Your Favorite Modern Mass Setting?

[hosea]

I emailed the ICEL regarding their copyrighted mass parts:
Sent: Thursday, May 14, 2009 11:58 AM
To: ICEL@eLiturgy.org
Subject: Bernadette Farrell’s Mass of Hope
Hello,

I am a Pastoral musician and song leader at St. Helen’s Catholic Church in Glendale, Arizona. My question pertains to the ICEL copyright credit given on Bernadette Farrell’s Mass of Hope which we use quite often during our Liturgies. A forum I frequent called “Catholic Answers” seems to have a consensus that because Ms. Ferrell’s Holy does not have the ICEL label we should not use it during Mass. Her Memorial acclamations and Great Amen do carry your copyright.
So should we not use her Holy? Is it considered by ICEL to be a liturgical abuse? If so, how does it end up in a diocese-approved hymnal?
Our church uses Journeysongs as its hymnal. There are 8 mass settings by various composers such as Owen Olstott, Bob Hurd, The St. Louis Jesuits and others. None of their Holy’s display the ICEL copyright yet all their Memorial Acclamations and great Amen’s do. If those Holy’s are not sanctioned by ICEL does that mean that we should not use any of them? If so, what shall we do for that important Eucharistic Prayer? And can you lead me to the place where I can view the correct texts that ICEL has approved so that I know if a song is abusing the texts?

Thank you,
Terry Little

Here is their reply:

Dear Terry,

Thank you for your email of today.

The translation of the Holy, Holy approved for liturgical use is not an ICEL translation. It was done by the International Consultation on English Texts, and ecumenical body that also did translations of the Nicene Creed, Gloria, Apostles’ Creed, Lift Up Your Hearts, Agnus Dei, and, in the Liturgy of the Hours, the Glory to the Father, Magnificat, Nunc Dimittis, Benedictus and Te Deum Laudamus. All of these translations are in the public domain and do not require copyright acknowledgement or the payment of royalties for their use.

Feel free to contact me should you have any further questions.

All best,
Jason J. McFarland, M.M., M.A.
Assistant Editor
International Commission on English in the Liturgy
1522 K Street, NW
Suite 1000
Washington DC 20005
(202) 347-0800 x4
www.icelweb.org

And here is his follow up letter:

From: Jason Mcfarland [mailto:jmcfarland@eliturgy.org]
Sent: Thursday, May 14, 2009 12:20 PM
To: Little, Terry
Subject: RE: Bernadette Farrell’s Mass of Hope

Dear Terry,

If the text of the Holy is the same as the text in the Sacramentary (see the book the Priest uses at Mass), then it is the right text. Regulations do allow slight changes to the text for the purpose of setting it to music, e.g., repeating a phrase.

Jason

 

[benedictgal]

I emailed the ICEL regarding their copyrighted mass parts:
Sent: Thursday, May 14, 2009 11:58 AM
To: ICEL@eLiturgy.org
Subject: Bernadette Farrell’s Mass of Hope
Hello,

I am a Pastoral musician and song leader at St. Helen’s Catholic Church in Glendale, Arizona. My question pertains to the ICEL copyright credit given on Bernadette Farrell’s Mass of Hope which we use quite often during our Liturgies. A forum I frequent called “Catholic Answers” seems to have a consensus that because Ms. Ferrell’s Holy does not have the ICEL label we should not use it during Mass. Her Memorial acclamations and Great Amen do carry your copyright.
So should we not use her Holy? Is it considered by ICEL to be a liturgical abuse? If so, how does it end up in a diocese-approved hymnal?
Our church uses Journeysongs as its hymnal. There are 8 mass settings by various composers such as Owen Olstott, Bob Hurd, The St. Louis Jesuits and others. None of their Holy’s display the ICEL copyright yet all their Memorial Acclamations and great Amen’s do. If those Holy’s are not sanctioned by ICEL does that mean that we should not use any of them? If so, what shall we do for that important Eucharistic Prayer? And can you lead me to the place where I can view the correct texts that ICEL has approved so that I know if a song is abusing the texts?

Thank you,
Terry Little

Here is their reply:

Dear Terry,

Thank you for your email of today.

