Posted on 05/06/2006 5:33:23 AM PDT by NYer
"There are people," says Jesuit Father John Foley, with a hint of a smile, "who have complained that we wrecked the whole tradition of church music."
"We" meaning the St. Louis Jesuits, whose collaborative composing efforts remain arguably the single greatest influence on contemporary liturgical music of the post-Vatican II era. Writing Scripture-based music (itself a revolution of sorts) in a style of music that was more in keeping with that of the secular world and thus more familiar to many ears (itself not just revolutionary but heretical, in the minds of some --- and nothing less than musical manna, in the minds of others), the SLJs continue to influence generations of composers.
In the past few years, after having gone their separate ways in the mid-1980s while remaining active in liturgy and music, the SLJs --- Dan Schutte and Jesuit Fathers Foley, Bob Dufford and Roc O'Connor --- have reunited for several concerts (including one at the recent Religious Education Congress in Anaheim) and a new recording of liturgical music ("Morning Light," on Oregon Catholic Press).
While in Anaheim, the quartet gathered for an interview with The Tidings that touched on liturgical and musical issues in today's church. Here is some of what they had to say:
Q: How does the climate for composing liturgical music today compare with that of 25-30 years ago, when your music was first becoming accepted?
Schutte: In the early days, we were trying to fit in, in a good Ignatian way, into the times. Back then, people were still getting their feet wet, taking baby steps in this newer style, in response to what was happening. The climate for composing these days is certainly very different than in the early '70s. Because there are so many published composers now, the sheer volume of music being offered is astounding. And in the last 35 years, many of the ritual needs and themes have been covered. So it's much more of a challenge to a composer to create something that is both unique and, at the same time, helpful for people's communal prayer.
Q: What has been the effect of the revised General Instruction on the Roman Missal on your composing?
Foley: Through the GIRM, the church I think is trying to heal itself, to make the worship experience more contemplative. We have had various paradigms of liturgy. I think what the church (Rome, the bishops) is saying with the General Instruction is, let's make it good liturgy. When we began composing, we used Scripture, which was important for reasons we didn't fully realize then. We really were just using a more popular, more familiar style of music to communicate the word of God to the faithful.
Schutte: A lot of people, in fact, were not aware of what Scripture had to say until they heard it in our music. They would hear one of our songs, and then later on read the Scripture passage that it was based on, and say, "Oh, so that's earthen vessels." To make the liturgy something that lives in people's lives is really what we have tried to do in our music by using Scripture, and then to expand that for people to use in their own personal prayer.
O'Connor: When we talk about the GIRM, it's important to read it closely, more intently in order to fully understand and appreciate what it is saying, because there is a theological and pastoral intent in it that gets lost amidst "the rules." The GIRM talks about the meaning of what we do in liturgy, and that's very important. That's helped me shape what I do in composing. So we need to look at it more broadly rather than strictly in terms of fulfilling the rubrics.
Dufford: In liturgical workshops that I do, I've called people to a more contemplative approach to Mass. There needs to be depth to what we do in liturgy, which is what the GIRM is also saying. Now if you're saying its impact or effectiveness needs to be measured in how many times we kneel, how long we ring bells, how high we raise our hands in prayer, well, you're losing the point. It is, I think, a very welcome document.
Schutte: Years ago, when we would do workshops, we would always emphasize the need for silence in the liturgy; let the words, the ritual actions of the Mass sink in. Now the Instruction calls us to do that, in very specific words.
O'Connor: St. Ignatius always said, "Put the best interpretation on it," whatever "it" might be. We need to ask ourselves, "How does this document lead us to the best expression of God's presence in our lives?" And that's what we need to ask in our composing efforts as well.
Q: Talk about music and its purpose in liturgy.
Foley: Music in liturgy is supposed to carry the words to people in a particular way, but the text is really the key element.
Dufford: In [Schutte's] song, "Here I Am Lord," there is a call and response mechanism that people don't always see. The verses are calling; the refrain is a response. But at Mass, the people almost always sing verses and refrain. And that's fine, but it's also good to really examine the text in order to use a song to its greatest effectiveness. Early on, in our published music, we would put in chords and descriptions of the pieces, the high and low points, in order to help people sing more effectively.
Schutte: Text and prayer are key in liturgical music. In structuring a song, it's important to place great care in how you accent the words within the music. Don't rush the words through. For us, it's always been a matter of keeping the focus on the prayer; the music supports the prayer.
Dufford: Keep in mind, too, that the emphasis is not on performing the song or the words; it's on the experience of God, and as musicians and composers our task is to help people experience God as fully as they can, whether it be in worship, on retreat or in the course of daily living.
Q: After three decades, are we to the point of overload in liturgical music? Or are there areas that have not been addressed as fully?
Schutte: In the history of art and music, there are reasons for creative breakthroughs. Someone gets a new or bright idea and puts it out there, and others pick up on it.
