Cantare amantis est. (The lover sings.)
Saint Augustine of Hippo
He who sings prays twice.
When Pope Saint Pius X set out to eliminate abuses concerning the musical aspect of liturgical celebrations
In the first year of his pontificate Pope Saint Pius X issued a Motu proprio (Tra Le Sollecitudini) on the feast day of Saint Cecilia, the patroness of music and musicians. This Motu proprio deals with “the abuse affecting sacred chant and music“ and aims at correcting it once and for all by pointing out “the principles regulating sacred music in the functions of public worship“, the “principal prescriptions of the Church against the more common abuses in this subject“. Pius X imposed a “scrupulous observance“ of this Motu proprio “on all“.1
“Nothing should have place, therefore, in the temple calculated to disturb or even merely to diminish the piety and devotion of the faithful, nothing that may give reasonable cause for disgust or scandal, nothing, above all, which directly offends the decorum and sanctity of the sacred functions and is thus unworthy of the House of Prayer and of the Majesty of God.“
Pope Saint Pius X‘ Motu proprio Tra Le Sollecitudini
He declares that he desires “to see the true Christian spirit flourish in every respect“ and that he considers it his “first duty“ to reproof and condemn “all that is seen to be out of harmony with the right rule above indicated, in the functions of public worship and in the performance of the ecclesiastical offices“.
Sacred music is “a complementary part of the solemn liturgy“, thus participating “in the general scope of the liturgy, which is the glory of God and the sanctification and edification of the faithful“ (TLS 1).
Sacred music must therefore possess “sanctity and goodness of form“ (TLS 2), neither in itself nor in the manner of its presentation ought to be any profanity. “It must be holy“ and “true art“ and “universal in the sense (…) that nobody of any nation may receive an impression other than good on hearing“ (TLS 2) these musical compositions.
These qualities of sanctity, of being true art, and of universality “are to be found, in the highest degree, in Gregorian Chant, which is, consequently the Chant proper to the Roman Church, the only chant she has inherited from the ancient fathers, which she has jealously guarded for centuries in her liturgical codices“ (TLS 3).
Pius X‘ Motu proprio thereby declares that Gregorian chant “has always been regarded as the supreme model for sacred music“. Gregorian chant is the substantial definition of sacred music, the gold standard of sacred music – so that “the more closely a composition for church approaches in its movement, inspiration and savor the Gregorian form, the more sacred and liturgical it becomes; and the more out of harmony it is with that supreme model, the less worthy it is of the temple“ (TLS 3).
“The ancient traditional Gregorian Chant must, therefore, in a large measure be restored to the functions of public worship (…).“
Pope Saint Pius X‘ Motu proprio Tra Le Sollecitudini, 3
This “traditional Gregorian Chant (ought to) be cultivated by all with diligence and love“ (TLS 25) and “special efforts are to be made to restore the use of the Gregorian Chant by the people, so that the faithful may again take a more active part in the ecclesiastical offices, as was the case in ancient times“ (TLS 3).
Saint Pius X concedes that besides Gregorian chant the Renaissance polyphony of the Roman school, and thus the compositions of Giovanna Pierluigi da Palestrina (1525-1594), exhibits the features of sanctity, good form, and universality to a certain degree. Palestrina‘s compositions of sacred music are non-instrumental choral singing for several voices. This Italian composer was careful to observe in his sacred art the norms which the Council of Trent had laid down.
The Motu proprio bans “the different kinds of modern music“ that by their nature are “diametrically opposed to Gregorian Chant (…) and therefore to the most important law of all good sacred music“ (TLS 6), notably compositions of “the theatrical style“ and prohibits “the psalms known as di concerto“ and “the form of a concert melody“ (TLS 11).
Sacred music “proper to the Church is purely vocal music“ (TLS 15) and “singing should always have the principal place“ (TLS 16), not instruments. The “proper aim“ of sacred music is “to add greater efficacy to the (liturgical) text, in order that through it the faithful may be the more easily moved to devotion and better disposed for the reception of the fruits of grace belonging to the celebration of the most holy mysteries“ (TLS 1), and “the liturgical text must be sung as it is in the books (…) without undue repetition, without breaking syllables, and always in a manner intelligible to the faithful who listen“ (TLS 9). Saint Pius X states that “it is not lawful to keep the priest at the altar waiting on account of the chant or the music for a length of time not allowed by the liturgy“ (TLS 22) and that “it must be considered a very grave abuse when the liturgy in ecclesiastical functions is made to appear secondary to and in a manner at the service of the music, for the music is merely a part of the liturgy and its humble handmaid“ (TLS 23).
