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Darf der Chor das Sanctus singen?

Ich möchte meine Gedanken zum Sanctus vom letzten Monat noch ein wenig weiterspinnen und einen anderen Aspekt einbringen. Eine Schwierigkeit, mit der viele Chorleiter konfrontiert sind, ist die Ablehnung gesungener Messkompositionen durch den Zelebranten. Es sei eindeutig verboten, dem Volk das Sanctus gleichsam zu entreißen, und mitten im Hochgebet eine konzertante Einlage zu bieten. Dieser Meinung ungeachtet trifft man gleich in der Nachbarkirche auf einen Pfarrer, der gesungene Messen schätzt, und die Kirchenmusik entsprechend fördert.

Ich werde nun meine Ansichten zu diesem Thema darlegen. Leider ist es notwendig, dafür etwas weiter auszuholen, and to present first the problem of polyphonic church music itself.

This sensitive issue will also one of the most unspeakable concoctions taken up a study guide of the German Bishops Conference, which I will dedicate another post, namely the study guide 194 "music in the church outside of the liturgy" (I would but already here on a very good comment from Dr. Michael Tunger point: LINK to the PDF document). In this "instrument" we read on page 9f. following: wanted

"The liturgical reform of Vatican II to promote the active participation of the whole community, so called for the role just Implementation of the liturgical celebration and allowed the liturgy in the vernacular languages. The traditional liturgical practice of polyphonic church music seems just put this in question: the listening community is not a holistic, active participation is possible and, where appropriate, is not the liturgical roles balanced. In addition, the majority of the community is ignorant of the Latin language.

dominated the liturgy of polyphonic church music, there is generally a risk that professional musicians, but also amateur and amateur ensembles singing exclusively draw in itself. Therefore recommends that the Congregation for Divine Worship and the Discipline of the Sacraments: "If the church music within a service is listed, they should adapt to its character. This often required to restrict the use of works that date from a period in which the active participation of the faithful has not seen as a source of true Christian spirit "(statement on" Concerts in Churches ", No. 6,. similar to already see No. 53 of Instruction on Music in the Sacred Liturgy "Musicam Sacram" in 1967).

"restriction" of traditional polyphonic church music within the liturgy, of course, must not be confused with their complete banishment. Here is a case-by case, a careful balancing is needed. Is certain: not since such works rarely cultural treasures of high rank, they must not be forgotten. If they find no suitable positioning within the liturgy more to offer, outside of worship, many attractive opportunities. "

Even this brief excerpt from the document cries out for a number of comments. I will not now constitute a systematic, but more or less after the brainstorming principle briefly touch on:

1. The principle of active participation ( participatio actuosa ) is not a requirement of the Second Vatican Council, but was already enforced by St. Pope Pius X. In fact related to the restoration of. Gregorian chant (ie, the restitution of the chorale with reference to the old manuscripts as opposed to the then applicable Editio Medicaea , I will also address the issue again with my own contributions) and its propagation and promotion.
   


2. The following sentence is pure suggestion: traditional church music, the active participation of the question. It is yet? does not it? Here screams of modernism even for self-affirmation. Up to the devastation of the conciliar church music that had its roots already added in some trends of the liturgical movement , was bothered by the obvious at this point no one. And Today we see people leave with tears in his eyes the church when a large orchestra was fair blossom the liturgy. We found typical of the post-conciliar reforms shortening the term activity to sing palpable You must either doing, or stand or kneel or lie on a circle around the altar so he liturgy is-live-bar. What nonsense! Also looking forward to pray, not listen, meditate, be amazed, are activities. And they are often essential for the liturgy, as every external activism. No wonder the Church has the hermits and it met with the adult monk level since early Christian times such high esteem.


3. It follows that which had to follow. The conciliar standard argument: It is understood Latin but not a man! course. Is it perfect, right? The sentiment is so beautiful that I've thought about him paint with the calligraphy pen and selling in gold frame. There should be a huge market for it. But this argument is true anyway?
   
   
   course not! Especially when the Latin Ordinary argument is not a true expression of pastoral concern, but a return to the Arugmentierenden even falling indictment. The text of the Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) is common. Literally and for centuries. Who has the text in German read once confident and prayed several times for example at home, its contents will not be forgotten, and the key to understanding the Latin text easily. It's nigh absurd that we should sing no more Latin - but it Taizé songs in English, French, Russian, Hebrew, and English: Latin imports (?). Also on this subject more will be said.
   
