Abstract
The article describes the introduction of the liturgical reform in the Czech Republic and the associated musical creation that would correspond to therenewed liturgy. It focuses on the work of individual liturgical commissions, the determination of the criteria of musical creation and the prominent music protagonists. At the same time, it describes the progress of the work on the common song-book for the Czech and Moravian dioceses.
Highlights
The Liturgical Constitution of the Second Vatican Council (1962–1965) Sacrosanctum Concilium (SC) determines the basic requirements for liturgical music: “ sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action, whether it adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites
Post-Conciliar Liturgical Reform in the Czech Lands this committee perceived chorale and liturgical singing according to the interpretation of the French Benedictine School; Anglès followed the notion of the motu proprio Tra le sollecitudini of the Pope Pius X from 1903.4 Whereas the Benedictines from the French Solesmes Abbey promoted precision and beauty of the Gregorian chant that was typical for monastic communities, the Spanish rector of the Pontifical Institute of Sacred Music Higini Anglès tried to include chorale into parish service
He perceived chorale as a one-voice vocal sung by all believers and presumed that it is possible to preserve and further develop this vocal. He was a strong supporter of Latin in liturgy precisely because of the musical point of view. He reasoned by the Church documents and, first of all, by the motu proprio of the Pope Pius X and hoped that in the post-council Church the chorale will spread throughout parishes and pervade every type of service
Summary
The Liturgical Movement formed the basic i.e., of liturgical music that can be traced in the Church documents of that time, from the Pope Pius X to Pius XII. The work of Consilium was critically evaluated with the following reservations: no “real musicians” were consulted, but only supporters of “certain trend”; according to Inter Oecumenici, the whole Mass “Proprium” and “Ordinarium” should be in folk language; there are priests who ask for the abandonment of Latin not for the sake of believers or because of their active participation in the Mass, but because they maintain “nationalistic and anti-Rome” positions; believers do not understand some parts of the Mass that is sung in folk language; in the course of several months all was abandoned (Latin and chorale); non-Catholics practise Gregorian chant more than Catholic Church.[19] This letter initiated critical evaluation of the Consilium’s work, and strictly speaking, it was an attempt to prevent the implementation of liturgical reform At this moment, it was obvious that it is inevitable that musicians have to participate in the document concerning liturgical music prepared by ritualists. The long process of preparation and confirmation of the Instruction Musicam Sacram drew the attention to the differences in opinion concerning the question of liturgical music whereas the main conviction was the fact that this Instruction fully complies with the requirements of the renewed post-council liturgy
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