Thoughts on the Ordinariates - July 2023

 

American Exceptionalism and
 the Personal Ordinariates
Some thoughts on Independence Day weekend 2023

 

Chancery Office, Personal Ordinariate of the Chair of St. Peter

The recent 29^th anniversary of Ordination of Fr. Alan Hawkins has given me food for thought on the history leading up to the creation of the Personal Ordinariates.

 

Happy Anniversary, Father!

 

Americans are known, for better or for worse, for our fierce streak of independence.  We don’t always “go along to get along”.  This was true for a small group of Episcopalian clergy who desired to become Catholic, with the support of a Catholic Bishop and a Monsignor.  This small group approached Rome during the papacy of St. Pope John Paul II seeking a path to becoming Catholic, with their congregations following them, and retaining most of their liturgical and musical heritage.  This was granted to former Episcopalians (in the USA only) with the indult called the “Pastoral Provision” in 1980.

 

Once the indult got rolling, it was given an easier name to recognize its origins, the “Anglican Use”, e.g. not a new Rite, but a “use” of the exiting Roman Rite.  The original spurt of growth was from a region of United States known even more for its fierce independence – a State that had formerly been a sovereign country – Texas.  (Lots of red, white, and blue in that flag, and just one star!)

 

It began with Fr. Christopher Phillips when he founded the proto-parish of the Anglican Use, Our Lady of the Atonement in San Antonio, Texas in 1983.  The parish has always had a very strong music program, emphasizing English hymnody, Anglican chant, and Gregorian chant, often in Latin.  Less than ten years into its history, the parish founded The Atonement Academy, which eventually grew to cover pre-K through high school.  It is very successful as a Catholic school and has students for many parishes in the Archdiocese.  Since all Pastoral Provision parishes existed under the umbrella of the local Diocese, this school became one of the jewels in the crown of the San Antonio Archdiocese.

 

Just a year later, in 1984, Fr. James Moore founded Our Lady of Walsingham parish in what was then the Diocese of Galveston-Houston.  This became my family’s spiritual home, actually just before that, while the group was still meeting in peoples’ houses.  I joined the Schola Cantorum immediately and began learning how to sing Anglican Chant.  In the late summer of 1986, our schola master resigned, and Fr. Moore asked me to take his place.  During our first chat about going forward, we agreed that every Liturgy should have, not only the best hymnody available, but also both Anglican and Gregorian chant.  I held that position until January of 2003 when I moved to Charleston, South Carolina.  I miss OLW and Fr. Moore (RIP).

 

Ten years later, in 1994, more history was made up in Arlington, Texas (midway between Dallas and Fort Worth).  Fr. Alan Hawkins brought his group of former Episcopalians, the entire parish of St. Mary the Virgin, into full communion.  This included the properties which had formerly belonged to the Episcopal Diocese, setting a legal precedent for such transfer of property from one ecclesiastical corporation to another.  Fr. Hawkins' brought a treasure of English musical tradition and the parish also had a very good music director and program.

All three of these parishes are now part of the Ordinariate in the USA.  Aspects of these pastors' and parishes' liturgical and musical tradition are now integral parts of the Personal Ordinariates - now commonly called the "Anglican Patrimony".

Arms of the Ordinariates:

Our Lady of Walsingham, Chair of St. Peter, and Our Lady of the Southern Cross

To date, there are approximately 40 parishes or groups in the Personal Ordinariate of the Chair of St. Peter.  Of those, seven are in the State of Texas.  The POSCP is the second Ordinariate established, preceded by the Personal Ordinariate of Our Lady of Walsingham (under the patronage of St. John Henry Newman), and followed by the Personal Ordinariate of Our Lady of the Southern Cross.  The group of Anglican Use priests in Texas was the next steppingstone of a movement or conversion from the Anglican Communion to a reconciliation with the Catholic Church begun by St. John Henry Newman in the mid-nineteenth century.

 

I love being a member of the Ordinariates.  This is such an exciting time in Church history to live!  But, on this Independence Day weekend, I would like to suggest that the creation of all three Ordinariates did not happen in a vacuum.  Exceptional Americans, indeed Texans, paved the way.

