An Opponent of Vatican II Passes Away

I am sure that by now, our readers have all seen that Rembert Weakland, the disgraced former archbishop of Milwaukee, passed away yesterday at the age of 95. There is certainly no need to rehearse the many reasons for his disgrace, which have been discussed more than sufficiently elsewhere. I urge all of our readers to offer the following prayer for his soul, in fulfillment of the duty of charity commanded to us by the Lord Himself.

“Deus, qui inter Apostolicos sacerdotes famulum tuum Rembertum pontificali fecisti dignitate vigere: praesta quaesumus: ut eorum quoque perpetuo aggregetur consortio. Per Christum, Dominum nostrum. Amen.

God, who among the Apostolic priests made Thy servant Rembert flourish by priestly dignity: grant, we beseech Thee: that he may also be joined unto their perpetual society. Through Christ our Lord. Amen.”

“Today for me, tomorrow for you.” A marble engraving on the outside of the Roman church of Santa Maria di Orazione e Morte, the seat of a confraternity which offered constant prayers for the dead, and took care of the burial of indigent persons. Image from Wikimedia Commons by Livioandronico2013, CC BY-SA 4.0.

At the same time, I also urge all of our readers to read this column about him by Paul Likoudis from 2009, since unfortunately, it has of late become even more pertinent to the problem of the liturgy and liturgical reform than it was when it was first printed.

https://www.catholicculture.org/culture/library/view.cfm?recnum=9038

In recent months and years, it has become more and more fashionable for people, even at the highest levels of the Church hierarchy, to insistently repeat the falsehood that the post-Conciliar liturgy is the reform desired by Vatican II, as if their insisting could make it true. The career of Abp Weakland, who was a member of the Consilium ad exsequendam, is one of the innumerable things that demonstrates how false that idea is. To witness to that fact, Mr Likoudis brings in the testimony of an impeccable witness, Mons Richard Schuler, long-time pastor of the church of St Agnes in Minneapolis-St. Paul, whose good work is, I am sure, also well-known to our readers. Here are a few excerpts from the Monsignor, as quoted in the article; do click over to read the whole thing on the website of CatholicCulture.org.

“From the time Sacrosanctum concilium was released, Archabbot Weakland dissented. He especially could not give his assent to the use of Gregorian chant. As Msgr. Schuler noted: ‘A meeting was sponsored in Kansas City, Mo., November 29 to December, 1966, by the American Liturgical Conference. Opposition to the sixth chapter of the Constitution on the Sacred Liturgy was voiced by Archabbot Weakland who said that ‘false liturgical orientation gave birth to what we call the treasury of sacred music, and false judgments perpetuated it.’ Those ‘false judgments’ seem to have been made by the fathers of the [Second Vatican] Council who ordered that the treasury of sacred music be preserved and fostered. . . .

This was the beginning of efforts that have continued over the past 20 years to undermine the intentions of the council fathers and the work of the Consociatio Internationalis Musicae Sacrae, founded by Pope Paul VI for the express purpose of implementing the directives of the Vatican Council in matters of liturgical music. Those who were unhappy with the role given to sacred music in the sixth chapter of the Constitution on the Sacred Liturgy have never ceased to oppose what the Church has ordered for sacred music in its liturgy.

They have by their actions set Church music back to a state far worse than when Pope St. Pius X began the work of reform in 1903. They have promoted their own ideas of what music and liturgy should be, but these fail to correspond to the decrees of the council or the documents that followed after the close of the council. A careful analysis of the legislation given for the universal Church and the reality as it is presently promoted in the United States exposes a considerable divergence between the two . . .

Since liturgy expresses belief, the importance of using it to diffuse errors is clear. Most Catholics know their Church and their faith chiefly through the Sunday Mass. When their worship is turned about, so will their very religion follow. When liturgy becomes entertainment, secularized and profaned, then its role as the expression of Catholic dogma is weakened and even lost for those who look to it for their spiritual sustenance, the ‘primary source of Catholic life,’ as Pope Pius X called it. ...

The results of the greatly advertised ‘changes’ introduced into the postconciliar Church by the modernist camp can be seen in the catastrophe we have witnessed in the closed schools, defections from the clergy, decayed religious life, fewer converts, a substantial drop in attendance at Sunday Mass, theologians who defy the Magisterium, fewer vocations to the priesthood, and the banality, profanity, and ineptitude of what is now promoted as liturgical music.’

