Yesterday evening a very beauiful Office of Tenebrae was sung at St. Mary’s Church, Norwalk, CT. The psalms were chanted in the front by a men’s choir.   The St. Mary’s Schola Cantorum sang the Lamentations of the Prophet Jeremiah and the responsories in polyphony in the choirloft.  The liturgy ended in complete darkness with a polyphonic setting of the Miserere.  The clergy, choirs and congregation departed in silence.

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(above) “Judah” by Francisco de Zurbarán.

A Haydn oratorio, a Bruckner symphony, the drawings of Michelangelo, baroque oratorios, a 16th century Aztec feather-work recreation of a Netherlands devotional print – these are objects and performances that you could have seen or heard in New York in just the last few months. But what do we know about the religious influences and the culture in which they arose? Certainly the local Catholic establishment is of no assistance in learning more ( even if it’s aware of these events in the first place). The secular authorities – the curators, the writers of program notes and the media – can, on occasion, be much more helpful in rediscovering these links. Yet their analysis all too often focusses on the personality of the artist, on narrow issues of history, technique or ideology or on the “general human.”

In this regard, I’d thought I’d mention a couple of small exhibitions at the Frick collection that a fan of “Catholic culture” might find interesting. In contrast to the crowded “blockbusters” found further north on Fifth Avenue, the exhibitions at the Frick generally show one or several selected paintings from places one would very likely never visit. For a hefty admission fee one can contemplate such works ideally displayed and in a peaceful environment.

(Above) “St Jerome” by Veronese.

Two exceptional works by Veronese have left Italy for the first time. They are from a rarely visited church in Murano. If you are like me, you may have visited this island’s tourist trap glass emporia but never ventured into the local churches or seen the art they contain. The subject of one painting is familiar – St. Jerome in the desert – that of the other less so(at least to me): St Agatha in prison visited by St Peter. The color is of course magnificent – and every detail isn’t just “decorative” but derives from the legend of these two saints. As the exhibition notes point out, it is testimony to the superabundance of creativity in late sixteenth century Venice that one of the the main artists of the period painted two such major works for a small chapel on an outlying island.

Also on display is a cycle of 17th century paintings of Jacob and his sons by Francisco de Zurbarán – reunited for the first time in ages. The artist has shows great familiarity with the e biblical texts describing the history and destiny of these brethren. Zurbarán has given each of them a distinctive identity with bizarre costumes and attributes. I frankly found these works less successful than many other works of this artist I have seen. I would guess that assistants had a large share in executing such a massive project. But what is indeed interesting is the subject matter. For, at that time, some were of the opinion that the American Indians were descendants of the lost tribes of Israel. Depictions of Jacob and his sons – perhaps this one too – were created for patrons in the New World. So let’s not laugh at the Mormons – others had strange ideas of pre-Colombian history several centuries before them!

Of course, if curators feel constrained in giving full credit to the Catholic Church, they are not so inhibited in repeating the platitudes of our currently reigning ideology. Based one one incident in the 18th century, the Zurbarán paintings – artwork commissioned in 17th century Spain – are “reimagined” as symbols of religious tolerance and diversity. That’s life….

For more on these exhibitions see HERE. You only have till tomorrow to see the Veronese paintings!

Fr. George Rutler
Art As a Sermon
The Perspective of a Parish Priest
March 24, 7:30 PM

The Catholic Artists Society proudly presents author, EWTN Host, and pastor at the Church of St. Michael, the Rev. George Rutler, S.T.D. His talk is entitled “Art As a Sermon: The Perspective of a Parish Priest.”

The lecture takes place Saturday, March 24, 7:30 PM, at the Catholic Center at New York University (238 Thompson St., just south of Washington Square Park). A reception and sung Compline will follow.

Admission for Sustaining Members: FREE
Suggested donation for non-members: $10

The Society of St Hugh of Cluny and the parish of St Mary, Norwalk will be sponsoring a lecture by Prof. Roberto de Mattei on Monday, April 9 at the church of St Mary’s  Norwalk, CT. I doubt Roberto de Mattei needs an introduction on this blog! The lecture will follow a festive Mass for the Feast of the Annunciation.