Divine Worship: The Missal - Chanted Propers

Introit for Easter Sunday

 THE MISSAL

The Personal Ordinariates published Divine Worship: The Missal (DW:TM) in 2015.  It incorporated elements of the Book of Divine Worship (BDW) that had been authorized by Rome for the Pastoral Provision groups (Anglican Use) in the USA in the 1980s.  It also includes more historically Catholic elements from English Catholic Missals and earlier editions of the Book of Common Prayer (BCP).  This wonderful departure from the earlier BDW was not bound by restriction added by Rome:  that nothing from Anglican Missals (like Propers) were allowed.  The BDW was to incorporate only elements of the contemporary authorized liturgical books of the Episcopal Church in the USA.  Thus, the inclusion of all of the Propers, for all of the Masses in DW:TM is the first time in a modern printed Missal since Vatican II.

Divine Worship: The Missal

THE PROPERS

Even with the restrictions on the BDW, many priests and musicians read, and understood, certain rubrics in the BCP.  There were places in the liturgies that suggested, in italics, something to the effect that: "Here may be said or sung a Psalm or hymn."  Considering that the vast majority of the Propers are directly from Psalms, it was a very easy decision to go ahead and incorporate Propers, in English, to the BDW Mass!  And it was quite easy to do, since most of us had access to The English Gradual, both Volume I with the Ordinaries and Volume II with the Propers.  Some parishes, like Our Lady of Walsingham (where I worked with Fr. James Moore) liked to use Anglican Chant as well.  We experimented with alternating between Gregorian and Anglican chants within a given proper.

THE GRADUAL

When the texts of the Missal Propers are put to music, that book is called a "gradual".  The official book for the Latin Rite is the Graduale Romanum.  The Church of England and associated Anglican Communion national churches were setting the English Propers to music long before Vatican II allowed all Catholics to use their "vernacular" languages.  The English Gradual - Part II The Proper (TEG) was the work of Francis Burgess, the Musical Director of the Gregorian Association.  My copy was printed by Lowe and Brydone Printers, Ltd., London, in the first half of the 20th century.  (There is no date in my copy.)  It's a small book, about 5" x 7", with about 230 pages.  There evidently was a harmony edition available from the publishers, but most of what remains in use are the melody editions.  Unlike the Book of Propers by Rev. Carlo Rossini (widely used in pre-Vatican II American parishes), TEG uses one only set of Psalm tones:

Introit:  Tone VII
Gradual:  Tone V
Alleluia:  Tone VI
Tract:  Tone VIII
Offertory:  Tone II
Communion:  Tone I

The English Gradual
Part I: The Proper

THE SAINT PETER GRADUAL

Published in 2018, The Saint Peter Gradual takes TEG and orders the Propers to match DW:TM.  Monsignor Carl Reid did a masterful job of typesetting the original Psalm Tone melodies in an easy to read book.  It is about 6" x 9" with 175 pages.  Newman House Press executed the printing and binding, and is also selling them on their website.  Please, consider purchasing copies for your singers and/or congregation.  It is very reasonably priced, and they provide bulk discounts.

The Saint Peter Gradual

MY PROJECT

ORGAN ACCOMPANIMENT FOR TSPG

When our parish office hours were reduced at the beginning of the COVID-19 shut-down, I decided to take on the personal project of supplying organ accompaniments to the entire TSPG.  It was not requested by anyone officially from the Ordinariates, but many of my Ordinariate musician friends encouraged me.

Most of my harmonies are from Nova Organi Harmonia (NOH).  I have been using the NOH for EF and OF Masses for some years.  Some of the Psalm Tones are variations of the traditional Gregorian Tones, so I had to extend my harmonies to include some other sources in my library.  Once I had decided on the accompaniments, it was just a matter of creating template files in Finale composing soft-ware.  It was also recommended that I use a special font - the Doves Type Font.  You can read my article in The Portal, March 2021 edition.

My Unauthorized Accompaniment to The Saint Peter Gradual contains a total of 90 sets of Propers.  There are 541 pages, not counting title, introduction, and contents pages.  The PDF file is bookmarked for ease in finding any Proper you need to print.  The price is US$45.00, and includes unlimited printing copies under Creative Commons and your contact information kept in a database for updates, etc.

I will send the PDF file to your preferred email address after payment is received.