The translation of the Holy, Holy approved for liturgical use is not an ICEL translation. It was done by the International Consultation on English Texts, and ecumenical body that also did translations of the Nicene Creed, Gloria, Apostles’ Creed, Lift Up Your Hearts, Agnus Dei, and, in the Liturgy of the Hours, the Glory to the Father, Magnificat, Nunc Dimittis, Benedictus and Te Deum Laudamus. All of these translations are in the public domain and do not require copyright acknowledgement or the payment of royalties for their use.

Feel free to contact me should you have any further questions.

All best,
Jason J. McFarland, M.M., M.A.
Assistant Editor
International Commission on English in the Liturgy
1522 K Street, NW
Suite 1000
Washington DC 20005
(202) 347-0800 x4
www.icelweb.org

And here is his follow up letter:

From: Jason Mcfarland [mailto:jmcfarland@eliturgy.org]
Sent: Thursday, May 14, 2009 12:20 PM
To: Little, Terry
Subject: RE: Bernadette Farrell’s Mass of Hope

Dear Terry,

If the text of the Holy is the same as the text in the Sacramentary (see the book the Priest uses at Mass), then it is the right text. Regulations do allow slight changes to the text for the purpose of setting it to music, e.g., repeating a phrase.

Jason

Repeating a phrase is one thing, but, changing the text is an entirely different matter. Mr. McFarland, I am surprised, did not even cite Liturgiam Authenticam, the document which governs translations for the liturgy, the same document that ICEL is supposed to follow. The composers should be following Liturgiam Authenticam.

This will all be moot since, as the CDWDS noted in its letter:

This Dicastery has no little satisfaction in arriving at this juncture. Nevertheless, the Congregation does not intend that these texts should be put into liturgical use immediately. Instead, the granting now of the recognitio to this crucial segment of the Roman Missal will provide time for the pastoral preparation of priests, deacons and for appropriate catechesis of the lay faithful. It will likewise facilitate the devising of musical settings for the parts of the Mass, bearing in mind the criteria set forth in the Instruction Liturgiam Authenticam, n. 60, which requires that the musical settings of liturgical texts use only the actual approved texts and never be paraphrased.

Thus, the composer has the responsibility to keep the same words. Ferrell has amended her texts, a big no-no. The same holds true for Haugen’s Mass of Creation, especially the Agnus Dei setting.

Here is the interesting part, one of our forum members is writing a book on the prayers of the Mass and had to get permission from ICEL to use the texts.

 

[hosea]

Repeating a phrase is one thing, but, changing the text is an entirely different matter. Mr. McFarland, I am surprised, did not even cite Liturgiam Authenticam, the document which governs translations for the liturgy, the same document that ICEL is supposed to follow. The composers should be following Liturgiam Authenticam.

This will all be moot since, as the CDWDS noted in its letter:

Thus, the composer has the responsibility to keep the same words. Ferrell has amended her texts, a big no-no. The same holds true for Haugen’s Mass of Creation, especially the Agnus Dei setting.

Here is the interesting part, one of our forum members is writing a book on the prayers of the Mass and had to get permission from ICEL to use the texts.

davidmacd.com/catholic/catholic_mass_full_text.htm#eucharistic_prayer
As I looked at the Lectionary for the Catholic Church and read the actual words of the Holy I sang Ferrell’s Holy as I read. I think I see what they mean by paraphrasing. For instance, the actual text is Holy, holy, holy Lord. God of power and might. Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. Notice the period at the end of the the first sentence. Ferrell’s Holy is musically phrased "Holy, holy, holy; Lord, God of power, Lord, God of might etc. Notice where the periods fall? Would you call that paraphrasing? Does it change the meaning for us? I’m ok with repeating phrases for musicality’s sake but this rearranging the grammer might cause concern.
So, are you worried about ICEL? I wonder if they will have any part of the new releases coming from the Congregation for Divine Worship and the Discipline of the Sacraments. Did the ICEL just cash in on the royalties that came from their copyrights back in '69?
As for Marty, we just don’t use his MOC anymore. And since he left the church years ago, his focus has gone toward the other Churches. I had the priveledge of attending one of his workshops 14 years ago. He is a very humble and extremely talented musician and song writer. I hope he is blessed in his new ministry.