Solemn High Mass for the Feast of the Annunciation:          6:00 PM

Lecture by Prof.de Mattei:                                    7:30 PM

A Reception will follow.

All are welcome – no charge! We will provide further details as they become available.

The ancient Christian empire seems to be gaining more and more attention – despite recent denunciations by Team Francis. Two weeks ago we had the pleasure of hearing a 17th century Holy Week oratorio by Johann Heinrich Schmelzer, written in 1678 for Emperor Leopold I. Just this last Saturday we attended the performance of a second short oratorio by Antonio Draghi, also first performed in Vienna in 1668. Giuditta (Judith) was composed for the chapel of the dowager empress Eleanora, widow of Emperor Ferdinand III (1637-57). The oratorio was performed by the “Academy of Sacred Drama” which has as its aim the exploration of the “forgotten cultural treasures of sacred dramatic music.” Amazing that such groups have arisen here in the City! The venue was Corpus Christi Church near Columbia.

Although only ten years separates the composition of the two oratorios, they are quite different. Giuditta is shorter and has a more operatic text. Judith Malafronte gave a scholarly introduction to the piece. The evening concluded with two beautiful works: the Laurentian Litany by Francesco Durante and a Stabat Mater by Antonio Draghi.

The Society of Our Lady of Sacro Monte will be having its monthly Rosary this Saturday, March 10th at 11:00 a.m. at St. Anthony’s Oratory in West Orange. Following the Rosary, everyone is invited to join the society for brunch at a local eatery. The idea is that once a month we can offer an opportunity for prayer, fellowship and community. Every month we will be hosting our Rosary at a different area church. Everyone is very welcomed to attend.

St. Mary’s Church and the St. Cecilia Society are delighted to announce the second installment of the Rosary Concert Series, dedicated to the Sorrowful Mysteries, on Sunday, March 18, 2018 at
3:00 p.m. at St. Mary’s Church, 669 West Avenue in Norwalk, Connecticut.

This concert, a meditation on the Sorrowful Mysteries, falls on Passion Sunday, which begins the final phase of Lent, leading into Holy Week.

The performers for this concert are Elizabeth Baber Weaver (soprano) and Charles Weaver (lute), who are both members of the St. Mary’s Schola Cantorum.

The Weavers will present devotional arias and cantatas from 16th- and 17th-century Italy, including works by Benedetto Ferrari, Francesca Caccini, and Claudio Monteverdi. These pieces, rather than being liturgical works for the Church, are more personal expressions of faith, meant to increase the intensity of prayer.
The concert will be performed in St. Mary’s Church at 3:00 p.m. Admission is free of charge, though donations will be gratefully accepted. All proceeds will benefit the sacred music program at St. Mary’s and make more concerts possible in the future. A light reception in the church hall (school building) will follow the concert.

Summer course offerings at Dunwoodie! If you’ve been looking for an opportunity to study sacred music at the graduate level in a compact format, take a look at our offerings. For the first time, we’re offering a hybrid course – Principles of Sacred Music – 7 weeks online and 2 days (July 23-24) in person in NY. Principles of Chant immediately follows in a 4-day format (July 25-28). Auditor and credited spots are available, and there’s a 50% discount for 1st-time Dunwoodie students or musicians sponsored by their parish. Inexpensive room and board options are also available. Registration available here: https://59929.schoolforms.org/summer-2018-music-course-enro…
Course descriptions:
Principles of Sacred Music
Through a survey of the history of sacred music and reading of Church and papal legislation on sacred music, students gain an understanding of the principles which shape Western sacred music and the musical structure of the Roman rite. Special focus is placed on current documents which govern music in the Church. The course also features in-depth discussion of practical issues including the formation and management of sacred music programs in parishes, active participation, progressive solemnity, the use of instruments in the sacred liturgy, resources available for music directors and choristers, and other relevant topics.