There are a number of Propers that were not included in TSPG.  If you need one of them for a special celebration, just contact me at my email and I will help you.  I will ask a fee based on number of pages, and the Propers produced will be included in future addendum to the project.

13 October 2019 - Canonization Mass in St. Peter's Square

Today is the reason for my entire trip - to attend the Canonization Mass in St. Peter's Square.  Honestly, even since my visit to Milano, Roma has simply been somewhere in my bucket list.  And I have never given thought to a Canonization Mass - until John Henry Newman.  The ongoing connection between his conversion story and those of contemporary Anglicans converting to Catholicism via the Personal Ordinariates is huge in Church history.  I am here to celebrate St. John Henry Newman with many of them, from around the world.

My alarms were set for about 5:30am.  The entrances to the Square would open at 7:00am.  I managed to arrive there at 6:45, along with about 300 other early-risers.  It was just before dawn when I took the photo below on the Via della Conciliazione.

St. Peter's just before dawn.

By the time we had processed through security and bag check, the sun had just come up, and illuminated the Basilica nicely.  It was still a bit chilly, but warming quickly.  The thousands of plastic chairs had accumulated quite a bit of dew over night - only a few people had thought to bring any sort of towel.  I was not one of them!

From my seat in the Square.

Me at about an hour before Mass was to begin.

There were groups from all the nations of the new saints:  England, Italy, India, Brazil, and Switzerland.  Many of them were singing their favorite songs or hymns.  About 45 minutes before Mass, we could hear the musicians warming up over the loud speakers.  Then something really awesome happened.  Ten minutes before Mass they asked for all to prepare for Mass by joining in reciting the Glorious Mysteries of the Rosary.  Immediately people sat down and the entire Square fell silent.  Each Mystery was announced in Italian, English, and Spanish.  Then the prayers were prayed by all in Latin!

My seat is where the yellow circle is.

(I will relate the progress of the Liturgy, but you can view the entire Mass here.)

The Entrance Procession was "Cantico delle Creature", with lyrics from Daniel 3:52-90.  The Schola sang each verse with the congregation responding "Alleluia".  The musical setting had four phrases that repeated.  It was accompanied by the organ with brass ensemble interludes.  The first part was:

     May eternal glory be yours, O God.  Alleluia!

     May the whole universe sing to you!  Alleluia!

     All angels of heaven, Alleluia!

     O bless you the Lord, Alleluia!

This was followed immediately by the Introit for the 18th Sunday of the year, "Si iniquitates" (N.B. Antiphon only).  Usually chanted only by the Schola, the music was included in the libretto, therefore, I sang along.

After the Holy Father began with the Sign of the Cross and "Peace be with you", the hymn "Veni Creator Spiritus" was sung - invoking the Holy Spirit for the Proclamation of the new saints.

Cardinal Becciu then petitioned the Holy Father to proclaim the new saints to which the Holy Father invited all to chant the Litany of the Saints.

The Proclamation of the new saints was to be next, but there was a missed cue, and the Schola intoned the "Gloria".  (All the Mass Ordinary was from Missa de Angelis.)  Although the libretto was marked dividing the Schola and congregation, I sang it straight through as I always have.  Then Pope Francis proclaimed the new saints, and the Mass continued with the Opening Prayer.

The First Reading was done by an Oratorian in English.  It concluded with the chanted Latin "Verbum Domini." to which the congregation responded "Deo gratias."

The Responsorial Psalm was in Italian.

The Second Reading was done in Italian by a sister of the Daughters of St. Camillo, the order founded by one of the Blesseds.  The conclusion was the same as the First Reading.

The Gospel Verse used the ubiquitous Mode VI triple Alleluia, introduced by the brass and timpani, with the verse and repeated Alleluia in an SATB arrangement.

The Gospel was chanted twice, by two deacons, one Latin Rite and one Eastern Rite, with appropriate tones from their Rites.

After Pope Francis' homily, we chanted Credo III.  Again, it was marked for alternation between Schola and congregation, but I sang it through.

The Prayer of the Faithful was intoned by a deacon, in Latin.  Each petition was read by a selected member of the congregation in their vernacular, followed by the deacon chanting, "Dominum deprecemur." to which the congregation responded "Te rogamus audi nos."

The motet during the Preparation of the Gifts was "Exultate Deo" sung by the Schola Cantorum of the London Oratory School.

