Monastery of the Holy Cross

Articles tagged with culture

The Holy Family

While doing a bit of searching in connection with yesterday’s Feast of the Holy Family, I discovered this striking–and humorous–image by the early 14th century Sienese iconographer Simoni Martini. It shows the finding of 12-year-old Jesus in the temple after Mary and Joseph had been searching for him for three days. Anyone who has parented an adolescent will, I hope, find this depiction amusing:

Let me take this opportunity to invite you to join us for Solemn Vespers tomorrow, Tuesday, December 31 at 5:15 p.m. In addition to exquisite music by Josquin and Willaert, our Schola will reprise a motet I composed for last year’s celebration: Virga Iesse floruit. At the bottom of this post is a sneak preview of the first of Josquin’s antiphon settings for this solemnity. The text, O admirabile commercium, with a translation, is also given below.

Merry Christmastide to all!

–Prior Peter, OSB

 

O admirabile commercium!
Creator generis humani,
animatum corpus sumens,
de Virgine nasci dignatus est:
et procedens homo sine semine,
largitus est nobis suam Deitatem.

O wondrous exchange:
the creator of human-kind,
taking on a living body
was worthy to be born of a virgin,
and, coming forth as a human without seed,
has given us his deity in abundance.

Our Lady of the Rosary

My mother taught me to pray the rosary. In her family, they had the old custom of praying a decade nightly on their knees, with my grandfather leading the prayer. While that lovely custom didn’t continue into my generation, the rosary continued to be the primary mode of prayer. It was definitely what we turned to when life became anxious for any reason.

The rosary developed over many centuries and through many twists and turns. The pious legend that Our Lady gave it directly to Saint Dominic has helped to cement the connection between the “Domini Canes” (the “hounds of the Lord” as the Dominicans have been playfully nicknamed) and Our Lady as the Vanquisher of All Heresies. The deep history is in the lay spirituality of the high medieval period, when lay brothers in monastic communities used beads to count 150 Paternosters in place of the 150 Psalms that were required weekly of the choir monks (who could read, and thus were expected to digest these extensive texts).

Eventually, these 150 beads came to represent 150 Ave Marias, and these were further divided into 15 decades, to which were assigned the familiar Joyful, Sorrowful, and Glorious Mysteries. Connecting the prayers to the Mysteries seems to have been another monastic innovation, this time from the Carthusian Dominic of Prussia. Confraternities of the rosary became popular in the late 15th and early 16th centuries.

But it was the clash of civilizations that culminated in the great Battle of Lepanto on October 7, 1571 that cemented today’s feast into the liturgy. As the Ottoman fleet prepared to square off against the Holy League of Catholic states, led by the soon-to-be famous Don John of Austria, Pope Saint Pius V urged all Catholics to pray the rosary in defense of Christendom, already tottering in the wake of the Reformation. The League’s decisive victory was attributed to Our Lady’s intercession, and effectively ended the Ottoman threat for another century and a half.

While the contemplative dimension has never been absent from the rosary, this more “militant” aspect also became more typical of the devotion. It is a part of spiritual warfare, as I discovered as a child, learning to ask Our Lady fervently for her protection under duress. The addition of the Fatima Prayer (…Lead all souls into heaven, especially those most in need of Thy mercy) strengthened the sense of prayer as battle. Pope Leo XIII, in his 1883 encyclical  Supremi Apostolatus Officio, urged Catholics again to take up the rosary in battle, this time a more clearly spiritual battle than at Lepanto, against the incursions of particular evils into modern society.

More recently, Pope Saint John Paul II wrote his own apostolic letter, Rosarium Virginis Mariae, in which he extolled the contemplative dimensions of this devotion, even adding five new Luminous Mysteries. While I have heard some criticism of these additions (they disrupt the parallel between the 150 Ave Marias and Psalms), they are very much in line with another important document from his papacy, issued by the Congregation for Divine Worship and the Discipline of the Sacraments. In this directory, pastors were urged to help the faithful to draw the connections between popular lay devotions and the liturgy. The 15 original Mysteries of the rosary corresponded to the most important mysteries of the Liturgical Year. John Paul’s introduction of the Luminous Mysteries fills out the traditional mysteries of Epiphany (adding the Baptism of Jesus and the Wedding at Cana), adds the central feast of the Transfiguration and the solemnity of Corpus Christi, and invites us to meditate on the feasts of the Apostles in the third of the Luminous Mysteries.

