| CHIROGRAPH
OF THE SUPREME
PONTIFF
JOHN PAUL II
FOR THE CENTENARY OF THE MOTU PROPRIO
TRA LE
SOLLECITUDINI
ON SACRED MUSIC
1. Motivated by a strong desire "to maintain and promote the
decorum of the House of God", my Predecessor St Pius X promulgated the Motu
Proprio Tra le Sollecitudini 100 years ago. Its purpose was to renew
sacred music during liturgical services. With it he intended to offer the Church
practical guidelines in that vital sector of the Liturgy, presenting them, as it
were, as a "juridical code of sacred music"[1]. This act was also part of the programme of his
Pontificate which he summed up in the motto: "Instaurare omnia in
Cristo".
The centenary of the Document gives me the opportunity to recall
the important role of sacred music, which St Pius X presented both as a means of
lifting up the spirit to God and as a precious aid for the faithful in their
"active participation in the most holy mysteries and in the public and solemn
prayer of the Church"[2].
The holy Pontiff recalls that the special attention which sacred
music rightly deserves stems from the fact that, "being an integral part of the
solemn Liturgy, [it] participates in the general purpose of the Liturgy, which
is the glory of God and the sanctification and edification of the faithful"[3]. Since it interprets and expresses
the deep meaning of the sacred text to which it is intimately linked, it must be
able "to add greater efficacy to the text, in order that through it the faithful
may be... better disposed for the reception of the fruits of grace belonging to
the celebration of the most holy mysteries"[4].
Continuing a rich music tradition
2. The Second Vatican Council followed up this approach in chapter
VI of the Constitution Sacrosanctum
Concilium on the Sacred Liturgy, in which the ecclesial role of sacred
music is clearly defined: "The musical tradition of the universal Church is a
treasure of inestimable value, greater even than that of any other art. The main
reason for this pre-eminence is that, as sacred melody united to words, it forms
a necessary or integral part of the solemn Liturgy"[5]. The Council also recalls that "Sacred Scripture, indeed,
has bestowed praise upon sacred song. So have the Fathers of the Church and the
Roman Pontiffs who in more recent times, led by St Pius X, have explained more
precisely the ministerial function exercised by sacred music in the service of
the Lord"[6].
In fact, by continuing the ancient biblical tradition to which the
Lord himself and the Apostles abided (cf. Mt 26: 30; Eph 5: 19; Col 3: 16), the
Church has encouraged song at liturgical celebrations throughout her history,
providing wonderful examples of melodic comment to the sacred texts in
accordance with the creativity of every culture, in the rites of both West and
East.
The attention my Predecessors thus paid to this delicate sector
was constant. They recalled the fundamental principles that must enliven the
composition of sacred music, especially when it is destined for the Liturgy.
Besides Pope St Pius X, other Popes who deserve mention are Benedict XIV with
his Encyclical Annus Qui (19 February 1749), Pius XII with his
Encyclicals Mediator
Dei (20 November 1947) and Musicae
Sacrae Disciplina (25 December 1955), and lastly Paul VI, with the
luminous statements that punctuated many of his Speeches.
The Fathers of the Second Vatican Council did not fail to reassert
these principles with a view to their application in the changed conditions of
the times. They did so specifically in chapter six of the Constitution Sacrosanctum
Concilium. Pope Paul VI then saw that those principles were
translated into concrete norms, in particular with the Instruction Musicam
Sacram, promulgated on 5 March 1967 with his approval by the Congregation
then known as the Sacred Congregation for Rites. In this same context, it is
necessary to refer to those principles of conciliar inspiration to encourage a
development in conformity with the requirements of liturgical reform and which
will measure up to the liturgical and musical tradition of the Church. The text
of the Constitution Sacrosanctum
Concilium in which it is declared that the Church "approves of all forms
of true art which have the requisite qualities[7], and admits them into divine worship", finds satisfactory
criteria for application in nn. 50-53 of the above-mentioned Instruction
Musicam Sacram[8].
3. On various occasions I too have recalled the precious role and
great importance of music and song for a more active and intense participation
in liturgical celebrations[9]. I
have also stressed the need to "purify worship from ugliness of style, from
distasteful forms of expression, from uninspired musical texts which are not
worthy of the great act that is being celebrated"[10], to guarantee dignity and excellence to liturgical
compositions.
