“At one time it was understood that liturgical music should
lift us up from this world and direct our hearts and minds toward The
Lord. Is that asking too much?” I
made the following comment last week in reference to a beautiful and, yes,
uplifting “Sanctus” by the English composer William Byrd. Beautiful music and beautiful art has a power
to move us emotionally, and beauty has a way of moving us toward God that the
unbeautiful, alas, cannot match. I am
fortunate to attend a church that has a good chorus, led over the fifteen years
I’ve been here by a series of talented and faithful music directors. Several times a year, at least, I have the
opportunity to hear Sacred Polyphony as part of the Mass: what a blessed
experience! Most of the other music is
very good, and appropriate for the Liturgy as well (with a few clunkers thrown
in, but why dwell on the negative?).
It was with all this in mind
that I recently found myself, as I was listening to one of these beautiful
pieces, thinking to myself “How did they ever abandon this for all that Happy
Time nonsense?” Well, it seems to go with
the mundane language of “dynamic
equivalence” translations (see here), ugly, chaotic church buildings (see here for more on that), and the
rejection of traditional devotions for innovations that tend to direct
our attention to the here and now (and US), rather to the above, beyond and
HIM.
This is all a lead-in to the clip below,
an overflow from yesterday’s feast of Our Lady of Sorrows. The video’s creator beautifully combined the
incomparable Giovanni Pierluigi Palestrina’s setting for the Marian Hymn
“Stabat Mater” with visuals of Michelangelo’s Florentine Pieta (also
known as the Deposition). This
sculpture has a interesting history (see here),
which along with its atypical (for Michelangelo) style and composition make it a fruitful object for a meditation on the suffering of Mary, and suffering
in general. So here we have beautiful visual art working with beautiful sacred music to lift up our prayer. What could be better?
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