Dufford: Like Taizé. That was a very distinctive style, very meditative, very easy to connect with and sing with, and it has become very popular.
O'Connor: I still think there is something wonderful about searching for ways to help people connect with their inner selves and God. I hope there is always something that allows that to happen. I know that it's certainly another thing to be composing at our age than it was 30 years ago. It's assuring to know that the St. Louis Jesuits wrote music that still influences people.
Foley: It's important to acknowledge that the kind of music we have written, and are writing, is not in any way the paradigm for contemporary liturgical music. We definitely love and respect other styles different from ours. The issue, though, regardless of how you write, is making sure that people can participate, and by that I mean not simply in being able to sing the notes but in embracing the prayer and the meaning of the text.
Q: How has chant influenced your composing? (Ed. note: All four have written pieces in the chant style.)
Foley: I love chant. The problem is that not all churches use it, so it's more limited. We have used various models infused into our music. And our music, by the way, isn't folk music, even though some described it that way, especially early on. It's not "youth music," either, although inevitably youth were drawn to it.
Schutte: The GIRM calls us to preserve chant, which is appropriate. I would say that no music of any age should be excluded from possible use. The danger in using only contemporary or only chant is that people exposed to only one style can come to believe that this is the sensibility of the church today. It really opens up one's perspective to use a variety of musical styles from different times and from over the centuries of our tradition. That's a richness which we, as liturgical and music ministers, are called to preserve.
Foley: What the bishops, the Vatican, the documents of the church are after is quite reasonable: Let's make sure that we reflect, in our music, the faith as the church believes. Because music does make a lot of difference to people. I've been on the bishops' subcommittee on liturgical music, and I remember back at the very first NPM conference when we handed out copies of the CSL to people --- and many were totally unfamiliar with it. I don't think we're rebels at all.
Q: Your music has had a profound effect on many other composers and liturgists. As you compose today, what composers or other kinds of influences --- music styles, cultures, e.g. --- have an impact on you?
Dufford: I would say Taizé, which when I first heard it was very different from what I had been doing. Also, the retreat work that I do is very influential. Listening to the life stories that people on retreat share has affected me quite a lot. Through that experience, from what I see in people, it realty gives me more hope for the church.
Foley: For the last five years I've written weekly website reflections on the Sunday Scriptures, and it's been interesting to be that close to the Gospel. It's converted me, really, to see exactly what Jesus did and how he was touched. That's been a wonderful experience, because it is an attempt on my part to really help the Sunday Mass become the Mass of the people. How would we live our lives if we had the Scriptures and the life of Jesus in our heads all week?
Schutte: I've sort of rediscovered chant in recent years. And, although it's been 20 years since I left the Jesuits, I recently re-connected with St. Ignatius through the project I've done with Bill Heubsch and Twenty-Third Publications, a set of Ignatian spiritual exercises with music. And at the University of San Francisco [where he is composer in residence], I have a unique challenge in that I work with students who have their own preferences on music. There is much I love about it; they find something in it that really connects with their own spirituality. Yet the music sometimes becomes more important than text, so I have to find ways to bring the music they like together with a meaningful expression of Scripture.
Foley: The Life Teen movement has been very interesting; it's very powerful to see how parts of the Mass, especially the Eucharistic Prayer, become very holy to these youth. And to hear what they can do with older music --- I once heard a reggae version of "One Bread, One Body" that I would have thought couldn't be done, but it was, and done very well.
O'Connor: My influences right now include Renaissance dance music and Southern Gospel. Also, I teach a class on sacraments, and reading the works of John Macmurray is very helpful in knowing how to read the GIRM. And so is just being part of healthy discussions on liturgical prayer, and being aware of what other folks are doing.
I agree. And I enjoy singing them. But none of them were written by the St. Louis Jesuits, Marty Haugen, Dave Haas, and any of the other "giants" of contemporary church music.
Things have been hectic lately from many quarters.
Or Schutte or Hurd....
I am delighted that our priest has started singing oldies and goodies at Daily Mass. He is very persistent and I know he will eventually get around to our music director. A case of timing.
Thanks for the warning, boys... Click here for more on OCP. (Oregon Catholic Press)
"nothing less than musical manna, in the minds of others"
Or musical Mammon.
Sorry, couldn't finish reading this. Just when it was all starting to fade away, they come back and want to relive it all.
"After Vatican II, liturgists couldn't wait to dump Gregorian chant, claiming that it limited the participation of the faithful in the liturgy. (They never proved this.) Ironically, the music that has replaced the chant has not increased congregational singing either."
Agreed. Chant is, in fact, the easiest form of music to learn due to its noble simplicity. For me personally, I can reasonably sight read any chant text (13 years of experience), while I still struggle to sing polyphony and other more modern forms of music. But, I'm not a music person, per se.
"....music is written for soloists and small groups..."
Who usually occupy the stage in taverns and/or Las Vegas bistros.
Hell, the Rolling Stones can do it...why not US???
Let's not have delusions of grandeur here.
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