Pope Francis and Gregorian Chant?

Most people, for obvious reasons, aren't making any strong ties between Pope Francis and older traditions of the Church, like Gregorian chant.  Yet, here's a very interesting (and compelling) post from Jeffrey Tucker at the Chant Cafe, starting with the story of a priest who has already been inspired to action by our new pope:

I just got off the phone with an older priest in Wisconsin who was ordering the Parish Book of Chant for his small congregation. He told me that he is inspired by the sensibility of Pope Francis to rediscover the roots of our faith, strip away artificials, and just simply sing what’s true. To this priest that means that his congregation must rediscover the core music of the Catholic people.

He concluded in his talk with me: “Maybe the new Pope and his call for simplicity will help fix the musical problems in the Church too.”

Are you surprised at such a reaction? Many people would be. People have tended to associate Benedict XVI with chant, and rightly so. At the same time, in the last few days since the elevation of Pope Francis, people have wondered: is Benedict’s musical reform in danger? There is a real worry out there. It is palpable. It is happening among the many who are dedicated to uniting the Roman Rite with its native music, both in its proper texts and its chanted style.

Many people worry that Pope Francis will not continue the support for the Gregorian revival that has made such enormous strides in the last five years.

The new Pope’s emphasis on austerity, humility, and simplicity -- underscored by his choice of name and his tendency to eschew material signs of wealth or position -- shouldn’t necessarily be a cause for concern. No music is so simple in structure as plainsong, nothing can compare with its austerity., and every musician is profoundly aware of the humility required to defer to its role in the Church’s liturgy.

There was a faction at the Council of Trent that took the idea of austerity so seriously that it wanted to legislate against all music in Mass except the Gregorian chant. They wanted polyphony out. They were against organs. Popular hymnody would have been banned completely. This was all in the name of reform to purge conceit and opulence after the crisis of the Reformation. Fortunately -- and mostly thanks to the intervention of the Spanish Bishops and King -- this faction did not get its way.

But the point remains: for Catholic who seek a restoration of fundamental and simple truths in faith and worship, the chant tradition has been there as a symbol of what they seek. The text is holy Scripture. The music is evocative of the text. The music is a dedicated servant of the liturgical action and not employed solely to pass the time or entertain.

Even as recently as the late 19th century, the highly influential Caecilian movement in Germany was driven by this ideal of austerity -- in contrast to what they perceived as decadence of the Baroque, Classical, and Romantic traditions -- to demand a central place for Gregorian chant in Mass. Their views had a big influence on St. Pius X’s motu proprio on music that kicked off the 20th century rediscovery of chant.

I think, for example, of the communion antiphon for the 4th week of Lent, Oportet Te. It is tells the story of the Prodigal Son. The melody is light and almost sounds like a dance. It is an beautiful expression of the father’s joy, a song perfectly integrated with its message. It’s this kind of piece that reminds me that Gregorian chant truly does have folk-like origins, a liturgical art form designed to convey truth to a culture where all learning took place by hearing. It is the people’s music -- for 2000 years.

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Read the rest at Chant Cafe: Is the Chant in Danger?