there to offer praise and thanks to God and to help God’s people as they pray, grieve, celebrate and lament. It is presumptuous in the extreme of you to claim special knowledge of their hearts, and the lives and hearts of the many who minister to them.

      Tragically, this has been my consistent experience with the liturgists involved with events such as the SWLC Study Week. They are judgmental know-it-alls who have no time for real diversity, creativity or an experience of something out of their groupthink, and they quickly write off and dismiss those who do not toll their party line. The narcissism, sycophantism and self-promotion evidenced in this growing liturgical convention circuit are disturbing. Imagine being told that you had to select music for a major liturgy because of the convention’s financial contracts with a publishing house. With no disrespect meant to the composers, is this modeling good liturgical practice?

      Please stop this arrogant superciliousness and open yourself to other approaches, ideas and models. This cliquish liturgical Gnosticism is by no means advancing the Gospel of Jesus Christ, and it makes blogs and conventions such as this increasingly irrelevant.

      1. Too few in the Church have the regular expierience of the choir serving in the liturgy as it does at the Madeleine, and so I expect many attendees at the conference would share Mr. Inwood’s perception. I endured similar criticism at a national FDLC Convention at the cathedral in Omaha in the wake of throughly-sung Mass with a significant role for the choir. After examining my conscience on the matter, I concluded that this says more about the capacity (or lack thereof) to unite one’s heart and mind with the voice or action of another than with the motives of choristers or choir leaders like Greg Glenn.

        I myself confess to being challenged in my own liturgical spirituality the first time I participated in a Mass with the choir at the Madeleine. I may have even been critical of some aspects of what I had experienced, until I realized I was jealous of the quality of art that was being offered regularly, and that I am far more comfortable “acting” in a particular liturgical role than I am with actual interior participation, and that I, like most in the general culture around me, tend to view “art” music (and commerical-grade popular music) as commodities to be consumed rather than art to be MADE as an offering to God. It is easier for me to see folk or ersatz-folk in this way…but this is a culturally-conditioned bias against what Greg and the Madeleine Choir School are doing.

        Nobody has ever said every parish needs to imitate the musical-liturgical practice of the Catheral of the Madeleine. Why then should the experience such a thing be threatening to liturgical afficionandos or anyone else? Going backwards you say? Certainly to nothing that has ever existed like it in North America before!

        Survey the landscape. If you want to know where the liturgical center is, it’s not far from Salt Lake.

        Thanks, Greg, for speaking up.

      2. In fairness, Mr. Inwood, you may have suggested the EXPERIENCE fell off the tightrope, which acknowledges the receptive capacity of participants in the liturgy at that moment. Perhaps you were not impugning impious motives, but meant to comment on the discontinuity between certain aspects of the liturgical celebration and the readiness of many in attendance to “live and receive” the mysteries celebrated in such a style.

        If such was the case, however, Mr. Glenn’s characterization of some liturgists as judgmental know-it-alls might be taken to heart, and those liturgists might join me in an examination of conscience concerning our own capacities to unite heart and mind with the voice and action of another…the lector, the cantor, the choir, my “pew-mates,” and especially the priest celebrant, and even our Lord Jesus Christ, the High Priest.

      3. Mr. Glenn,

        Not to impugn the hard work of the choirs involved, because, objectively their performance was off the charts, I think that Mr. Inwood’s characterization was very charitable.

        I had written the “performance” nature of the music off to the possibility that the Conference coordinators were trying to create a horizon event out of the whole thing. But, given your reaction to Mr. Inwood’s comment, it seems that it was more intentional on the part of the choir at the Madeleine.

        I can tell you, as a person in the pews, it did not lead me deeper in to the Mystery, but rather, did the opposite– I felt I sat on the outside, as a bystander to the Liturgy, rather than a more full conscious and active participant in it because of the music.

        In the same breath, I’ll simply say that I have no problems whatsoever attending a Mass entirely of sacred polyphony such as Palestrina, etc., so it was not my own lack of singing, as it were, that disconnected me from it all. There must have been something else…

        I hope that you’ll receive our criticism (though I don’t speak for Mr. Inwood) in a positive light– as I said, the choir was unmatched in ability; but rather, myself and my colleagues in attendance all walked away thinking the same thing: that perhaps a different selection would have led people more deeply in to worship, rather than simply to remark about the novelty of it all.

        I’ll comment further on the Conference, below.