We happen to live in a most perplexing moment when, as in the times of Pius V and Leo XIII, the demonic spirit of deceit, division, and violence is visibly attacking the Church and humanity. In 2018, Pope Francis issued his own call to Catholics to engage anew the spiritual battle under the banner of the Virgin Mary, “asking the Holy Mother of God and Saint Michael  Archangel to protect the Church from the devil, who always seeks to separate us from God and from each other.” It is not a coincidence that the rosary has recently been in the news, albeit with a certain amount of misinterpretation, as a symbol of (spiritual) militancy.

May our celebration this evening be pleasing to Almighty God, and may the Virgin Mother of God once again crush the head of the Serpent, that we may spend our days in peace and conversion of life. And may Christ lead us all to everlasting life. Amen.

 

Life in the Spirit

“For what person knows a man’s thoughts except the spirit of the man which is in him?” [1 Corinthians 2: 11]

When Beethoven was a young man, one of his principal patrons, Count Waldstein, predicted that he would inherit the spirit of Mozart. Music historians will often make statements to the effect that the first half of the nineteenth century in Europe was dominated by the spirit of Beethoven himself, and that the second half was strongly informed by the spirit of Wagner. The negative expression of this latter reality belongs to the iconoclastic composer Claude Debussy, who said that his task was the exorcism of the “ghost of old Klingsor, alias Richard Wagner.”

Beethoven’s spirit is often connected to the rise in democratic movements following the French Revolution. He famously erased Napoleon’s name from the manuscript of the Eroica symphony when he heard that Napoleon had  crowned himself as emperor.

To what does all of this refer? Two aspects come to light. The music of Mozart, Beethoven, and Wagner was experienced by many of their near-contemporaries (and many of us today) as touching on something profoundly true and beautiful. The crystalline perfection of Mozart’s symphonies and the heroic pulses of Beethoven’s symphonies inspired (in-spirited!) many young composers to take up the quill and try their own hand at composing. Musical composition is always a process of interior listening, testing to see how musical ideas imply other musical ideas, and how these in turn touch ineffably on the meaning of the human and divine. When one is immersed in the music of a Mozart, one learns from him how to listen and how to discern the true from the false, the profound from the trivial.

The first practical effect of this discernment is that early Beethoven sounds very much like Mozart’s music. Wagner’s earliest compositions sound eerily similar to Beethoven’s middle and late periods. Notice that Wagner’s music would almost never be mistaken for Mozart’s though. Something has changed with the appearance of Beethoven. This fact points us to the second important idea of the “spirit” of a man. However much Beethoven inherited Mozart’s spirit, as this spirit entered into another  unique individual, Beethoven’s own creativity was quickened into life, an unrepeatable life. Thus emerged Beethoven’s own spirit that he bequeathed to the varying compositions of Schubert, Schumann, Liszt, Brahms, and Wagner.

“God’s love has been poured into our hearts through the Holy Spirit who has been given to us.” [Romans 5: 5]

Wagner’s spirit led him to reconnect with a heroic past in mythology, a similar intuition to that of J.R.R. Tolkien in a later generation.

All the baptized partake of an analogous reality. But instead of inheriting the spirit of a fellow creature, we have received the Spirit of Christ, the Son of God. This is a true inheritance: “all who are led by the Spirit of God are sons of God.” Being led by the Spirit does not mean in any way that we become marionettes, any more than Wagner robotically reproduced Beethoven’s music. The Spirit quickens what is latent in us, and we develop into ourselves. This is why Scripture speaks of the Spirit as both our inheritance, and a pledge of a future inheritance into which we have yet to enter. “[You] were sealed with the guarantee of our inheritance until we acquire possession of it.” [Ephesians 1: 13-14] Led by the Spirit, we are already God’s children and yet something still greater awaits: “Beloved, we are God’s children now; it does not yet appear what we shall be.” [1 John 3: 2]

Who among us is as free as the saint of God?