In this perspective, in the light of the Magisterium of St Pius X
and my other Predecessors and taking into account in particular the
pronouncements of the Second Vatican Council, I would like to re-propose several
fundamental principles for this important sector of the life of the Church, with
the intention of ensuring that liturgical music corresponds ever
more closely to its specific function.
Not all music is suited for church
4. In continuity with the teachings of St Pius X and the Second
Vatican Council, it is necessary first of all to emphasize that music destined
for sacred rites must have holiness as its reference point: indeed,
"sacred music increases in holiness to the degree that it is intimately linked
with liturgical action"[11]. For
this very reason, "not all without distinction that is outside the temple
(profanum) is fit to cross its threshold", my venerable Predecessor Paul
VI wisely said, commenting on a Decree of the Council of Trent[12]. And he explained that "if music -
instrumental and vocal - does not possess at the same time the sense of prayer,
dignity and beauty, it precludes the entry into the sphere of the sacred and the
religious"[13]. Today, moreover,
the meaning of the category "sacred music" has been broadened to include
repertoires that cannot be part of the celebration without violating the spirit
and norms of the Liturgy itself.
St Pius X's reform aimed specifically at purifying Church music
from the contamination of profane theatrical music that in many countries had
polluted the repertoire and musical praxis of the Liturgy. In our day too,
careful thought, as I emphasized in the Encyclical
Ecclesia de
Eucharistia, should be given to the fact that not all the expressions of
figurative art or of music are able "to express adequately the mystery grasped
in the fullness of the Church's faith"[14]. Consequently, not all forms of music can be considered
suitable for liturgical celebrations.
5. Another principle, affirmed by St Pius X in the Motu Proprio
Tra le Sollecitudini and which is closely connected with the previous
one, is that of sound form. There can be no music composed for the
celebration of sacred rites which is not first of all "true art" or which does
not have that efficacy "which the Church aims at obtaining in admitting into her
Liturgy the art of musical sounds"[15].
Yet this quality alone does not suffice. Indeed, liturgical music
must meet the specific prerequisites of the Liturgy: full adherence to the text
it presents, synchronization with the time and moment in the Liturgy for which
it is intended, appropriately reflecting the gestures proposed by the rite. The
various moments in the Liturgy require a musical expression of their own. From
time to time this must fittingly bring out the nature proper to a specific rite,
now proclaiming God's marvels, now expressing praise, supplication or even
sorrow for the experience of human suffering which, however, faith opens to the
prospect of Christian hope.
Celebration, not experimentation
6. The music and song requested by the liturgical reform - it is
right to stress this point - must comply with the legitimate demands of
adaptation and inculturation. It is clear, however, that any innovation in this
sensitive matter must respect specific criteria such as the search for musical
expressions which respond to the necessary involvement of the entire assembly in
the celebration and which, at the same time, avoid any concessions to frivolity
or superficiality. Likewise, on the whole, those elitist forms of
"inculturation" which introduce into the Liturgy ancient or contemporary
compositions of possible artistic value, but that indulge in a language that is
incomprehensible to the majority, should be avoided.
In this regard St Pius X pointed out - using the term universal
- a further prerequisite of music destined for worship: "...while every
nation", he noted, "is permitted to admit into its ecclesiastical compositions
those special forms which may be said to constitute its native music, still
these forms must be subordinate in such a manner to the general character of
sacred music, that nobody of any nation may receive an impression other than
good on hearing them"[16]. In
other words, the sacred context of the celebration must never become a
laboratory for experimentation or permit forms of composition and performance to
be introduced without careful review.
7. Among the musical expressions that correspond best with the
qualities demanded by the notion of sacred music, especially liturgical music,
Gregorian chant has a special place. The Second Vatican Council recognized that
"being specially suited to the Roman Liturgy"[17] it should be given, other things being equal, pride of
place in liturgical services sung in Latin[18]. St Pius X pointed out that the Church had "inherited it
from the Fathers of the Church", that she has "jealously guarded [it] for
centuries in her liturgical codices" and still "proposes it to the faithful" as
her own, considering it "the supreme model of sacred music"[19]. Thus, Gregorian chant continues also
today to be an element of unity in the Roman Liturgy.
Like St Pius X, the Second Vatican Council also recognized that
"other kinds of sacred music, especially polyphony, are by no means excluded
from liturgical celebrations"[20].
It is therefore necessary to pay special attention to the new musical
expressions to ascertain whether they too can express the inexhaustible riches
of the Mystery proposed in the Liturgy and thereby encourage the active
participation of the faithful in celebrations[21].