  4. Amen to what Paul has stated. I was one of the presenters, and I must say, it was one of the best conferences that I have been a part of in some time. The local team was great, great hospitality, and the quality of the presentations and events – superb! Congrats to Tim and the gang there in SLC….

  5. This was my first time in attendance at the SWLC.

    The schedule looked good at first glance– I thought to myself “Wonderful– we’ll be doing the Liturgy of the Hours and everything!” What we actually got was a different matter entirely. Though the vietnamese women incensing weren’t my cup of tea, they were much better than the aztec dancers that rounded the night off. By the end of the first night I was wanting to go home.

    Pastorally, I wonder how many folks who are under obligation to recite the Office failed in that responsibility due to the choice of prayer services that were held during the week. That, to me, seems a potential for grave matter. The lack of options for Mass when so many priests are gathered in one place seems like a hurdle easily fixed.

    I’ll try and stop it with my negativity- I am truly glad I went. I thought that organizationally it was a huge success- everyone who worked hard to put together the event should be congratulated!

    I would have much preferred a more academic setting, and I think that there was a blurring between offering catechesis, and giving one’s own theological opinions. In an academic setting, there would be room for discussion about the various topics. An example: Fr. Turner’s talk, which I’m sure was full of good stuff, but I got put off by the speculation and seeming ideology about EP2 being “the” canon of the roman rite. With a group of folks trying to get some practicals about the new translation, it seemed rather superfluous, and in my case, I couldn’t help be feel an agenda (whether there was one or not).

    I was able to get past ideology and camps on the second day. In disconnecting from a lot of content (and not attending the prayer times), I stopped and was able to recognize that everyone gathered has the same intention, and praise God for that. That, mostly, we agree on principles, its more in praxis that there is division. I left on a positive note, feeling more unified with those of…

    1. …different perspectives.

      It was good for me, being of the more “conservative” or “traditional” camp, to humanize a lot of the folks from other parts of the spectrum (I hate categorizing people in this manner, but I think you get what I mean) that I probably traditionally don’t get on with.

      Not to be all “kumbayah,” or anything, but I did feel I walked away appreciating that the Church does allow for a lot– that it’s perhaps even as wide as it is deep– and that we all have the same goal…

      That said, in the same breath recognizing that there is such thing as “perfect” worship, and that will be in Heaven. It seems that our object in working together is to turn that “wide-ness” in to a funnel, aiming toward Heaven. This will probably be the task of our lifetime, and our children’s, but I am glad to have such good folks to (at times) butt up against in trying to, in a truly “catholic manner,” attain that ultimate goal.

      Many prayers for you all!

    2. Chris, can you please elaborate on the lack of options for Mass. Bishop Mark Seitz celebrated daily Mass in the hotel on Friday and Saturday.

      Also, we prepared morning and night prayer right out of the Liturgy of the Hours. The psalms and prayers were directly from there. The only liberties that were taken were in the translations of the paslm text when we were singing them (please see 233 of Sing tot he Lord). Heck, we even chanted the Lord’s Prayer in Latin and used psalm tones from St. Meinrads and Fr. Howard Hughes.

      The Gathering prayer was not intended to be Evening Prayer hence why it said Gathering Prayer in the worship aid.

      I am grateful that you left with a postivie experience because I too belive that everyone who gathered ultimatley wanted to give praise to God and delve deeper into the sacred mysteries.

  6. Mr. Glenn is correct in that certain pieces were “contracted” to be sung, which meant effectively that publishers were dictating part of the liturgy. The thing about a tightrope is that it is set firmly stretched between two endpoints; any deviation, and it spells trouble. The “tightrope” analogy is not accurate, because this “line” is flexible, defined by such ambiguous notions as standards, intent, presentation and reception. I can say with certainty that the intent and presentation aspects were fully in submission to the liturgy.
    I would suggest that all take Kevin’s words to heart, and examine carefully the reception aspect before we criticize the performance. If I don’t understand the readings at Mass, it’s probably not the lector’s fault. We usually have more trouble with that “conscious” aspect than the “full” and active”. Also, there is absolutely nothing wrong with using the term “performance” – every aspect of the liturgy, including the assembly’s role, is a performance, and to deny that is not being honest.
    I love working at the Madeleine, and fully buy into Greg’s vision for training the children and for the standards we uphold. The richness and depth of the liturgical music, carefully chosen for fittingness, has enriched my own faith greatly, and I have never had such an important role as I do now, instructing the school students. I was raised Protestant, and, being trained in traditional Western music, gained an appreciation for high art music long before I really loved the church. I joined the Catholic church because I share this vision of our mission, and am dismayed by all who impugn the notion that beauty has no place in the church. What’s the use of “full, active and conscious” if we’re offering utter crap to God?