The only permissible instrument for accompanying the singing is the organ but it “should merely sustain and never oppress“ (TLS 16) the singing; other instruments can only be allowed “in some special cases, within due limits and with proper safeguards“ (TLS 15). The playing of the piano and of all “noisy or frivolous instruments“ (TLS 19) – Saint Pius X names drums, cymbals, bells – is explicitly prohibited; “to have bands play in church“ is also “strictly forbidden“ (TLS 20).
No Mozart, no Haydn,2 no Verdi in the holy temple of God according to Saint Pius X. For it is very clear, then, that the Mass pieces by these composers and other similar ones of “the theatrical style“, of the concert style, violate all these norms and are responsible for such abuses which disturb the public liturgical worship and prayer, the authentic, natural, and sacred form and flow of the liturgical action as holy sacrifice and divine office. Obviously, Saint Pius X wrote this Motu proprio to do away with all these “very grave“ deformations and to restore Gregorian chant to its pride of place.
“(…) We deem it necessary to provide before anything else for the sanctity and dignity of the temple, in which the faithful assemble for no other object than that of acquiring (the true Christian spirit) from its foremost and indispensable font, which is the active participation in the most holy mysteries and in the public and solemn prayer of the Church. And it is vain to hope that the blessing of heaven will descend abundantly upon us, when our homage to the Most High, instead of ascending in the odor of sweetness, puts into the hand of the Lord the scourges wherewith of old the Divine Redeemer drove the unworthy profaners from the Temple.“
Pope Saint Pius X‘ Motu proprio Tra Le Sollecitudini
Other norms mentioned in this Motu proprio include the statement it is “forbidden to sing anything whatever in the vernacular in solemn liturgical functions“ for Latin is the “language proper to the Roman Church“ (TLS 7) and the directive that only boys and men can be admitted to the choir for women are “incapable of exercising (a real liturgical) office“ (TLS 13) which is what singers have. These singers must be “men of known piety and probity of life“ with a “modest and devout bearing during the liturgical functions“ (TLS 14).
In short, according to this Motu proprio by Saint Pius X the music that participates best and in the most sacred form in the liturgical action of glorifying God while also sanctifying and edifying the faithful is Gregorian chant sung by a purely male Schola together with the laypeople who actively participate in singing their responsorial parts – conducted in a purely vocal manner, i. e. without any instrumental accompaniment which Gregorian chant truly does not need at all and which can easily endanger its purity, clarity, and simplicity of form.
Dom Jacques Hourlier‘s Reflections on the Spirituality of Gregorian Chant
“When sung in Gregorian chant, the prayer of the Church is supported by the best music there is for nourishing the soul, music which is also an artistic masterpiece.“
Dom Jacques Hourlier: Reflections on the Spirituality of Gregorian Chant, Paraclete Press 2018, p. 9; 10; 14; 34
“The prayer of Gregorian chant is the public prayer of the Church; it leads to union with God.“
“The chant (…) is a source of unity among Catholics, since it enables them to pray together in an atmosphere of beauty.“
“Led by their priests and bishops, the faithful everywhere have always sung Gregorian chant. (…) The authority of Gregorian chant is based on tradition.“
Dom Jacques Hourlier was a monk of the Abbaye Saint-Pierre de Solesmes, a Benedictine abbey near Angers, France, which is known for the efforts of Dom Prosper Guéranger, who was the first abbot of the community after its re-establishment in 1837, for the renewal of the worthy celebration of the liturgy, the restoration of liturgical tradition, and the promotion of Gregorian chant.
Five of Dom Jacques Hourlier‘s lectures on Gregorian chant were posthumously published. In these lectures Dom Hourlier reflects on the spirituality of Gregorian chant, on its special features, and explains why Gregorian chant is the masterpiece that it is and the most sacred form of music.