Just as a composer infused with the spirit of Beethoven learns from studying the master’s work, we will grow in the Holy Spirit to the extent that we accompany Jesus Christ in our daily lives, make Him our model and learn from Him how to discern the true from the false. We do this by participation in His mysteries in the liturgy, by meditating on Holy Scripture, and by recognizing Christ’s presence in His Body the Church. Many of us resist this with a false understanding of what it means to take responsibility for our own lives. Critics of religion will claim that the Church’s morality deadens our individuality, infantilizes us by scripting our own lives for us. But as my examples of composers demonstrate, the spirit of Mozart did the opposite for Beethoven. It freed Beethoven to develop into the great light for so many who came after him. If this is so with the spirit of a man, how much more will the Spirit of the Creator God free us to mature into true individuals, as articulated members of Christ’s Body? As C.S. Lewis well expressed the freedom of those led by the Spirit, “How monotonously alike all the great tyrants and conquerors have been: how gloriously different are the saints.”

Come Holy Spirit!

Prior Peter Funk
Pentecost, A.D. 2021

A Summons to Encounter in Unhurried Beauty

Prelude 1: Danseuses de Delphes (Dancers of Delphi)

Imagine a healthy person moving slowly. How can you tell if such a person is hesitant, or dawdling, being sneaky, or being solemn? Where someone is attempting to move at a solemn pace, how might we distinguish between genuine piety, sanctimony, and lumbering?

In almost every wedding rehearsal I’ve attended, the priest or minister has had to instruct the bridal party to walk more slowly. We are not accustomed to the solemnity and dignity of well-executed ritual. What makes a hasty bride appear gauche? I suspect that it is related to what George Steiner called “ceremonials of encounter” in his important book Real Presences. As I suggested in an earlier post, all beauty promises an encounter. Do we miss this encounter because we have lost the feel for ceremony?

With these thoughts in mind, I suggest that you listen to this three-minute piece, which was inspired by the “Acanthus Column.” Debussy was familiar with a replica of this column, which depicts the ritual dance of worshippers of Apollo at the god’s shrine at Delphi. In my hearing, this dance also takes the form of a procession toward the shrine.

[image: by Ricardo André Frantz (User:Tetraktys), editing by User:Jastrow – cropped and colour-adjusted from Image:019MAD Room.jpg taken by Ricardo André Frantz, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=3370119]

Danseuses de Delphes is to be played slowly and seriously, and the opening measures are also marked “soft and sustained,” or, perhaps, “elevated.” The piece is an imagined accompaniment to a pagan liturgy. Debussy would have had no direct experience of pagan ritual, so it is safe to assume that he borrows from his experience of traditional Catholic liturgy, with its slow processions and deliberate gestures. He was an admirer of the restrained craft of Palestrina, considering it the true sacred music of the Church. This sense of a public liturgy is reinforced by an interesting performance direction at measure 11 (1:12 in the video), doux mais en dehors, which would indicate something like, “soft but outward,” meaning that the quiet dynamic is not a sign of privacy or introversion. It is a sacred hush, as the dancers move nearer the shrine.

The opening melody is played twice, at :02 and at :37. There is an important difference in the second version. After each of the slow notes of the ascending melody, an echo in the upper register is introduced, almost as if the god has heard the prayer of the dancers and is responding from a distance. At 1:12, a new theme is introduced. In this new section, the melody and echo have switched places, with the high carrying the melody, and the middle range responding. Notice too, that the two parts are now moving toward each other, toward an “encounter.” The high notes descend gently and the middle notes ascend in response. It is very much like the ascent of the Catholic priest to the altar, and his prayer that the Holy Spirit might descend upon the gifts presented there.

The arrival or encounter proper takes place at measures 15-17 (1:34-1:50). Such a beautiful moment! The mysterious music in measures 21-24 (2:13-2:38) perhaps represents the withdrawal of the god back into the sky. 

Let me compare this piece to two other “liturgical” pieces. In the work of Palestrina, the careful balance of dissonance and consonance gives the listener a sense of directionality. Whenever a dissonant interval is introduced, it awakens a desire that finds its temporary resolution in the following consonance. This practice develops within a religion that arises out of a certain “problematic,” the question of sin, alienation, and suffering, which have been overcome so as to point the way to a consummation in the Kingdom of Heaven.