    Doug O’Neill,
    Assistant Director of Music and Organist
    The Cathedral of the Madeleine
    (and organist for the Cathedral conference Mass, as well as house re-arranger/editor, so if you want to criticize my…

  7. Gregg (and Doug),

    I am the director of liturgy and director of music in my diocese. You may find my history in cathedrals and diocese very easily online. I have spent 45 years promoting the right balance between the best of the choral tradition and the best of assembly participation, and I am happiest in celebrations where, for example, Gabrieli double-choir motets are rubbing shoulders with high-quality congregational music.

    I want to stress that you ignored two very important words in what I said: very occasionally. In my view, the music at the Madeleine was mostly excellent and the balance between choir and congregation was often very good. The tonal colour of the choir was something to emulate and be congratulated. However, the choir did very occasionally fall off that tightrope that we all tread with trepidation when we come to celebrate.

    Let me give just one example. The choir, in the prelude, had certainly established its chops. The performance of Proulx’s The Pelican was nothing less than stupendous, and will stay with me for a long time. There was in fact no need to do anything more to prove to the assembly that here was a vocal ensemble at the very top of its game.

    Then came the chant penitential rite which was fine, apart from the choral effusions that followed each pair of invocations. Though very beautifully sung, these came across as gratuitous vocalizations which added nothing to what the rite was doing at that point. They were superfluous and unnecessary, held up the action, and sabotaged the dialogic nature of this part of the rite. They could easily have been omitted without loss, and I do not believe that they were in any way dictated by contractual obligations to any publisher.

    I say again, these very occasional lapses were unfortunate.

    1. Doug,

      If you want a candid comment on your otherwise splendid playing, I will only criticize your use of one of Jones’s ‘foghorn’ stops to give the Bishop his note several times during the Eucharistic Prayer, consistently at a pitch much lower than he was comfortable with or was in fact necessary.

      For example, giving him G-B flat for the ‘Through him’ would have enabled him to sing the doxology in a tonality that would have accorded with Peter Kolar’s acclamations with a D minor/F major tonality ending on an F. But you chose to give him a D, for what reason only you will know. So, as seemed to be his consistent practice that evening as he discerned that the note given was too low, the Bishop started a minor third higher than the note you gave him, beginning on an F, thus singing in an F minor/E flat major tonality which did not combine with the Amens to follow.

      And it is an established fact that, when giving notes to presiders, they can hear much more easily what is being asked of them if the note is given at 4′ pitch as well as 8′, preferably using a rather more subtle tone colour than you used on that occasion.

      Even the giving of notes to a presider is a science that we should not disdain to study.

  8. As wonderful as the Mass was, it contained within itself a certain ‘titillation of the senses’ especially with regards to the emphasis on multiculturalism (in the music, dress, and languages) expressed in a way that highlighted our differences and not the unity of all involved. I think the term ‘celebrating our diversity’ is how this coin is generally cast.

    Truth is, we are not supposed to be ‘celebrating diversity’, but expressing our unity in celebrating the Eucharist. Hence, a misplaced focus comes to bear on the ‘rainbow’ of our cultural personalities and in doing so we then fail to express that unity which is central to the Eucharistic rite. For example, it seems we were forced to notice the costumes and the different languages of those participating in the Prayer of the Faithful, than to be able to enter into the very prayers themselves. We seem to be taken up with the vehicle of how we pray when it is the content of our prayers that truly matters.

    Through the ages our Church has found a way to rise above our differences and not accentuate them, and that is through the universality of the Latin rite itself. We should reconsider praying and singing through the supranational vehicle which is found in the Gregorian chant especially in these multicultural liturgical conferences.

    The church and our Holy Father speak directly to how to celebrate the Liturgy when diverse cultures are involved.

    Paragraph 51 of the GIRM, and the exhortation that comes through Sacramentum Caritatis, Par. 62. (I can’t fit them here as the character limitation will not allow, but they can easily be found on the web.)

    1. Francis, I was not at this liturgy, but your comment intrigues me.

      Is it possible that you experienced a “titillation of the senses” and felt distracted from unity precisely because you were being called out of your primary experience of liturgical style and being asked to engage with others who are different from the community you habitually celebrate with? You see, many people have told me that genuine experiences of worshipping with those culturally different from themselves have INCREASED their sense of the holy and deepened their sense of the catholicity of the Church.