... Msgr. Schuler’s essay, available online at www.musicasacra.com/pdf/chron.pdf, also details how Archabbot Weakland and his co-conspirators arrogantly and consistently defied clear instructions from the Holy See with regard to liturgical music and music programs, and even explicit commands to dissolve the organizations that were destroying the legacy of sacred music that began with Pope Pius X.”

Remember this when you are falsely accused of “going against Vatican II” because you love the traditional Roman Rite, and the fullness of our Catholic liturgical patrimony. It is not we who love these things who are opposed to Vatican II. Those who opposed Vatican II then were the creators and implementers of the reform; those who oppose it now are the defenders of their legacy.

A Tribute to Monsignor Richard J Schuler

Today is the 13th anniversary of the death of the Reverend Monsignor Richard J. Schuler, former pastor of Saint Agnes Parish in Saint Paul, Minnesota. Msgr. was born on December 30, 1920 and died on April 20, 2007. It is so appropriate to remember this great, humble, talented, strong willed pastor, musician, author and a priest’s priest.

Back in the early 1970’s, I discovered the journal “Sacred Music” in the library of my college seminary. I was blown away by it and could not wait to see each new issue. One day, an older seminarian pulled me aside and whispered in my ear, “If you want to get ordained, don’t let anybody see you reading that magazine. I would suggest you go back into the stacks and read it in secret.” Can you imagine? And this, in what was considered a pretty orthodox seminary at the time. Reading about true sacred music, Gregorian chant, sacred polyphony, and sacred concert music was dangerous and a waste of time, because everyone knew that Vatican II had done away it.

I began to discover the lies, and yes, they were the lies of those wishing to push a new agenda. I never turned back and tried to absorb as much as I could. Flash forward to 1989. I had been a priest for seven years. A man who owned a carpet store in town called me one day. “Father, I know you love sacred music. Guess what? Msgr. Schuler from St. Agnes is going to address our parish Communion breakfast in Wilmington. Can you come?” Can I come?!? I couldn’t wait! Msgr. Schuler was my, forgive me, liturgical rock star. I expected to see a very serious, scholarly, quiet and reserved man, but not so. Monsignor came right up to me and introduced himself. He was jovial, kind, funny and exuded the presence of a true, happy parish priest. He told me that the Church Music Association (the society that owns and maintains this blog) was going to try something new. They were going to start a Sacred Music Colloquium at Christendom College in the early summer of 1990. He demanded that I attend.

I did, and it was one of the most important decisions of my priesthood. Father Robert Skeris ran the Colloquium with his chosen band, but Msgr. was available and gave instruction the whole time. The first Colloquium was very small and it oozed frustration, anger and deep hopelessness. Msgr had held the journal “Sacred Music” and the music program at Saint Agnes together by himself, against every obstacle, in a hostile environment, in a situation that seemed it would never improve. And yet, he never ceased encouraging us to learn, learn, learn and never stop restoring.

Msgr. kept in touch. Two years later, he invited me to come to Saint Agnes and celebrate the All Souls’ Mass. With absolute joy and deep fear, I said yes. I got off the plane hoping to go right to the church, so that I could practice and go through everything. I had never sung a Mass of this magnitude before. He said, “Oh, don’t worry, you’ll be fine. We are going on a tour of Catholic Minneapolis-Saint Paul.” It was a magnificent tour, including the breathtaking cathedral and the Basilica of Our Lady. We got back to the rectory for dinner. I went to my room after dinner and collapsed exhausted in bed.

The next day, we were all vested for Mass. Msgr. came into the sacristy and said “All is ready. Don’t worry, Father, you will do fine.” And he was off to the choir loft to conduct. Within a few minutes, the somber, solemn tones of Mozart’s Requiem began to sound form the choir loft. The bell rang and the procession started down the side aisle to the back of the church. As I exited the sacristy door, I looked up, and the church was packed with about 1000 people. The veins in my neck felt like they were going to burst. My heart was thumping, and on top of all of this, I had to preach. I barely remember making it to the altar, but I did. The Mass went on. It was one of the most monumental and life changing events of my priesthood. I will never forget it, and it all happened because of Msgr. Schuler.