The role of choirs
8. The importance of preserving and increasing the centuries-old
patrimony of the Church spurs us to take into particular consideration a
specific exhortation of the Constitution Sacrosanctum
Concilium: "Choirs must be assiduously developed, especially in
cathedral churches"[22]. In turn,
the Instruction Musicam Sacram explains the ministerial task of the
choir: "Because of the liturgical ministry it exercises, the choir
(cappella musicale or schola cantorum) should be mentioned here
explicitly. The conciliar norms regarding the reform of the Liturgy have given
the choir's function greater prominence and importance. The choir is responsible
for the correct performance of its part, according to the differing types of
song, to help the faithful to take an active part in the singing. Therefore,...
choirs are to be developed with great care, especially in cathedrals and other
major churches, in seminaries and in religious houses of study"[23]. The schola cantorum's task
has not disappeared: indeed, it plays a role of guidance and support in the
assembly and, at certain moments in the Liturgy, has a specific role of its own.
From the smooth coordination of all - the priest celebrant and the
deacon, the acolytes, the altar servers, the readers, the psalmist, the
schola cantorum, the musicians, the cantor and the assembly - flows the
proper spiritual atmosphere which makes the liturgical moment truly intense,
shared in and fruitful. The musical aspect of liturgical celebrations cannot,
therefore, be left to improvisation or to the arbitration of individuals but
must be well conducted and rehearsed in accordance with the norms and
competencies resulting from a satisfactory liturgical formation.
9. In this area, therefore, the urgent need to encourage the sound
formation of both pastors and the lay faithful also comes to the fore. St Pius X
insisted in particular on the musical training of clerics. The Second Vatican
Council also recalled in this regard: "Great importance is to be attached to
the teaching and practice of music in seminaries, in the novitiate houses of
studies of Religious of both sexes, and also in other Catholic institutions and
schools"[24]. This instruction has
yet to be fully implemented. I therefore consider it appropriate to recall it,
so that future pastors may acquire sufficient sensitivity also in this field.
In the task of training, a special role is played by schools of
sacred music, which St Pius X urged people to support and encourage[25] and which the Second Vatican Council
recommended be set up wherever possible[26]. A concrete result of the reform of St Pius X was the
establishment in Rome in 1911, eight years after the Motu Proprio, of the
"Pontificia Scuola Superiore di Musica Sacra" (Pontifical School for Advanced
Studies in Sacred Music), which later became the "Pontificio Istituto di Musica
Sacra" (Pontifical Institute of Sacred Music). As well as this academic
institution, which has now existed for almost a century and has rendered a
high-quality service to the Church, the particular Churches have established
many other schools that deserve to be supported and reinforced by an ever better
knowledge and performance of good liturgical music.
Modern music has a place
10. Since the Church has always recognized and fostered progress
in the arts, it should not come as a surprise that in addition to Gregorian
chant and polyphony she admits into celebrations even the most modern music, as
long as it respects both the liturgical spirit and the true values of this art
form. In compositions written for divine worship, therefore, the particular
Churches in the various nations are permitted to make the most of "those special
forms which may be said to constitute the special character of [their] native
music"[27]. On the lines of my
holy Predecessor and of what has been decreed more recently by the Constitution
Sacrosanctum
Concilium[28], I
have also intended in the Encyclical Ecclesia de
Eucharistia to make room for new musical contributions, mentioning in
addition to the inspired Gregorian melodies, "the many, often great composers
who sought to do justice to the liturgical texts of the Mass"[29].
11. The last century, with the renewal introduced by the Second
Vatican Council, witnessed a special development in popular religious song,
about which Sacrosanctum
Concilium says: "Religious singing by the faithful is to be
intelligently fostered so that in devotions and sacred exercises as well as in
liturgical services, the voices of the faithful may be heard..."[30]. This singing is particularly suited to
the participation of the faithful, not only for devotional practices "in
conformity with the norms and requirements of the rubrics"[31], but also with the Liturgy itself.
Popular singing, in fact, constitutes "a bond of unity and a joyful expression
of the community at prayer, fosters the proclamation of the one faith and
imparts to large liturgical assemblies an incomparable and recollected
solemnity"[32].