Gregorian chant has an “intrinsically liturgical nature“, being “an intrinsic part of the liturgy“ (p. 12) for it “was made for the temple of God“ and “always aims (…) at praising the Lord“ (p. 20-21). It “expresses the way in which Church Tradition reads the Scriptures and writings of the Fathers“ (p. 8) and “invites individuals to receive tradition and, ultimately, to receive Christ“ (p. 10). According to “a widely held theological opinion“ Gregorian chant can be seen to be a “sacramental“ (p. 13).
Some of its unique features are that it “is characterized by great simplicity“ and “never resorts to artifice“ – striving “to establish an authentic communion“, not a mood, and “ excluding (…) all that is artificial“ (p. 47) -, that it “neither wearies nor stimulates the imagination“ (p. 9-10), that it “does not permit mediocrity“ (p. 10), that it is “exceptionally conducive to silence and meditation“ (p. 11), that it is “deeply spiritual because it is profoundly human“ (p. 11), that it “helps bring unity to the soul, enabling a person to be one with himself“ (p. 12), that its “universality contrasts sharply with the particularity of other musical forms, which tend to have a temporary as well as local life“ (p. 32), and that it is “the musical form most closely related to the ancient Eastern and Jewish models“ (p. 33). There are, not too surprisingly, many hints that certain melodies of Gregorian chant come directly from the liturgical temple worship of the Jewish people. Gregorian chant is deeply rooted in ancient times and in the Hebrew way of sacred sung prayer.
“Having sung the psalms they left for the Mount of Olives.“
Mark 14: 26
Its “essential, fundamental characteristic (…) is its pure monophony“ which means that “the style always remains linear“, is “totally melodic“, and keeps the “relationship between notes (…) strictly successive“ (p. 39). Thus the chant “seems to be aiming at something, or driving towards something“ – in fact “the subject of the song“ (p. 39): God. As it “can be sung by only one person“ it places everyone individually “directly before God“ (p. 39-40).
This “unique musical language“ (p. 41) “creates an impression very different from the one produced by what we refer to as ‘modern music‘“ (p. 40) and there is “a radical difference between Gregorian chant and all other musical languages“ (p. 45). “A separation from all that is profane, secular, and worldly“ (p. 45), from what is sentimental and commercial, is created by the chant that has about it “the almost undefinable aura of purity“ – “purity of technique, expression, and intent“ (p. 46).
“Word and music are not two separate entities but one and the same reality“ (p. 27) and “modality, melodic range, rhythm, and inner drive combine to give the text its full expressive value“ (p. 42-43).
Gregorian chant exhibits a “wonderfully transparent structure“ (p. 42) and is “like the icon or the ‘image of another, supernatural world‘“ (p. 43).
Dom Hourlier ascribes to the chant “humility“ (p. 46), “reserve, (…) chastity, and (…) poverty“ (p. 42), “depth“ and “gravity“ (p. 46) and the production of “an atmosphere filled with gentleness, strength, and peace“ (p. 46). Its “beauty is readily accessible“ (p. 44).
“True art reveals something of God‘s beauty, because man is created in the image and likeness of God.“
Dom Jacques Hourlier: Reflections on the Spirituality of Gregorian Chant, Paraclete Press 2018, p. 53; 54; 75
“One of the secrets of the effectiveness of the chant is that rather than striving to please the listener it speaks to him of God.“
“The music of psalmody is spiritual in the highest sense of the word. It is inward, human, and divine all at once. It is both contemplative and mystical.“
True music “is not an end in itself“ (p. 54). It “makes a person free“ – it does not make “the listener the slave of what he or she hears“ (p. 53). It is not “carnal“ (p. 62). Rather it “puts us into communication with things divine“ (p. 61) and “opens us up to the mystical life“ (p. 54).
The monk from Solemnes cites Dom Guéranger‘s definition of the liturgy as featuring antiquity (or permanence), universality (or catholicity), authority (or authenticity), and unction (or devotion). Gregorian chant possesses all of these qualities. The Holy Spirit – “the Spirit of Divine Love“ – is the author of what is called “unction, or fervor“ evoking “holiness, order, and peace, the opposite of dryness and sterility“ (p. 35).