The rest of the Mass was as usual, the Eucharistic Prayer III in Latin allowed for the names of the new saints to be added after the elevations.  The responses were Gregorian chant.  The "Sanctus" and "Agnus Dei" were from the Missa de Angelis.  The Communion Antiphon, "Aufer a me", was printed in the libretto just like the Introit, so I sang along once again.

The music during the distribution of Communion included an Italian version of St. John Henry Newman's "Lead, Kindly Light."  I chose not to sing along.  It was difficult enough to make my way (along with the thousands of other in the fenced-in sections) up to a priest at a position at the fence.  This involved moving chairs out of the way and creating more aisles than the original ones.  Many of us have seen these St. Peter's Square Masses before, but it's quite different being there!

After the Pontifical Blessing and our response to the deacon's Dismissal, everyone joined in reciting the Angelus in Latin.  The Recessional was instrumental.  We had to remain in our fenced-in sections until Pope Francis had toured the entire Square in the "Pope-mobile".

Again, my seat is where the yellow circle is.

Seeing the photo above, I'm sure you can guess how long it took to exit St. Peter's Square!  But it was all worth the effort!

12 October 2019 - Evening

My first day of trying to do too much!  After the Symposium, there was free food.  I was hungry and chatted a bit too long with some people.  There wasn't quite enough time left to get to St. Maria Maggiore in time for the Vigil of  Prayer.

By the time I got there, they were singing the closing hymn, Newman's own "Lead, Kindly Light" to the tune "Halton Holgate".  I managed to join in singing, sharing a worship aid with another person standing near the entrance.

the crowd after the Vigil

the mosaic in the apse

It was unfortunate that I missed this Liturgy, but I did get to see this marvelous church.  I only took a few photos as there are much better photos available online.  The church was quite full, and the crowd (maybe a lot of Americans?) got loud enough taking that the Pastor had to come out and insist on reverence and silence!  The next event was to be the Concert by the Schola Cantorum of The London Oratory School.  I stayed for part of the first piece - long enough to hear the great acoustics - then decided to skip the rest of concert.  I've heard most of the music before, and I had a long walk back to my room.  I wanted to get a good rest before rising early Sunday morning!

Here are some photos from online:

12 October 2019 - Afternoon - Newman Symposium

Newman the Prophet:  A Saint for Our Times 

My afternoon was spent at the Angelicum:  The Unversity of St. Thomas Aquinas.  It was about a 1.5 mile walk.

The Speakers were:

     George Weigel (Washington, DC)

     Archbishop Bernard Longley (Birmingham, GB)

     Sister Catherine Joseph Droste, OP (Nashville Dominicans)

     Tracey Rowland (Sydney, Australia)

     Father Guy Nicholls, Cong. Orat. (Birminighma Oratory)

     Archbishop Anthony Fisher, OP (Sydney, Australia)

     Thomas Farr (Washington, DC)

During the breaks I met a number of interesting people from all over the world, and also caught up with "Fr. Z" - Father John Zuhlsdorf - whom I hadn't seen since his diaconate year back in 1990.

Here are some photos of the Angelicum from the internet:

12 October 2019 - Morning - Ordinariate Mass

This morning is the beginning of my Canonization experience - the primary reason for my trip.  My friends from the Personal Ordinariate of Our Lady of Walsingham (the UK Ordinariate) have been arriving in Rome for the occasion of their patron's canonization - John Henry Newman, heretofore "Blessed", soon to be "Saint."  Below are the arms of the Ordinariate:  one side honoring the Blessed Virgin (Our Lady of Walsingham) the other honoring St. John Henry Newman with his arms.

Monsignor Newton has scheduled Mass according to "Divine Worship: The Missal" for 10:00am at the Venerable English College.  It's only about four blocks from my room, so an easy walk.

(from the website)

(from the website)

There was also an exhibit about St. John Henry Newman in the college's hall.

After Mass, we all headed back to the Chiesa Nuova, the Church of Santa Maria Vallicella, the Principal Church of the Oratorians.  This is one of the numerous outlets in Rome where the paper tickets for admission to the Canonization Mass are being handed out.  I already had mine, but many others in the Ordinariate needed to pick theirs up.