All for the glory of God
12. With regard to compositions of liturgical music, I make my own
the "general rule" that St Pius X formulated in these words: "The more closely
a composition for church approaches in its movement, inspiration and savour the
Gregorian melodic 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"[33]. It is not, of course,
a question of imitating Gregorian chant but rather of ensuring that new
compositions are imbued with the same spirit that inspired and little by little
came to shape it. Only an artist who is profoundly steeped in the sensus
Ecclesiae can attempt to perceive and express in melody the truth of the
Mystery that is celebrated in the Liturgy[34]. In this perspective, in my Letter to
Artists I wrote: "How many sacred works have been composed through the
centuries by people deeply imbued with the sense of mystery! The faith of
countless believers has been nourished by melodies flowing from the hearts of
other believers, either introduced into the Liturgy or used as an aid to
dignified worship. In song, faith is experienced as vibrant joy, love and
confident expectation of the saving intervention of God"[35].
Renewed and deeper thought about the principles that must be the
basis of the formation and dissemination of a high-quality repertoire is
therefore required. Only in this way will musical expression be granted to serve
appropriately its ultimate aim, which is "the glory of God and the
sanctification of the faithful"[36].
I know well that also today there are numerous composers who are
capable of making their indispensable contribution in this spirit, increasing
with their competent collaboration the patrimony of music at the service of a
Liturgy lived ever more intensely. To them I express my confidence, together
with the most cordial exhortation to put their every effort into increasing the
repertoire of compositions worthy of the exalted nature of the mysteries
celebrated and, at the same time, suited to contemporary sensibilities.
13. Lastly, I would like to recall what St Pius X disposed at the
practical level so as to encourage the effective application of the instructions
set out in his Motu Proprio. Addressing the Bishops, he prescribed that they
institute in their Dioceses "a special Commission of qualified persons competent
in sacred music"[37]. Wherever the
papal disposition was put into practice, it has yielded abundant fruit. At the
present time there are numerous national, diocesan and interdiocesan commissions
which make a precious contribution to preparing local repertoires, seeking to
practise a discernment that takes into account the quality of the texts and
music. I hope that the Bishops will continue to support the commitment of these
commissions and encourage their effectiveness in the pastoral context[38].
In the light of the experience gained in recent years, the better
to assure the fulfilment of the important task of regulating and promoting the
sacred Liturgy, I ask the Congregation for Divine Worship and the Discipline of
the Sacraments to increase its attention, in accordance with its institutional
aims[39], in the sector of sacred
liturgical music, availing itself of the competencies of the various commissions
and institutions specialized in this field as well as of the contribution of the
Pontifical Institute of Sacred Music. Indeed, it is important that the musical
compositions used for liturgical celebrations correspond to the criteria
appropriately set down by St Pius X and wisely developed by both the Second
Vatican Council and the subsequent Magisterium of the Church. In this
perspective, I am confident that the Bishops' Conferences will carefully examine
texts destined for liturgical chant[40] and will devote special attention to evaluating and
encouraging melodies that are truly suited to sacred use[41].
14. Again at the practical level, the Motu Proprio whose centenary
it is also deals with the question of the musical instruments to be used in the
Latin Liturgy. Among these, it recognizes without hesitation the prevalence of
the pipe organ and establishes appropriate norms for its use[42]. The Second Vatican Council fully
accepted my holy Predecessor's approach, decreeing: "The pipe organ is to be
held in high esteem in the Latin Church, for it is the traditional musical
instrument, the sound of which can add a wonderful splendour to the Church's
ceremonies and powerfully lifts up people's minds to God and to higher things"[43].
Nonetheless, it should be noted that contemporary compositions
often use a diversity of musical forms that have a certain dignity of their own.
To the extent that they are helpful to the prayer of the Church they can prove a
precious enrichment. Care must be taken, however, to ensure that instruments are
suitable for sacred use, that they are fitting for the dignity of the Church and
can accompany the singing of the faithful and serve to edify them.
15. I hope that the centenary commemoration of the Motu Proprio
Tra le Sollecitudini, through the intercession of their holy Author
together with that of St Cecilia, patroness of sacred music, may be an
encouragement and incentive to those who are involved in this important aspect
of liturgical celebrations. Sacred music lovers, by dedicating themselves with
renewed impetus to a sector of such vital importance, will contribute to the
spiritual growth of the People of God. The faithful, for their part, in
expressing their faith harmoniously and solemnly in song, will experience its
richness ever more fully and will abide by the commitment to express its
impulses in their daily life. In this way, through the unanimous agreement of
pastors of souls, musicians and faithful, it will be possible to achieve what
the Constitution Sacrosanctum
Concilium describes as the true "purpose of sacred music", that is, "the
glory of God and the sanctification of the faithful"[44].