Principles of Chant
Serving as an introduction to Gregorian chant, this course will cover neumatic notation, Gregorian modes, ear training and sight reading, vocal technique appropriate for singing chant, and Latin pronunciation. Special focus will be placed on rhythmic interpretation of the chant according to the classical Solesmes (Mocquereau) method. By the end of the class, students will have confidence singing from the Graduale Romanum, solfège, and psalm tones, and some experience in conducting (chironomy). Additional topics introduced in the class include the history of Gregorian chant, rehearsal techniques for teaching chant to children and adult choirs, and an introduction to chant resources in English and Spanish.

(Above) The so-called “Crown of the Andes.” A masterpiece of Spanish colonial art, it was fashioned of gold and emeralds in the 16th, 17th and 18th centuries for a statue of the Madonna in Popayán, Columbia – although stories connected the gems to the last Inca ruler. It was sold to an American investor/collector in the 20th century.

The new exhibition at the Metropolitan Museum of Art, “Golden Kingdoms: Luxury and Legacy in the Ancient Americas,” is a major attraction for fans of the arts of the pre-Columbian American cultures. The tile is a bit unfortunate, however, in that it suggests that in their original cultures these objects had the function of luxury knick-knacks or high-priced antiques. Rather, these had a numinous, magical character – and often a specific liturgical function. The exhibition shows how different cultures handed down and reused precious objects such as the mysterious Olmec and Mayan jade pieces over hundreds of years and that techniques such as working in gold slowly made their way from one people to another.

(Above) a Mayan Lady

The pagan art of the pre-Columbian Indian cultures has for us a mysterious, utterly alien quality. Below, a depiction of an a menacing octopus from Peru.

Then came the Spanish and later the Portuguese. How did they set about evangelizing this vast new world? The exhibition confronts us with one object which serves as a corrective to current stereotypes and the “black legend.” It is a unique image of the Mass of St Gregory – based on a print from the Netherlands but executed in the traditional Aztec craft of feather-working! The date and circumstances of its creation are as interesting as its technique. For it was commissioned in 1539 as a gift for Pope Paul III by Diego de Alvarado Huanitzin, an Aztec noble who was serving as a governor of Mexico city under the Viceroy of New Spain. He previously had held high office under his relative, the last Aztec emperor. His gift follows a decree of that Pope in 1537 favorable to the native population. It seems we need to drastically revise our preconceptions about the early life of the indigenous populations in the Spanish colonies.

(Above) The Mass of St Gregory. Mexico City, 1539 executed in gold and feathers. The earliest dated example of  Aztec Christian art, it is preserved in the city of Auch, France. The design is based on a contemporary print from the Netherlands.

The legend of the Mass of St Gregory confirms the truth of transubstantiation.  A doubting deacon saw a vision of Christ in His Passion above the altar during a Mass celebrated by Pope Gregory the Great. What better image to use to instruct the newly converted populations on what the Mass really represents? Here the native artist has taken the basic outline from a print (an art form and technology of the Old World) and has “translated” it into his own fantastically colorful and intricate medium of feather-work.

(Above) Pope St Gregory and assisting sacred ministers (one of whom is the doubting deacon).

Traditionalists should be heartened to see how the solemn mass served as a means of evangelization. A world of pagan ritual and cruel sacrifice was displaced by new, even richer rituals and forms. Within a few decades virtually the entire population of the Aztec lands had become Christian.

This image of the Mass of St Gregory, hoverer, is not just a noble witness to the past, but an admonition to us in the present. For nowadays, despite all the official talk, the spirit of evangelization has almost completely vanished from the Church. The public culture of our age in the United States and Western Europe is militantly anti-Christian. And it seems the majority of contemporary Catholics urgently need basic instruction themselves in the nature of the Mass and the Eucharist. This image  is a salutary example of what once was  accomplished in a prior age by missionaries and their (very) recent converts. It it is just one aspect of a  never-ending task, which despite the unimaginable differences between Mexico City in 1539 and New York in 2018,  always can and must be taken up once again.

(Above) The image of Christ in the “Mass of St Gregory” is surrounded by items associated with the Passion of Christ – a subject of late medieval devotions. In addition, there is a somewhat incongruous offering of two pineapples – a fruit from the New World.

For a detailed and extremely informative discussion of this image see HERE.

A description of the exhibition.