The canticle of the bridegroom and the bride
“The voice of my love! (…) My love lifts up his voice, he says to me: Come then, my love, my lovely one, come.“
Song of Songs 2: 8-10; 4: 11
“Your lips, my bride, distil wild honey. Honey and milk are under your tongue and the scent of your garments is like the scent of Lebanon.“
It would be wholesome and beautiful if there rose to the heavens the sung prayer, the humble and pure offering of Gregorian chant in every Catholic church and monastery on all days all around the world, and if we could speedily be delivered from the scourge of “orchestra Masses“, of compositions of the “theatrical style“, that make the active, devout, fervent, and contemplative participation of both clergy and faithful in the Holy Sacrifice of the Mass unnecessarily difficult.
I dare to suggest that one should actually classify these compositions which keep haunting the churches in places like Vienna and Munich who pride themselves on their bands of church musicians as an aesthetic and moral offense to everyone who has acquired some level of sensitivity through the graceful education and formation provided by true liturgy. They fail to contribute to the glorification of God and are contrary to a spirit of authentic prayer. They sort of steal the sacred liturgical texts to kind of play with them instead of being subservient to the sacred, subservient to what worship and prayer really require.
The Holy Sacrifice of the Mass is not theatre or a “nice idea“ that must be adorned and presented with some pomp to supposedly have some emotional – sentimental – effect; it is the real and forever powerful, forever effective prayer and sacrifice of the incarnate Son of God, and we are called to unite ourselves with His prayer and sacrifice, to participate in Christ in a real – not artificial – way. No “orchestra Mass“ composition has ever been helpful in drawing the participants of the liturgy into truly human and devout prayer and adoration of the divine “King of the Jews“ at the foot of the cross, into the prayer of lovers and not spectators.
Real romance and “authentic communion“ (Dom Hourlier), a seeking that finds the One sought, and not false self-referential aesthetic idealism, is at the heart of the one true religion. Whatever work of art adorns the truth and goodness of this religion cannot be allowed to disturb or undermine “the true Christian spirit“ (Saint Pius X) but should – as Gregorian chant does most perfectly – offer a noble and simple beauty, a beauty that could be preserved even in a cave in the midst of a desert where only the human voice is left to us for music. Even in the midst of a barren wilderness the “wild honey“ of Gregorian chant would keep glorifying God and nourishing our souls just like Saint John the Baptist – “the voice of one crying in the desert“ – was fed by “wild honey“ (Mt 3: 3-4). For centuries the melodies of Gregorian chant were handed down orally, not in written form. They were transmitted from generation to generation, learned by heart, alongside all the many other essential and intrinsic elements of the living, practiced, embodied tradition of the one true religion.
The sung prayer of Gregorian chant, the art of that bare and ancient chant, is part of the invitation of the holy liturgy for all mankind to join the divine and human canticle of the bridegroom and the bride, of Christ and His Church.
“And he saith to them: It is written, My house shall be called the house of prayer; but you have made it a den of thieves.“
Matthew 21: 13
Saint Pius X, pray for us!
“To hear or sing Gregorian chant is to apprehend the fullness of a language that merely spoken words can never adequately express.“
Dom Jacques Hourlier: Reflections on the Spirituality of Gregorian Chant, Paraclete Press 2018, p. 9; 10
“Beauty which never wearies.“
“What utterances sent I up unto You, my God, when I read the Psalms of David, those faithful songs and sounds of devotion which exclude all swelling of spirit, when new to Your true love, at rest in the villa with Alypius, a catechumen like myself, my mother cleaving unto us — in woman‘s garb truly, but with a man‘s faith, with the peacefulness of age, full of motherly love and Christian piety! What utterances used I to send up unto You in those Psalms, and how was I inflamed towards You by them, and burned to rehearse them, if it were possible, throughout the whole world, against the pride of the human race! And yet they are sung throughout the whole world, and none can hide himself from Your heat.“
Saint Augustine of Hippo in his Confessions
“How greatly did I weep in Your hymns and canticles, deeply moved by the voices of Your sweet-speaking Church! The voices flowed into mine ears, and the truth was poured forth into my heart, whence the agitation of my piety overflowed, and my tears ran over, and blessed was I therein.“
- Full text of the Motu proprio here: https://adoremus.org/1903/11/tra-le-sollecitudini/ ↩︎
- By the way, both Mozart and Haydn were members of Freemasonic lodges. ↩︎