      I am not fond of “showcasing” a variety of cultural expressions for their own sake. And I have no idea how the liturgy unfolded in the concrete. But if you were genuinely being invited to be in the presence of various cultural expressions of our faith, it seems to me this is a privilege. When we do accept such an invitation we are “standing on holy ground.” We should take off our shoes (and be willing to step out of what is familiar) in order to encounter God there and “see with” those who are quite different from ourselves.

  9. Paul, thanks for your comments, and I did later regret the pitch-giving. I don’t normally give pitches for the celebrant, because we mostly use settings in which the assembly can simply respond to what the celebrant is singing, rather than radically shifting keys. Giving pitches can indeed interrupt the Eucharistic Prayer. Peter Kolar’s Mass is indeed in D Minor, and you are probably correct that the higher pitch would have been better for Bishop Wester, and still be related to the key of the Mass. The pitch I gave was a better transition musically speaking, but not nearly as practical. Anyhow, I immediately regretted it, as Bishop Wester was clearly uncomfortable with it. I would normally use a softer string to give pitches, for their pungent, clear but not obnoxious quality.

    I thought that the choral elaborations of the Kyrie were very sensitive – the height of the form was still the congregational repetition, in my view, but I can see as how that could be received in a different way. Anyhow, know that the intent was not to show off the choir, and never is.

  10. Allow me to commend all three of you for this vigorous but well reasoned discussion. It always intrigues me to learn insights and how you experts help all of us to pray, chant, and sing better, deeper, and more fully.

    Thanks for the give and take – it helps us learn how you guys/gals think, make pastoral choices, etc. Thanks for being so open – as Bishop Wester said; your liturgy does teach us as we pray….actual lex orandi; lex credendi.

  11. Rita:

    May God bless you.

    No, actually, and most unfortunately, I don’t ever get to experience the pure Latin Rite.

    As a DoM I am responsible for organizing liturgies similar to that which we celebrated at the SWLC in our own parish; those tied to culture and geographical expressions of music and language. I believe that this type of “earthy and earthly” experience is a form of “holding one to the ground”, preventing one from the true meaning of prayer which releases us from our senses, from the framework of time and the boundaries of the physical earth, into what is mysterious, timeless and eternal.

    This it what occurs through creation spirituality, which was the rite invoked over us on the first night by the Aztec Dancers.

    “INCREASED sense” is diametrically opposed to the focus of the Eucharist. In perfect prayer one looses sense of self and enters into God.

    It seemed that the aim of the liturgy was to “showcase” a variety of cultural expressions for their own sake.

    If you recall the grimace on the face of our Holy Father when he watched the liturgy unfold before him in the Washigton D.C. stadium, well, now I know exactly what he was experiencing and thinking.

  12. Since the Mass was (is) available over the internet, let me raise a related issue, its value to its potential internet audience.

    This type of elaborate “Cathedral” Mass is unlike parish Masses, in that it has not only ample choral participation but also many priests and deacons. In that environment I think I want to hear the full potential of a very talented choir as long as it does not overwhelm or silence the congregation. I don’t think their talents should be confined to the recording studio and the concert hall.

    However such “Cathedral” Masses are not good models for parishes which don’t have concelebration or extremely highly trained choirs. In fact there are parishes that have liturgies that I much prefer to these “Cathedral” Masses. In particular one local parish that has a sung Eucharistic Prayer.

    So now that we have the internet we need to think about what archived materials should be out there for the experience of pastors, musicians, and parish members and discussion on blogs like this. I think they need to see many more Masses like the one I experience in a parish with the sung Eucharistic Prayer than they need to see a lot of “Cathedral” Masses with a bishop and concelebration.

    Both the diocese and SWLC should think of how they might archive Masses that could serve as models for parishes, especially larger parishes that will become more and more the norm for the future.

    I would include in that archiving bilingual Masses. I would like to become familiar with the Spanish words of the dialogs, Gloria, etc. just as I am familiar with Latin options for these. Again this is the future.

    1. Hi Jack, thank you for your invitation to provide other models. I just returned from my parish choir practice and we had a similar discussion. If in the future I have the opportunity to record various models or expressions of the Church’s liturgy I would be very happy to provide them. I really like the idea of at least using technology to help teach/catechize about the nature of the liturgy and the helping people feel comfortable/confident with bilingual or multicultural celebrations.