Debussy’s style in the first Prelude abstains from functional dissonance. He uses clusters of notes, but often in such a way as to deepen musical color rather than to suggest an unfinished desire. This suggests a religion that is a mystical projection of simpler desires, not so obviously concerned with questions of justice and suffering.

The lack of any haste or drive in the piece suits the worship of Apollo. His cult was frequently contrasted in the 19th century (most famously by Nietzsche) with the Bacchic, frenetic, emotionally suffused worship of Dionysus. Three years after the publication of Debussy’s first book of Preludes, Stravinsky shocked the world with his very different depiction of pagan liturgy, the Dionysian Rite of Spring. 

The lack of haste suggests reverence and confident self-possession. How does our fast-paced society not only rob us of our personal dignity, but make it difficult for us to show reverence when it is time to pray? Does our rushing about constrain us by betraying a lack of confidence in God’s nearness? What can contemporary Catholic liturgy learn from Debussy’s imaginative scenario, which borrows from an earlier Catholic sensibility?

Might the addition of ceremony into more areas of life also introduce meaning? Many of my friends and family members who are tea drinkers attest to the importance of ceremony in brewing and drinking tea. Nearly everything in monastic life is ceremonialized. Is this a sign of a nervous, controlling culture? Or the expressed desire to encounter?

***

Note: I’ve linked Barenboim’s performance because his observance of Debussy’s instructions is the most scrupulous of the performances that I could find. However, it is always worthwhile to hear others’ interpretations. We should bear in mind that the performed piece is the best interpretation, and that my written comments are only meant to open the ear to the performers’ interpretations, and the eye to the world that inspired (in-spirited) both Debussy and his interpreters.

If you have the time, I recommend listening to each piece two or three times, perhaps in different versions.

 

Here is Palestrina’s most famous motet, on the text (apt, for this post) “As the hart desires after fountains, so my soul desires after You, O God.” The use of dissonance to suggest desire and resolution is clearest where the text anima mea (my soul) appears at 2:13. If you can read the music, you will see that the first syllable of anima is often tied over a barline. When the barline hits, a new note, dissonant with the one being held on anima, creating that sense of tension. Note that the resolution of anima is downward, creating a sense of rest and repose.

And here is Stravinsky’s “Dionysian” ritual. Notice how restraint is gone, and ceremony has been transformed into something fearsome, especially at 3:00. This ritual will end with human sacrifice:

 

Can Faith Be Argued?

“We begin from faith, not reason. ‘Credo ut intelligam.’ But how does one argue faith?”

A friend recently asked me this question on a Facebook thread. The thread was about the degenerating relationship between the sexes, though the problem is clearly a more general one. That problem is one inherent in human nature and one that the institution of culture address: how do we resolve disagreements? I suspect that most of us, without reflecting on the problem, assume that we reason toward agreement. This would be terrific were it so; but this requires that we share premises and that we are skilled at drawing logical inferences from premises and applying them to particular cases. In other words, it requires that we be virtuous, using charity with our fellows and cultivating prudence.

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Cutting to the Chase Re: Jordan Peterson

Internet chatter about Jordan Peterson continues unabated. I was hoping to write a slow and leisurely commentary on the phenomenon of his appearance, but I’m not sure one has that luxury. So I am going to jump in a say what I find hopeful about his ideas and the response to those ideas, and then offer some critiques of the same. Afterward, I may take the time to unpack the different themes in his writing and lecturing, particularly in the ways in which his approach and startling insights can help those of us tasked with spreading the Gospel.

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Why Monks Sing

Yesterday, I received an email from Jon Elfner, a friend of mine.  The email read, in part:

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Jordan Peterson and the Life of Faith, Part 2

A less-than-favorable review of Dr. Peterson’s recent book Twelve Rules for Life called it a “self-help book from a culture warrior.” Were this an accurate summary, I doubt that I would have finished chapter one, much less the entire book. This description is inaccurate in two ways, both of which expose the corrosive cultural narrative (one that, I think, the Right and Left hold, for the most part, in common) that distorts what Peterson is saying. Let me deal with the idea of a “culture war” first. I propose to do this by comparing Dr. Peterson to one of the West’s most influential authors whom you’ve (probably) never read, Peter Lombard. This comparison will illuminate the reasons why I consider Dr. Peterson’s appearance on the scene to be mainly a hopeful development.

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