Once we had removed our vestments, and despite my many mistakes, Msgr. entered the sacristy and graciously said, "Good job Father, you are invited back. Let’s go to the rectory dining room for some libations and nourishment.”

We kept in touch, and I was able to return to Saint Agnes a few more time to celebrate the Mass. Monsignor retired. I was fortunate to visit him a few times at his retirement community. Not long after my last visit, Monsignor was called home to the Lord. I thank God that I was able to attend his funeral. I was sitting in the pews, not far from the sacristy. The bell rang and from the choir loft came the somber tones of Mozart’s Requiem. I was flooded with memories of that day, years ago, when I was given the privilege to celebrate the Mass of All Souls. I was filled with sadness and joy at the same time. This wonderful priest from Minnesota took the time to encourage a priest from New Jersey, whom he had never met and knew nothing about. He taught by word and example how important it is to love and learn sacred music as it has ALWAYS been taught and understood by the Church.

I know there are many others who could give much more detailed descriptions of this wonderful priest, especially those who lived near him and spent a great dal of time with him. It is just amazing, however, to see how his influence spanned thousands of miles and many states and countries. He truly had a long lasting effect.

Monsignor Schuler, Thank You. Requiescat in Pace!

Monsignor asked me to join him for Mass at his retirement residence.

Mass in Honor of Msgr Schuler At St Agnes This Sunday

This Thursday, April 20th, marks the tenth anniversary of the death of Monsignor Richard Schuler. The church of St Agnes in Minneapolis-St Paul, where he served as pastor from 1969-2001, will have a Mass this coming Sunday, the Octave of Easter, in his memory, and of course in honor of his incomparable legacy in preserving and promoting the Catholic tradition of sacred music in the liturgy. The Twins Cities Catholic Chorale and orchestra, directed by Dr Robert Peterson, will sing Franz Schubert’s Mass in B-flat at the 10 a.m. Sunday Mass. The church is located at 548 Lafond Avenue in St Paul. (See link at the church’s website here.)

With this poster we also received a flyer with some information about Mons. Schuler which is worth quoting.

“Latin High Mass had never been discontinued at Saint Agnes in spite of an erroneous interpretation of Vatican II which abolished Latin Masses in favor of Masses in English and congregational singing throughout the United States. To quote Monsignor Schuler, as he wrote about the Mass and the music at Saint Agnes, ‘The Council established clearly that music is an integral part (pars integrans) of liturgy; it is liturgy. Two requirements were demanded; music for the liturgy must be sacred and it must be art.’ Soon Saint Agnes attracted more and more worshippers who wanted to attend a reverent and solemn Novus Ordo Mass in Latin, with a liturgy graced by Gregorian chant and traditional artistic music. Monsignor Schuler said, ‘It is through art that man comes to God. Music, architecture, painting, sculpture…all can be means of grace and prayer provided that they are worthy of the Creator of all art and holy as He is.’ There were 18 Chorale Masses with orchestra in the first season along with 4 Masses in Renaissance polyphony. The project from the beginning was funded by the Friends of the Chorale and was never intended to be funded by the parish. The music of the Chorale and orchestra continues to this day. In 2016-2017, its 43rd season, the Chorale will present 29 Masses for the liturgy at Saint Agnes.

In 1976 Monsignor Schuler became the editor of Sacred Music magazine, a publication of the Church Music Association of America and the oldest church music journal in the United States, a position he held for over 20 years. The journal became his forum for combatting the direction that church music had taken. He is credited by its current editors and the officers of CMAA for keeping the rich heritage of Catholic sacred music alive and for promoting a sacred and reverent liturgy directed toward God.

When Monsignor Schuler became pastor at Saint Agnes, he established the practice of praying for vocations at Sunday Mass. He also encouraged vocations to the priesthood by meeting on a regular basis with seminarians who sought him out and by inviting these seminarians to experience the liturgy at Saint Agnes by singing in the Chorale. There are 38 priests who were influenced by Monsignor Schuler on the recently established list printed in this document. Two of these priests are now Bishops and one is an Archbishop. Five permanent Deacons were also ordained for Saint Agnes.

Monsignor Schuler was often accused of being behind the times, but he always said he was forty years ahead of the times, and, in this, he is being proven correct. ...

We pray for Monsignor Richard J. Schuler and the work to which he dedicated his life.”