      The recording that is posted above was done by and not by the Cathedral of the Madeleine or the diocesan worship office. We are grateful they were able to record this celebration for us.

      Thanks again everyone for your gracious comments about the conference. We did have a wonderful time planning it, celebrating it, and welcoming everyone to our diocese.

      1. Dear Friends,

        Wow – I never imagined that this would be so difficult. Let me try to address some of your responses and concerns.

        Chris, I am sorry that you were not led deeper into the Mystery by the celebration of the Eucharist in the Cathedral. That pains me, although, as I tell me students constantly, each of us has a significant part to play in terms of our own disposition and participation. Let me clarify for you that the Cathedral Music Staff had little involvement in the planning for this liturgy – we were handed a list of approved items from a committee, from which only two of our suggestions were accepted. The committee’s list was not produced with any malice. However, this was not an example of the Cathedral’s liturgy, and it may have suffered from the somewhat artificial community perhaps necessarily created by a convention of this type. If I never had to do another convention liturgy in my life, it would be too soon.

        While I accept your judgement on Paul Inwood’s original post, I respectfully disagree.

        Paul, I did not mean to offer any offense by not knowing of your clearly very substantial record of service. Forgive me if I mistakenly gave that impression. The tribute to Richard was very emotional for us, as he spent many months here off and on through the years. We are still finding things in our library that he did during his residency, and I still tear up sometimes at the Organ when one of his psalm responses comes up. None of us meant this to be showy or a demonstration of our choral prowess – this is just how we sing. While the choral extensions may have ‘sabotaged’ the Kyrie for you, I know of many others for whom they were a reasonable engagement of choir and congregation. My former Bishop (no Archbishop) Niederauer was a wonderful advocate of “both-and” rather than “either-or”. While this cannot be a universal proposition, it gives one pause we pronouncing judgement on another’s work.

        Francis, while we regularly try to…

      2. I can assure that titillation has never been an articulated goal for any of us! That being said, I’m sure the Diocesan Liturgy Office did not intend to distract with the multi-lingual intercessions or the native dress. In fact, this is the regular practice of the Vatican at major Papal liturgies. The vesture of the choir was also not meant to be a distraction. We are one Cathedral Choir – in this local church both English and Spanish – although we are challenged by this new reality and are still in the process of developing our practice. The Coro Hispano is only three years old in what has been an explosion of growth at the Cathedral. This has been joyfully embraced by all of us, and we have attempted to very carefully support these new music ministers among us. The majority are undocumented workers and families, and the challenges, tragedies, and sorrows have taken all of us on the music staff by surprise. All of us have spent time at local hospitals advocating better care, assisting families when loved ones die at home in Mexico, helping with applications to schools and universities, dealing with frustration about mean-spirited legislation that creates incredible anxiety and fear, and more. I am in great awe of their progress and of their deep commitment to the music ministry. Their ‘vesture’ was their way of expressing their common service and commitment as liturgical ministers. It meant a great deal to them.

        Jack, I have never proposed the recording of this Mass serve as a model for Cathedral liturgy or for Parish liturgy. In fact, we were never able to sign off on its distribution throughout the web, which may raise some moral questions. That being said, I think it is important to note that this was a convention liturgy, and should not presume to serve as a model for anything else.

        I wish you all the greatest of success in your various ministries. I hope that we all will grow in our openness to other practices, and continue to advance God’s reign.

  13. As I’ve read the posts here, I’d like to add something. I’m not a musician or a liturgy director. I’m just a typical Catholic in the pew who was blessed with the opportunity to help at the conference and attend. Your discussion has focused on one liturgy, the Mass at the Cathedral. We celebrated other ligurgies during our time together. I rarely have an opportunity to pray Morning Prayer or Night Prayer and because of my work, don’t attend daily Mass very often.

    But during this conference I had those opportunities, taking advantage of all of them. My spirit just soared as we prayed. As community, as Body of Christ, we will all never be together in that same way again. To participate in The Body through song, scriptures, psalms, chants… this was what I walked away with – That as Body of Christ, we are many members, in many languages, with many talents and with many callings. And both despite and because of those differences, we pray as one, be it in the large Eucharistic celebrations, or the quiet of the few in Night Prayer.

    Thank you SWLC leaders and volunteers. I will carry the conference in my heart for a very long time to come.

  14. Often I hear the response “well the Pope does it, and we can’t be holier than the Pope”, when oftentimes the presence of the Pope at an event seems to be the “christening” of everything and anything that occurs on his watch. We must be very careful of this attitude because we cannot crystalize and sanction practices simply because they occur in this way, and especially since a video recording allows us to capture the moment and raise it to the level of a model for others.

