The Latin Mass Society of Australia has recently shared a project by Mr Nicholas Morlin, entitled “Faith of Our Fathers”, a gathering of liturgical traditions which prevailed in that country before the pivotal year of 1960. It offers a compilation of customs and indults granted to the Church in Australia, accompanied by meticulously documented sources, letters, and dates, as well as a liturgical calendar of proper feasts, with Mass Propers and Octaves. Please note that this is a work in progress, and a new edition will come out in due time. We congratulate Mr Morlin and the LMS on this superbly useful contribution to the preservation of our authentic Catholic liturgical heritage.
Thursday, January 04, 2024
Monday, March 16, 2020
Interviews with Catholic Composers — (4) Ronan Reilly
Today we interview a composer from Australia, Ronan Reilly, whom NLM readers may recall is also the President of the Latin Mass Society of Australia. It was in that administrative capacity that I first got to know him, on my trip Down Under in April 2019. But then I quickly discovered what a gifted musician and composer he is, and have looked forward ever since to sharing his work.
Tell us about your musical background: when and how you began singing or playing instruments, your most influential teacher, how your interest in composing sacred music was enkindled.
I started out my musical journey as a 10-year-old chorister at St Mary’s Cathedral, Sydney in 2002. Over the course of 8 years I was exposed to the beautiful treasury of Sacred Music, everything from Gregorian chant through to contemporary compositions in the vein of classical polyphony. Each Chorister was expected to learn an instrument to complement their singing tuition – I chose the cello. Throughout my time in the Cathedral Choir I developed an interest for the ‘mechanics of polyphony’ and had a fascination for the art of renaissance composition.
Is there a sacred music composer whose work you find most captivating, either as a source of delight, or as direct inspirations and models for your own work?
I have always had a particular love for the English School of Polyphony and most especially for William Byrd. I find Byrd has a depth of expression in his compositions that is hard to match due to his experience of persecution and repression – he is unapologetically Catholic and his music attests to this (cf. Et Unum Sanctam Catholicam Mass for Five Voices). Byrd also has a profound ability to express melancholy (cf. Civitas Sancti Tui) – he intimately understood and lived through the Elizabethan Catholic persecution and did not shy away from comparing it to the desolation and devastation of the Israelites of old. I think it is safe to say that what Byrd experienced and what we are living through have many parallels – a change in liturgical praxis, a change in the language of prayer, a change in the attitude of secular authorities towards Catholics, etc.
If you were given an unlimited budget for musicians for a solemn pontifical Mass, what works would you put on the program?
If I were allowed to specify the feast day, I would certainly opt for November 2nd, the feast of All Souls. There is a vast treasury of compositions for the Mass and Office of the Dead, especially from the Spanish School. It is a uniquely Catholic reality to pray for the repose of the souls of loved ones who are, God willing, being cleansed of their sins, transgressions and negligence’s in Purgatory. It is a dream of mine to sing Victoria’s Requiem for 6 voices; a feat of musical and theological genius. Ideally the Mass would be preceded by Matins for the Dead, using the Morales Invitatory.
The language of sacred music, as of Catholic worship in general, remains a controversial subject. What are your thoughts about the place of Latin in vernacular liturgy and the place of the vernacular in Latin liturgy?
I am a firm believer in the sacral and expressive beauty of Latin, a vehicle for tradition and stability. Latin instantly brings to mind the antiquity of the Church and the universal character of the Bride of Christ, somewhat like the expanse and glory of the Roman Empire which She inherited. The language of prayer ought to elevate the soul and transcend national boundaries – a foretaste of Heaven. There can be no doubt that the patrimony of Catholic thought and prayer is directly bound to Latin. The melodies of both Gregorian chant and polyphony are married to the Latin texts which they clothe and bring to life: one cannot sacrifice the use of Latin without sacrificing the history, inheritance and tradition of the Church.
What are some strengths and weaknesses you see in the “traditionalist” movement, particularly from a musical point of view?
Having attended the Usus Antiquior exclusively for almost 10 years, I can attest, from a musical perspective, that it is a safe haven from the ‘sacro-pop’ wars, a place wherein the integrity of Catholic music can flourish and thus nourish everyone. First and foremost, the Mass in use is that for which the majority of great sacred music was written: it fits hand in glove.
That is not to say that all traditional communities have a standard or expectation of sacred music that befits the liturgy – this is certainly not the case. In a purely theoretical framework, a traditional community has everything at its disposal to build and sustain a great sacred music tradition. And so this should be taken as a duty, not an option.
What are you doing now in the realm of sacred music?
I currently teach music at a small traditional Catholic School in Brisbane, Australia. We have a budding sacred music program with an abundance of talent and enthusiasm; our High School Polyphonic Choir will perform Allegri’s Miserere at the end of the year and our Liturgical Schola will sing the Byrd Mass for Three Voices at the final School Mass. It is a wonderful gift and opportunity to be able to impart the indispensable beauty of sacred music to young minds and to see them fall in love with the many facets and fascinations of sacred music and all that it entails.