To Sing With the Angels: A History of the Twin Cities Catholic Chorale

TO SING WITH THE ANGELS: A HISTORY OF THE TWIN CITIES CATHOLIC CHORALE
 By Virginia A. Schubert, PhD

This is a signature volume chronicling the history of the Twin Cities Catholic Chorale, founded in 1955 by Father (later Monsignor) Richard J. Schuler. The Chorale is now in its 42nd season of singing with professional orchestra the great Classical and Romantic Masses of composers like Mozart, Haydn, Beethoven and Schubert, as a part of the Holy Sacrifice of the Mass celebrated in Latin at the Church of Saint Agnes in Saint Paul, Minnesota. This book also recounts the important role that Monsignor Schuler played in the area of sacred music in the post-Vatican II Church. It was his heroic commitment, through word and deed, to the authentic implementation of Sacrosanctum Concilium, the Second Vatican Council’s document on music and liturgy, that helped keep the patrimony of Catholic sacred music alive in the United States for a new Renaissance.

When Monsignor Schuler was accused of living in the past, he often said that he was rather forty years ahead of the times. And he is being proven correct.

ABOUT THE AUTHOR Virginia A. Schubert has sung in the soprano section of the Twin Cities Catholic Chorale for many years, and is currently president of the Board of the Chorale. She assisted Monsignor Schuler when he was editor of Sacred Music magazine, and is a member and former officer of the Church Music Association of America. She is a professor emerita of Macalester College, where she taught French, chaired the French Department, and served as Associate Provost during a 37 year career. Dr. Schubert was decorated by the French government as an Officer in the Order of Academic Palms. She is a Lady Commander in the Equestrian Order of the Holy Sepulchre of Jerusalem. Dr. Schubert is a member of Saint Agnes parish and the parish of Nativity of Our Lord, both in Saint Paul, MN. To contact the author, email at saintceciliapub@gmail.com

THE BOOK WILL BE AVAILABLE BEGINNING DECEMBER 8, 2015
TO ORDER COPIES OF TO SING WITH THE ANGELS visit:

• Leaflet Missal Co., 976 W. Minnehaha Ave., St. Paul, MN 55104 (651-487-2818 or 1-800-328-8582), www.leafletonline.com
• www.saintceciliapublications.com 
• Amazon.com

ISBN: 978-0-692-42105-5 260 pages including 16 color plates $24.95

PRAISE FOR TO SING WITH THE ANGELS: “To Sing with the Angels is an account of the unique Twin Cities Catholic Chorale and the splendid Latin liturgy for which it sings at the Church of Saint Agnes in Saint Paul, MN. Behind it all is Monsignor Richard J. Schuler, who had a consistent vision of the mandates of the Second Vatican Council maintaining the Church’s magnificent treasure of sacred music….” -William P. Mahrt, President of the Church Music Association of America and Editor of Sacred Music

“Dr. Schubert’s remarkable history of the Twin Cities Catholic Chorale is a beautiful witness to the preservation of sacred music in the liturgy, a truly great endeavor that can and should be repeated in many parishes and dioceses throughout the world.” - Reverend Mark Moriarty, Pastor, Church of Saint Agnes

“To Sing with the Angels” is an account of the unique Twin Cities Catholic Chorale and the splendid Latin liturgy which it sings at the Church of Saint Agnes in Saint Paul, MN. Behind it all is Monsignor Richard J. Schuler, who had a consistent vision of the mandates of the Second Vatican Council maintaining the Church’s magnificent treasure of sacred music; this was an unfailing guide to the liturgy, fulfilling the hermeneutic of continuity articulated by Pope emeritus Benedict XVI.” - Jeffrey Tucker, Editor, New Liturgical Movement.org; Director of Publications, Church Music Association of America

“Though the artistic heritage of Catholic sacred music was acknowledged and encouraged (by the Second Vatican Council) …as a treasure of inestimable worth, five decades after the last Council the musical tradition of the Universal Church has in fact been eliminated from Catholic sanctuaries and choir lofts…except at the Church of Saint Agnes in Saint Paul, MN. This book explains how and why that happened.” - Reverend Robert A. Skeris, Director for Ward Method Studies, Benjamin T. Rome School of Music, The Catholic University of America, Washington, D.C.