    I want to post the actual text from our Holy Father’s exhortation which I mentioned in my first post.

    “None of the above observations should cast doubt upon the importance of such large-scale liturgies. I am thinking here particularly of celebrations at international gatherings, which nowadays are held with greater frequency. The most should be made of these occasions. In order to express more clearly the unity and universality of the Church, I wish to endorse the proposal made by the Synod of Bishops, in harmony with the directives of the Second Vatican Council, (182) that, with the exception of the readings, the homily and the prayer of the faithful, it is fitting that such liturgies be celebrated in Latin. Similarly, the better-known prayers (183) of the Church’s tradition should be recited in Latin and, if possible, selections of Gregorian chant should be sung. Speaking more generally, I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we forget that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.” (Sacramentum Caritatis, Par. 62, (2007))

    As you can see, what oftentimes happens in the presence of the Pope and what he puts forth as what the Church truly desires unfortunately are not heeded by the faithful.

  15. For those interested in knowing more details of the music sung for the Cathedral Mass that were not printed in the copyright acknowledgments, I am listing them below. With regard to the ongoing discussion, whenever I attend a Mass, being someone of a highly critical nature myself, I know something is always going to fall short of expectations. Thus, I always keep in mind something a wise choir director once told me: the great thing about the sacramental church is that the homily could be garbage and the music awful, but it’s impossible to really screw up the Eucharist. I mean, really, what more should we want?

    Here’s the list:
    Jesu, the very thought of thee Richard Proulx
    GIA Publications
    The Pelican R. Proulx
    unpublished manuscript
    Ecce quam bonum R. Proulx
    Chacona José Jesús Estrada
    published in “Mexican Composers for the Organ, Vol. 2” by Vivace Press
    Concertato on “O Spirit all-embracing” R. Proulx
    (Note that we omitted the choral-only 2nd stanza, due to the congregational Spanish 2nd stanza).
    Kyrie extensions Liber Magdalanensis
    (that being the mellifluous but tongue-in-cheek term Greg coined for
    any compositions/arrangements done by our music staff).
    “Gloria” from Missa Guadalupe Joel Martinson
    Selah Publishing
    (the original score is with organ and optional brass, so we adapted and arranged it for our space and instruments).
    Salmo Liber Magdalensis

  16. Gospel Acclamation and Verse – not what was listed in the worship aid
    Organ introduction: Three Alleluia Interludes R. Proulx (GIA)
    Organ harmonization of Mode 6 Alleluia and choral descant:
    Alleluia and Psalm for Easter R. Proulx (GIA)
    Proper verses in English and Spanish set to a Falsobordone on the 6th
    tone by Victoria (available here:
    Trilingual Intercessions Michael Hay (WLP)
    Introduction to “Cristo te”:
    Intonazione del nono tono G. Gabrieli
    Cristo te: arrangement “Liber Magdalanensis”
    organ piece after “Cristo”: Fuga del nono tono G. Gabrieli
    Misa Luna: Peter Kolar (WLP)
    (This was substantially altered for our space and musicians).
    Has amado la justicia Leo Nestor (ECS)
    Ave verum corpus Colin Mawby (Kevin Mayhew)
    Hymn: The Spirit sends us forth DUNLAP’S CREEK
    (arrangement “Liber Magdalanensis”
    Organ Postlude:
    Postlude for a Festival Day Joel Martinson
    Oxford University Press

  17. Chris, I think that you would have much rather enjoyed the Society for Catholic Liturgy. We had morning prayer and Mass (Friday evening’s was with Cardinal DiNardo). On Saturday, we had morning prayer using the Anglican Rite.

    The topic was the Roman Ritual and the speakers were excellent. My favorite was the presentation on the De Benedictionibus given by Fr. Uwe Michael Lang, a staff member with the Congregation for Divine Worship and the Discipline of the Sacraments and a consultor to the Office of Liturgies of the Supreme Pontiff. Fr. Lang was incredible. His knowledge about the liturgy is vast. There were also talks on sacred music, sacred architecture and the sacraments.

    As far as Peter Kolar’s Misa Luna, I was not impressed with it when he presented it to our diocese. He takes too many liberties with the text (“Christ has died” does not appear in Spanish and Kolar took it upon himself to translate it). Furthermore, the musical style is not all that great. He seems to put the liturgy at the service of music when it should be the other way around.

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