I had pleasant chats with a number of Ordinariate friends, new and old.  I was even approached by an Ordinariate priest about my possible move to the UK to play the organ for an Ordinariate congregation!

11 October 2019 - Evening - The Opera

A couple of years ago, in conjunction with Sacra Liturgia Milano, I saw Mozart's "Don Giovanni" at La Scala Opera House.  (See about it here.)  Tonight's experience will be totally different.  Teatro Salone Margherita is a lovely Art Nouveau 'dinner theater', and the performance tonight is Verdi's "La Traviata"!

(photo from website)

I had booked my ticket for the opera only, skipping the meal.  I think that I maybe regret that just a bit now.  Oh well.  Next time.

There was just a small 'pit' orchestra, one person per instrument:  string quintet, plus flute, oboe, clarinet, bassoon, French horn, trombone, and timpani.  The music was superb, as was the acting!  The dining tables are just out of the above photo, to each side of the seating.  To the right in the above photo, there is a bar.  I enjoyed the opera in a very comfortable red velvet seat while sipping my Spritz Veneziano (or Aperol Spritz), evidently a favorite Roman drink.  Photography was actually encouraged, so long as there was no flash or video photography.  The costumes and stage settings were mid-19th century, but there was Alphonse Mucha artwork on either side, and a screen at the back with a slide show of French impressionistic artwork that coordinated with the various scenes and lighting effects.

There were only a couple of hundred in the audience.  It was very intimate, and very enjoyable.  I met a fellow from Texas - a graduate of UT whose commencement was in Bates Recital Hall which has a pipe organ that I helped build while at Visser-Rowland Associates.  He is employed with the Mexican Consulate, and was in Rome for the Canonization Mass like I was.  There were also a couple of young ladies, also opera lovers, on holiday from Seattle.  On my way back, I stopped for a late dinner a few blocks from my room.

11 October 2019 - Morning - The Vatican

Friday morning was set aside for a tour of the Vatican Museum, including the Sistine Chapel and St. Peter's Basilica.  I had booked this ahead of time online with TripAdvisor.  On the way I needed to stop by a BNL cash machine (part of the Global ATM Alliance that includes Bank of America) to replenish my cash reserves.

Our English tour group met across the street from the entrance to the Vatican Museum.  We each received a receiver and ear-buds to hear our guide.  (This was critical as there were literally dozens of groups touring at the same time!)

N.B.  the orb  in the foreground is the
same circumference as the one on top
of the dome in the background.

Our tour guide - with hand raised and flag.

Not a painting, but a huge mosaic
made of tiles as small as 1/8"!

Our tour guide was very knowledgeable and interesting.  Before starting through the Vatican Museum area, she gave us a detailed explanation of what we would see in the Sistine Chapel.  Guides must leave their groups, and silence is to be kept while in the Chapel - and no photography of any kind would be allowed.  She would meet us at the exit of the Chapel to continue on to St. Peter's Basilica.

I did take quite a few photos inside St. Peter's, but there are better photos available online than mine.  There was even a wedding taking place in a side chapel that was specifically for weddings.  We were told that a reservation for a St. Peter's wedding has to be seven years in advance!  All the beautiful colors inside are NOT of paintings.  The low altitude, proximity to the Tiber, etc., meant that anything painted would only last a century or two.  No. Everything of color inside the Basilica is either marble or mosaic.  Even what looks like a huge painting (above) is made up of tiny bits of tile.  You really need to be within a few feet of it to see the pieces!

I also took the extra tour up to the top of the dome.  (I had done the same at St. Paul's Cathedral in London and to the "Terraces" - the roof of the Duomo in Milan.)  The first part, up to the roof of the transept, I took the elevator.  It was another perfect day, weather-wise, so I took some good photos.

From the transept roof.

The roof of the nave.

The sanctuary from inside the dome.

Up close of dome mosaics.

The dome from the walk-way.

  
From the inside walk-way the steps continuing up to the copula started out as a wide spiral, but changed to metal stairs, zigzagging at angles towards the copula.

After I finished touring the Basilica, I took some photos of St. Peter's Square on my way back to my room.  You can see the thousands of plastic chairs - quite weathered since most large events are held outdoors these days.

I walked everywhere in Rome - between 5 and 10 miles a day.  On this day, I got back to my room around 2:00, and took a nap before going out for the evening.