As the Publicity Officer for the Australian Sacred Music Association (www.sacredmusic.org), I frequently travel around Australia conducting workshops in Sacred Music, mainly in schools and parishes that are keen to learn about their musical heritage.
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| Reilly, on the left, with friends who recorded his music |
Tell us about your musical background: when and how you began singing or playing instruments, your most influential teacher, how your interest in composing sacred music was enkindled.
I started out my musical journey as a 10-year-old chorister at St Mary’s Cathedral, Sydney in 2002. Over the course of 8 years I was exposed to the beautiful treasury of Sacred Music, everything from Gregorian chant through to contemporary compositions in the vein of classical polyphony. Each Chorister was expected to learn an instrument to complement their singing tuition – I chose the cello. Throughout my time in the Cathedral Choir I developed an interest for the ‘mechanics of polyphony’ and had a fascination for the art of renaissance composition.
“Behold A Simple Tender Babe”
Is there a sacred music composer whose work you find most captivating, either as a source of delight, or as direct inspirations and models for your own work?
I have always had a particular love for the English School of Polyphony and most especially for William Byrd. I find Byrd has a depth of expression in his compositions that is hard to match due to his experience of persecution and repression – he is unapologetically Catholic and his music attests to this (cf. Et Unum Sanctam Catholicam Mass for Five Voices). Byrd also has a profound ability to express melancholy (cf. Civitas Sancti Tui) – he intimately understood and lived through the Elizabethan Catholic persecution and did not shy away from comparing it to the desolation and devastation of the Israelites of old. I think it is safe to say that what Byrd experienced and what we are living through have many parallels – a change in liturgical praxis, a change in the language of prayer, a change in the attitude of secular authorities towards Catholics, etc.
“Regina Caeli”
If you were given an unlimited budget for musicians for a solemn pontifical Mass, what works would you put on the program?
If I were allowed to specify the feast day, I would certainly opt for November 2nd, the feast of All Souls. There is a vast treasury of compositions for the Mass and Office of the Dead, especially from the Spanish School. It is a uniquely Catholic reality to pray for the repose of the souls of loved ones who are, God willing, being cleansed of their sins, transgressions and negligence’s in Purgatory. It is a dream of mine to sing Victoria’s Requiem for 6 voices; a feat of musical and theological genius. Ideally the Mass would be preceded by Matins for the Dead, using the Morales Invitatory.
“For With God”
The language of sacred music, as of Catholic worship in general, remains a controversial subject. What are your thoughts about the place of Latin in vernacular liturgy and the place of the vernacular in Latin liturgy?
I am a firm believer in the sacral and expressive beauty of Latin, a vehicle for tradition and stability. Latin instantly brings to mind the antiquity of the Church and the universal character of the Bride of Christ, somewhat like the expanse and glory of the Roman Empire which She inherited. The language of prayer ought to elevate the soul and transcend national boundaries – a foretaste of Heaven. There can be no doubt that the patrimony of Catholic thought and prayer is directly bound to Latin. The melodies of both Gregorian chant and polyphony are married to the Latin texts which they clothe and bring to life: one cannot sacrifice the use of Latin without sacrificing the history, inheritance and tradition of the Church.
What are some strengths and weaknesses you see in the “traditionalist” movement, particularly from a musical point of view?
Having attended the Usus Antiquior exclusively for almost 10 years, I can attest, from a musical perspective, that it is a safe haven from the ‘sacro-pop’ wars, a place wherein the integrity of Catholic music can flourish and thus nourish everyone. First and foremost, the Mass in use is that for which the majority of great sacred music was written: it fits hand in glove.
That is not to say that all traditional communities have a standard or expectation of sacred music that befits the liturgy – this is certainly not the case. In a purely theoretical framework, a traditional community has everything at its disposal to build and sustain a great sacred music tradition. And so this should be taken as a duty, not an option.
What are you doing now in the realm of sacred music?
I currently teach music at a small traditional Catholic School in Brisbane, Australia. We have a budding sacred music program with an abundance of talent and enthusiasm; our High School Polyphonic Choir will perform Allegri’s Miserere at the end of the year and our Liturgical Schola will sing the Byrd Mass for Three Voices at the final School Mass. It is a wonderful gift and opportunity to be able to impart the indispensable beauty of sacred music to young minds and to see them fall in love with the many facets and fascinations of sacred music and all that it entails.
As the Publicity Officer for the Australian Sacred Music Association (www.sacredmusic.org), I frequently travel around Australia conducting workshops in Sacred Music, mainly in schools and parishes that are keen to learn about their musical heritage.
Friday, March 08, 2019
Dr. Kwasniewski's Upcoming Lecture Tour in Australia, March 27 to April 7
Today I am pleased to be able to publish the full schedule of my upcoming lecture tour under the auspices of the Latin Mass Society of Australia. Nine public events will be spread over six locations from March 27 to April 7 (full details below). I cordially invite area readers of New Liturgical Movement to attend.