May your example and model in this be the Virgin Mary, whose
praise in the Magnificat of the marvels God works in human history
remains beyond compare. With this hope, I impart my Blessing to everyone with
affection.
Given in Rome at St Peter's on 22 November, the Memorial of St
Cecilia, in the year 2003, the 26th of the Pontificate.
NOTES
[1] Pii X
Pontificis Maximi Acta, Vol. I, p. 77.
[2] Ibid.
[3] Ibid., n.
1, p. 78.
[4] Ibid.
[5] Ibid., n.
112.
[6] Ibid.
[7] Ibid.
[8] Cf. AAS 59
(1967), 314-316.
[9] Cf. e.g.,
Address to the Pontifical Institute of Sacred Music for its 90th Anniversary
(19 January 2001), 1: L'Osservatore Romano English Edition
[ORE], 7 February 2001, p. 7.
[10] General
Audience, 26 February 2003, n. 3: [ORE], 5 March 2003, p. 11.
[11] Second Vatican
Council, Constitution on the Sacred Liturgy Sacrosanctum Concilium, n.
112.
[12] Address to
the Participants in the General Assembly of the Italian Association Santa
Cecilia (18 September 1968): Insegnamenti VI (1968), 479.
[13] Ibid.
[14] Ibid.,
n. 50: AAS 95 (2003), 467.
[15] Ibid.,
n. 2, p. 78.
[16] Ibid.,
pp. 78-79.
[17] Constitution on
the Sacred Liturgy Sacrosanctum Concilium, n. 116.
[18] Cf. Sacred
Congregation for Rites, Instruction on Music in the Sacred Liturgy Musicam
Sacram (5 March 1967), 50: AAS 59 (1967), 314.
[19] Moto Proprio
Tra le Sollecitudini, n. 3, p. 79.
[20] Constitution on
the Sacred Liturgy Sacrosanctum Concilium, n. 116.
[21] Cf. ibid.,
n. 30.
[22] Ibid.,
n. 114.
[23] Ibid.,
n. 19: AAS 59 (1967), 306.
[24] Constitution on
the Sacred Liturgy Sacrosanctum Concilium, n. 115.
[25] Cf. Moto
Proprio Tra le Sollecitudini, n. 28, p. 86.
[26] Cf.
Constitution on the Sacred Liturgy Sacrosanctum Concilium, n. 115.
[27] Pius X, Motu
Proprio Tra le Sollecitudini, n. 2, p. 79.
[28] Cf. n. 119.
[29] N. 49: AAS
95 (2003), 466.
[30] N. 118.
[31] Ibid.
[32] John Paul II,
Address to the International Congress on Sacred Music (27 January 2001),
n. 4: ORE, 7 February 2001, p. 4.
[33] Moto Proprio
Tra le Sollecitudini, n. 3, p. 79.
[34] Cf. Second
Vatican Council, Constitution on the Sacred Liturgy Sacrosanctum Concilium,
n. 112.
[35] N. 12:
Insegnamenti XXII/1 (1999), 718.
[36] Second Vatican
Council, Constitution on the Sacred Liturgy Sacrosanctum Concilium, n.
112.
[37] Moto Proprio
Tra le Sollecitudine, n. 24, p. 85.
[38] Cf. John Paul
II, Apostolic Letter Vicesimus Quintus Annus (4 December 1987), n. 20:
AAS 81 (1989), 916.
[39] Cf. John Paul
II, Apostolic Constitution Pastor Bonus (28 June 1988), 65: AAS
80 (1988), 877.
[40] Cf. John Paul
II, Encyclical Letter Dies Domini (31 May 1998), 50: AAS 90
(1988), 745; Congregation for Divine Worship and the Discipline of the
Sacraments, Instruction Liturgiam Authenticam (28 March 2001), 108:
AAS 93 (2001), 719.
[41] Cf.
Institutio Generalis Missalis Romani, editio typica III, 393.
[42] Cf. Motu
Proprio Tra le Sollecitudini, nn. 15-18, p. 84.
[43] Second Vatican
Council, Constitution on the Sacred Liturgy Sacrosanctum Concilium, n.
120.
[44] Ibid.,
n. 112.
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