   
4. The rest of the quote above text is an insolence and mendacity that you should not really comment on everything. Traditional polyphonic church music is here under the general suspicion of Aliturgischem. Dabei verlangt gerade der würdig gefeierte Gottesdienst nicht nur ein hohes Maß an Zelebrationskultur, sondern auch an musikalischer Vorbereitung. Es ist unglaublich, dass man dem Mittelmaß, dem Dilletantismus und dem Experimentalismus im negativen Sinne des Wortes hier Tür und Tor öffnet und das Bemühen um hervorragende Liturgie pauschal kriminalisiert. Daher sind diese Aussagen ein klarer Widerspruch zur traditionellen Auffassung von Kirchenmusik. Pius X. schreibt in seinem Motu Proprio "Tra le sollecitudini", nachdem er sich ausführlich den Vorzügen des Gregorianischen Chorals gewidmet hat:
   

   "Die oben erwähnten Eigenschaften besitzt in hohem Grade auch die sogenannte klassische Polyphonie, besonders die der römischen Schule, die im 16.Jahrhundert durch Pierluigi Palestrina zu ihrer höchsten Vollendung geführt wurde und auch später noch Werke von hervorragendem liturgischem und musikalischem Wert hervorgebracht hat. Die klassische Polyphonie berührt sich nahe mit dem Gregorianischen Choral, diesem einzigartigen Vorbilde aller Kirchenmusik. Deshalb wurde sie für würdig befunden, zusammen mit dem Gregorianischen Choral bei den höchsten kirchlichen Feierlichkeiten, wie es die päpstlichen Gottesdienste sind, zur Verwendung zu gelangen. Daher soll auch sie in weitem Umfange beim Gottesdienst wieder eingeführt werden, besonders in den hervorragenden Basiliken, in den Kathedralen, in Seminarien und anderen kirchlichen Instituten, . Where does it necessary powers and funds is no shortage of "
   

   The Instruction on Music in the Liturgy," Musicam Sacram ", published by the Roman Congregation of Rites in 1967, highlights the qualitative importance of church music:

   fourth a .) And only those music sacred music called that is made for the celebration of divine worship and as identified by the holiness and goodness of its forms
   
   b) the concept of sacred music come into consideration here: the Gregorian chant, the old and new polyphony in its various genres, Musica Sacra, which allowed for the organ and other instruments was created and the church Folk song, liturgical as the religious. The

   Konzilskonsitution "Sacrosanctum Concilium" formulated in the 6th Chapter:
   

   112th The musical tradition of the universal Church is a treasure of inestimable value, distinguished from all other forms of artistic expression, especially because it is what lies at the connected with the sacred music and words is a necessary and integral part of the solemn liturgy. In fact, both the Scriptures as the Holy Fathers of the worship songs have donated high praise, as is the Roman popes in modern times in the wake of Saint Pius X. the ministerial function of sacred music in worship mit größerer Eindringlichkeit herausgestellt haben. So wird denn die Kirchenmusik um so heiliger sein, je enger sie mit der liturgischen Handlung verbunden ist, sei es, daß sie das Gebet inniger zum Ausdruck bringt oder die Einmütigkeit fördert, sei es, daß sie die heiligen Riten mit größerer Feierlichkeit umgibt.
   

   
   Problematisch sind die diversen "Hintertüren" im gleichen Dokument, gut gemeinte Ausnahmeregelungen, die dem Mißbrauch und der Mißdeutung Einlaß gewähren und die für viele Konzilsdokument leider typisch sind. Als Beispiel sei nur der folgende Absatz zitiert:
   

   116. Die Kirche betrachtet den Gregorianischen Choral als den der römischen Liturgie eigenen Singing; therefore he is liturgical in their actions, take if, moreover, are given the same conditions, the first place. Other types of sacred music, especially polyphony, are for the celebration of the Liturgy by no means impossible, if they meet the spirit of the liturgy within the meaning of Article 30.

Thus we see that the polyphony (ie, the polyphony) is excluded in the post-conciliar liturgy not, but still with a sense of the Gregorian chant is a guide to qualitative classification of liturgical music.