 

[benedictgal]

davidmacd.com/catholic/catholic_mass_full_text.htm#eucharistic_prayer
As I looked at the Lectionary for the Catholic Church and read the actual words of the Holy I sang Ferrell’s Holy as I read. I think I see what they mean by paraphrasing. For instance, the actual text is Holy, holy, holy Lord. God of power and might. Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. Notice the period at the end of the the first sentence. Ferrell’s Holy is musically phrased "Holy, holy, holy; Lord, God of power, Lord, God of might etc. Notice where the periods fall? Would you call that paraphrasing? Does it change the meaning for us? I’m ok with repeating phrases for musicality’s sake but this rearranging the grammer might cause concern.
So, are you worried about ICEL? I wonder if they will have any part of the new releases coming from the Congregation for Divine Worship and the Discipline of the Sacraments. Did the ICEL just cash in on the royalties that came from their copyrights back in '69?
As for Marty, we just don’t use his MOC anymore. And since he left the church years ago, his focus has gone toward the other Churches. I had the priveledge of attending one of his workshops 14 years ago. He is a very humble and extremely talented musician and song writer. I hope he is blessed in his new ministry.

Marty was never Catholic in the first place. That explains why a lot of his music is theologically and liturgically flawed.

The reason why the CDWDS released the newly translated ordinary of the Mass was because it wanted to give composers the chance to set the texts to music. However as the CDWDS noted in its letter, paraphrasing should not be employed. The texts need to appear as they do in the Roman Missal. The CDWDS also wanted the clergy and faithful to become familiar with the new texts and learn them.

Now, a lot of the OCP Spanish Mass parts are very problematic. Not only is paraphrasing heavily employed, but, they have also taken a hatchet job at the actual texts, deleting the Holy Name of Jesus and all references to God the Father and Lord God, heavenly King. The burden should fall on the publishing houses to see that whatever is sent to them conforms to the liturgy. But, apparently, neither OCP nor GIA has read Liturgiam Authenticam (which does not just apply to the English language).

 

[hosea]

Marty was never Catholic in the first place. That explains why a lot of his music is theologically and liturgically flawed.

The reason why the CDWDS released the newly translated ordinary of the Mass was because it wanted to give composers the chance to set the texts to music. However as the CDWDS noted in its letter, paraphrasing should not be employed. The texts need to appear as they do in the Roman Missal. The CDWDS also wanted the clergy and faithful to become familiar with the new texts and learn them.

Now, a lot of the OCP Spanish Mass parts are very problematic. Not only is paraphrasing heavily employed, but, they have also taken a hatchet job at the actual texts, deleting the Holy Name of Jesus and all references to God the Father and Lord God, heavenly King. The burden should fall on the publishing houses to see that whatever is sent to them conforms to the liturgy. But, apparently, neither OCP nor GIA has read Liturgiam Authenticam (which does not just apply to the English language).

Well, let’s pray that the great composers will step up and get it right. We’ll be watching.
Ok. I’m going out on a limb here. This is the Gloria that we have been using at Mass for the last 5 years. It was written by our beloved music Director, Jay Soto jaysoto.com/, an accomplished guitarist and nationally produced Smooth Jazz musician and I arranged it into SATB. . Would you give it your brilliant ear and tell me what you think? The assembly sings it very well.
members.cox.net/tntgirl/Jay’s%20-%20Gloria.mp3
And this is the Our Father we have used for over 20 years. It’s the only music I’ve ever written.
members.cox.net/tntgirl/The%20Prayer%20of%20Prayers%20-%20The%20Prayer%20of%20Prayers.mp3

Peace,
Terry

 

[sfuerte]

From what I heard, Haugen is reworking the Mass of Creation to fit with the new translations.

He already did and it is fine! At our church we read through 100 mass settings translated for the new translation.

Some did good, some not so good…however, like always you pick and choose what is comfortable for your congregation.

 

[benedictgal]

He already did and it is fine! At our church we read through 100 mass settings translated for the new translation.

Some did good, some not so good…however, like always you pick and choose what is comfortable for your congregation.

I was not at all impressed with Haugen’s reworking of the Mass of Creation. There is no need for a responsorial Gloria. The Gloria should be sung straight-through, as it was meant to be. Furthermore, Haugen puts the text at the service of the music when it should be the other way around.

I would recommend learning the default ICEL settings that are imbedded within the Roman Missal itself. These are simple and can be sung without accompaniment.