For more information, please email info@lmsaus.org.
The dates below are hyperlinked to the Facebook pages for the individual events.
Wednesday, March 27, 7:00 pm
Brisbane: Mary Immaculate Catholic Church
“The Roman Canon as Principle of Identity, Dogmatic Symbol, and Ritual Anchor”
Thursday, March 28, 7:00 pm
Wagga Wagga: Veteran & Vintage Motor Club
“A Half-Century of Novelty: Revisiting Pope Paul VI’s Three General Audiences on Liturgical Reform”
Saturday, March 30, 1:30 pm
Melbourne: Newman Parish
“A Half-Century of Novelty: Revisiting Pope Paul VI’s Three General Audiences on Liturgical Reform”
Sunday, March 31, 1:30 pm & 3:30 pm
Melbourne: Newman Parish
At 1:30pm: “The Difference between Survival and Flourishing: Why Catholics Must Take Culture and Fine Art Seriously”
At 3:30 pm: “Two ‘Forms’ of the Roman Rite: Liturgical Fact or Legal Fiction?”
Monday, April 1, 7:00 pm
Melbourne: St Gerard’s Catholic Church, Dandenong North
“Solemnity as the Fundamental Attitude of Authentic Worship”
Tuesday, April 2, 6:00 pm
Hobart: Town Hall, Elizabeth Street Meeting Room
“Gregorian Chant: Wellspring, Model, and Heart of All Sacred Music”
* * * N E W E V E N T
Friday, April 5, 6:30 pm
Campion College, 8-14 Austin Woodbury Pl, Toongabbie, NSW 2146
“The Difference between Survival and Flourishing: Why Catholics Must Take Culture and Fine Art Seriously”
Saturday, April 6, 6:00 pm
Sydney: Maternal Heart of Mary, Lewisham
“‘From the East to the West’: A Defense of Ad Orientem Worship”
Sunday, April 7, 12:45 pm
12:45pm Talk at Maternal Heart of Mary, Lewisham
“The Roman Canon as Principle of Identity, Dogmatic Symbol, and Ritual Anchor”
Official Announcement of LMSA
Arranged to commemorate the 50th anniversary of the promulgation of the New Order of Mass by Pope Paul VI in the Apostolic Constitution Missale Romanum of April 3rd, 1969, Dr. Peter Kwasniewski’s tour promises a timely analysis of the theories, events, personalities, and documents which led to the current liturgical landscape. Dr. Kwasniewski will deliver lectures, field questions, sign books, and meet with guests in Brisbane, Wagga Wagga, Melbourne, Hobart, and Sydney. The Latin Mass Society of Australia views the tour as an opportunity for factual critiques, intellectual debate, and renewed commitment to restoring the Church’s public worship.For more information, please email info@lmsaus.org.
The dates below are hyperlinked to the Facebook pages for the individual events.
Wednesday, March 27, 7:00 pm
Brisbane: Mary Immaculate Catholic Church
“The Roman Canon as Principle of Identity, Dogmatic Symbol, and Ritual Anchor”
Thursday, March 28, 7:00 pm
Wagga Wagga: Veteran & Vintage Motor Club
“A Half-Century of Novelty: Revisiting Pope Paul VI’s Three General Audiences on Liturgical Reform”
Saturday, March 30, 1:30 pm
Melbourne: Newman Parish
“A Half-Century of Novelty: Revisiting Pope Paul VI’s Three General Audiences on Liturgical Reform”
Sunday, March 31, 1:30 pm & 3:30 pm
Melbourne: Newman Parish
At 1:30pm: “The Difference between Survival and Flourishing: Why Catholics Must Take Culture and Fine Art Seriously”
At 3:30 pm: “Two ‘Forms’ of the Roman Rite: Liturgical Fact or Legal Fiction?”
Monday, April 1, 7:00 pm
Melbourne: St Gerard’s Catholic Church, Dandenong North
“Solemnity as the Fundamental Attitude of Authentic Worship”
Tuesday, April 2, 6:00 pm
Hobart: Town Hall, Elizabeth Street Meeting Room
“Gregorian Chant: Wellspring, Model, and Heart of All Sacred Music”
* * * N E W E V E N T
Friday, April 5, 6:30 pm
Campion College, 8-14 Austin Woodbury Pl, Toongabbie, NSW 2146
“The Difference between Survival and Flourishing: Why Catholics Must Take Culture and Fine Art Seriously”
Saturday, April 6, 6:00 pm
Sydney: Maternal Heart of Mary, Lewisham
“‘From the East to the West’: A Defense of Ad Orientem Worship”
Sunday, April 7, 12:45 pm
12:45pm Talk at Maternal Heart of Mary, Lewisham
“The Roman Canon as Principle of Identity, Dogmatic Symbol, and Ritual Anchor”
