Poetry, as the bridge between language and music, is uniquely capable of expressing the deeper truths of human existence. The following poem is not only a touching call from woman to woman, but also a call across the ages to all of humanity. Written by the American nun Sister Columba Guare, it also received a lovely musical setting by California-based composer, Frank La Rocca (himself a convert to Catholicism.) I share the poem and piece with you now, with the hopes of enriching your day.
The below video is an excellent introduction to what is both proper and improper regarding music for the Catholic liturgy. Rather than delve into "new-age" vs. "traditionalist" approaches, it illustrates the Church's aesthetic guidance while showing the way to new yet relevant musical expressions. At only a few minutes in length, it is a valuable introduction to a quality Catholica aesthetic.
As one of those people who often find that having developed taste disqualifies me from being able to tolerate Masses in most parishes, MacMillan's statements -- and the Pope's choice of a composer -- offer great hope. Furthermore, the Pope is clearly giving definitive stylistic guidance; our Bishops and local parishes should pay attention and follow suit.
The brief and tragic age of liturgical "kum-ba-ya" is coming to an end; a new renaissance in liturgical art and music is dawning, and the faithful are hungry to rediscover their traditions.
The Holy Father is set to release his next book, in which he will meditate on art, music, and the path of faith. It promises to be a goldmine of contemplation. Here is the most recent press release through CNA:
Juxtaposition is a powerful force when used with care. In "Holocaust: A Musical Memorial" by director James Kent (first aired BBC-2 January 2005), the horrific visions of the decaying Auschwitz-Birkenau concentration camps are put into stark relief against truly beautiful music.
The film deals with the topic of how music was used at the camps, including interviews with former "members" of the Auschwitz orchestra. In a seeming effort to heal this rape of music as part of mass murder, Kent films some of the great performers of our time performing in the very same spaces which once housed such unspeakable tortures.
While all very moving, perhaps the most effective performances in the film include a stirring version the second movement of Henryk Gorecki's Third Symphony, filmed between a stark abandoned munitions plant and a snow covered Auschwitz. (Youtube video below.) The final movement of this film sees violinist Maxim Vengerov playing a Bach Chaconne as he slowly walks through the camp building, through the grounds, and finally out of the camp. The ensuing silence is gripping.
There are the occasional DVDs which merit a near universal viewing; James Kent's BBC special, "Holocaust: A Musical Memorial" is truly one of those films which everybody should see and own. I waited for almost 8 weeks to receive this from the Auschwitz book store, and I suggest that you do the same. Here is a link to the product at the Auschwitz-Birkenau bookstore.
This blog explores the tenacious issues between culture and faith, as well as continually trying to articulate a more precise view of the Catholic aesthetic. It is intended as an antidote to the ravages of relativism. I dedicate this blog to Our Lady of Czestochowa.
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