What is it but now with the Sanctus that are supposedly sung by the people must and therefore a popular lever to banish traditional mass compositions of the liturgy in the concert business? In the General Instruction of the Missal (AEM) says:

"55 b) Sanctus call. The whole community is united with the heavenly powers, sings or speaks the Sanctus This call is part of the Eucharistic Prayer and is of . all presented together with the priest "¹

in which - apart from the trade shows in the Ordinary Form in Latin - not yet final" basic order of the Roman Missal "(2002 GRM) is almost identical:

" 79 b) The acclamation: It unites the whole assembly with the celestial Powers and sings the Sanctus. . This acclamation, which is part of the Eucharistic prayer itself is, by all the people argued with the priest "is

Later in the document adopted this scheme a number of times:

" 147th [...] The Eucharistic Prayer requires ago by its very nature that it alone maintains the priest by virtue of his ordination. But the people united with the priest in faith with silence and by acclamation, as laid down in the course of the Eucharistic prayer, that the answers in the dialogue of the preface, the Sanctus, [...]"

"216th The preface by the principal celebrant alone sung or spoken, the Sanctus . But is sung by all the concelebrants together with the people and the Schola or spoken "

Obviously the situation is therefore quite clear: polyphonic mass compositions may be heard in the show but not the Sanctus, as this is the whole town is given up singing Interestingly.. this opinion to the council in our days have become the dominant, although it is compatible neither with the tradition, is still justified or somehow logically opens.

Joseph Cardinal Ratzinger said during a lecture in 1994, the adoption of his brother George as Director of Music of the Regensburg "Regensburg tradition and die Liturgiereform". Er greift zunächst ein Zitat von Joseph Lengeling auf, dass sich übrigens nahtlos in eine gewisse akirchenmusikalische Strömung einfügt, die auch Rahner und Vorgrimler in ihrem teilweise bedenklichen, heute aber immer noch weit verbreitetem Konzilskompendium vertreten:

"Mein ehemaliger Münsteraner Kollege und Freund Emil Joseph Lengeling hat gesagt, wenn man das Sanctus als authentischen Part der Gottesdienst feiernden Gemeinde versteht, 'so ergeben sich daraus nicht nur zwingende Folgerungen für neue Vertonungen, sondern auch Exklusiven für die meisten gregorianischen und für alle polyphonen Vertonungen, da sie das Volk vom Gesang ausschließen und den Rufcharakter nicht beachten.'

shows With all respect for the great liturgists of that word, that even experts can fall sharply next. Mistrust is first installed there where a large part of living history to the dustbin off taner misunderstandings to be thrown. This is particularly true for the Christian liturgy which thrives on the continuity and the internal unity of the history of believing prayer. "²

Later that very clearly defined and highly readable article refutes Ratzinger's statements Lengeling founded. He postulated even a completely different approach when it would "do well" to the congregation, before departing in the middle to remain the mystery for a while in silence filled. A silence in abundance, mind you, not a silent waiting. It is this silence is capable of uniting the whole community and real. Ratzinger further formulated

"Must not we just learn this silent inner pray with each other and with the angels and saints, the living and the dead, with Christ himself again, thus used formulas, the canon words are not, which will be in vain new by ever word assemblies try to replace, in for, as only the actual inner Abswesenheit ds event of the liturgy, looking to cover up the awakening of human speech at the touch of the eternal into it? "

Conclusion: It is always recommended that the whole congregation together the Ordinary, and thus also sings the Sanctus. For the Extraordinary Form of the Roman Rite (Missa Tridentina) the situation is slightly different and in any case clear. As for the post-conciliar liturgical reform, can unfortunately be no clear statement as to the relevant documents are vague and contradictory. In no case can be of a flat ban on polyphonic church music for the Sanctus assume, as I reference the documents of the Council and its predecessor - so to Pius X. have demonstrated - to be "Tra le sollecitudini" well-known clearly. This requires also by the fact that the Roman rite since Benedict XVI. two different forms knows that may be contradictory to such a crucial point is not diametrically opposed. Unless they wanted to postulate a "hermeneutics of rupture".

If the church choir so the next time sing a mass, and also takes over the Sanctus is the good Catholic tradition that we enjoy to your heart's desire and without remorse and inner party may:

Who would seriously claim that it is not such a wonderful piece of classical vocal polyphony, the souls may raise the song of praise with the angels and heavenly hosts?

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¹) General introduction to the Missal (AEM), ONLINE such as: basic order of the Roman Missal, Editio typica tertia 2002 (pre-publication), ONLINE
²) Joseph Ratzinger, Collected Works Vol . 11, p. 564

All documents of the Second Vatican Council are available on the website of the Holy See: LINK