Gay Men, Charlotte, N.c.

liturgy

Excellent site http://www.salvemaliturgia.com/ in my opinion is currently one of the best in Brazil, dealing always thrilling topics related to the liturgical movement "beneditiano. I beg to Dr.Rafael Brodbeck to share with our readers a clearer artigoseu sensitive about the size of the liturgy:

Posted by Rafael Vitola Brodbeck
"You can not study man unaware that this is a deeply be paid by their different facets. The spiritual aspect is reflected in the intellectual and cultural fields in the sentimental, and so on. An analysis that wants to be successful in this field must thus necessarily be a complete analysis.
If so in any field of study, is also in the liturgy. While worship of God, the liturgy is the worship of God offered by people and human activity is also present in it are the different dimensions of man.
Thus, sensitivity is an area that can not be neglected. Yes, the purpose of public worship is the worship of God, especially the Mass, which Christ renews His surrender to the Father for the forgiveness of sins of mankind. However, there is a secondary aspect, even in actions directed primarily to God, which is the edification of man. When you worship the Lord, built around the man. And this building is, as human action, reflected in all its dimensions, including sensitive.
The narration of the splendor of Catholic ceremonies, before the crisis period because Amortization prior to the 70, shows us that souls, worshiping God, they built themselves spiritually as well by the enthusiasm of beauty. Cardinal Ratzinger, in his extensive literature on liturgical theology, does not hesitate to confer sensitivity to aesthetics and the cult an important role in the evangelization of peoples. True, we repeat, that the ministry is not the end of the liturgy, but it may arise that, without a doubt.
Splendor in the pontifical Mass, the beauty of candles and torches in a procession of Corpus Christi, Sobriety solemn Gregorian chant, the show's spiritual sacred polyphony, the profound aesthetic taste choice of vestments, the delicacy in the composition of liturgical prayers, care for each ceremonial gesture, the external trappings of the celebration, as well as the context of the whole the liturgical drama, especially that ends at Calvary renewed by Mass, speaks clearly sensitive to the size of man. That is why, to combat the excessive austerity of Protestant worship, the Church encouraged the Baroque art that, with certain exaggeration lawful tried to captivate the man and prevent him from being kidnapped by the coldness of the Reform liturgy.
Of course, historically, the liturgy of the early days was not as elaborate as that developed in the years immediately preceding the Middle Ages. However, never was impassive and rigor similar to, say, inhumane, Protestantism. The action of Christ on Good Friday, dying on Calvary, was not something normal, but covered with deep external impact: a spiritual battle dramatically in Gethsemane, to the point of waking her blood, earthquake and skies darkening, and resurrecting the dead walking through Jerusalem, the Temple veil ripping from top to bottom, the forgiveness of San Dimas. Even the anticipation of the Cross at the Last Supper was not a cold-fashioned Protestant worship, but something recalled that the richly elaborate Jewish ritual of Passover, and with a multitude of signals: the washing of feet, words that indicated that the bread and wine were now His Body and His Blood, and the call to prayer in the garden. Definitely, the Catholic liturgy was born symbolic.
Moreover, due to its Gnostic roots, Protestantism sees an eternal conflict with no possibility of an armistice between matter and spirit, and if you want to save the last, the first sacrifice. Hence the contempt increasingly frequent, as they advance the different Protestant sects, the most pompous aspect of liturgy. We Catholics do not release the man of its many aspects. The man who should be saved is the whole man, spirit and matter. Hence, our liturgy and worship to God, providing him with all his human integrity, is worship, as was Christ, in spirit and in truth. And if any man worships the Lord, the man built all around that meeting that need even take off my sandals.
was unaware of or ignore all this thought, which accompanied the Church since the early days - remember that the struggle against the heresy of Gnosticism was the first to be waged by Catholic theologians - that was introduced from the second phase of the liturgical movement (by 30 years in on), certain elements purists who wanted a detached liturgy of certain sensitive content. The motivation for these liturgists
was right: the liturgy can not be recklessly interfere with other aspects of spiritual life to the point of devaluing what is essential. However, the conclusions drawn from this diversion - so called, liturgic - are wrong: all that is not essential (such as private devotions, the Rosary, the beautiful vestments, the splendor of worship, the allegorical explanations of the rites etc) is bad . Now this is clearly the limits, because it ignores the development of the liturgy and the very fact that he was born distinct from the move of common man. It's
liturgic that comes what is usually called liturgical minimalism. If the liturgy is essential at the sacrifice of Christ and, by extension, what he refers directly to, and all the rest (beauty of the vestments, the generous use of incense, Gregorian chant prayers at the foot of the altar, the Gospel last) merely accidental, then these accidents should be removed. Liturgical Minimalism, impregnated liturgic, sees a bad accident, and this attitude derives from the same array that originated Gnostic Protestantism. It antagonizes the accidental to the essential, and even does not distinguish between accidents, some are more important than others, and that the symbolic language of the liturgy there is for man to know what you're doing to worship God and, secondly, be built in its entirety. Do
liturgical minimalism is not free, it is true, the reform led by Msgr. Bugnini. Nevertheless, this misconception in terms of liturgy was present in fewer lines than the Novus Ordo in general behavior of liturgists impregnated liturgic errors. If the instructions coming from the reform gave the option to choose between the vernacular and Latin, between and versus populum versus Deum, between the use of incense or not, always has to choose, with rare exceptions - like the Vatican or groups perceived as more conservative - the alternative less pompous. Even the permissions for specific, exceptional situations, using lay ministers in the distribution of Holy Communion, or tunic and wear the priest's stole instead of white, Amit, cincture, stole and chasuble, have become the rule, even against the law .
liturgic thinking beyond what was said the items - unclear, it is true, and that, in the words of some, were imprecise enough that if adopting the minimum options in almost all cases.
they said, is essentially the altar for the sacrifice? To remove the candles, which, incidentally, in their view, were too much, and all other objects. Thus, to the delight of the Gnostics liturgic the altar worthy and symbolic of Christ and His sovereignty, has become nothing more than a banquet table, stylish Protestant, and in more extreme cases, a cube amorphous lost in the sanctuary.
Another example is the acolytes. It takes only one or two of exercising, in fact, functions quite clear, and, in most solemn Masses, some others to help the Bishop. All the others that were used to beautify, to give solemnity to the rite, or awaken in youth the priestly vocation, should be eliminated, as accidental. And the accident, for liturgic is something to be avoided. In solemn celebrations, it was common for the dignity of the celebration, put several acolytes. It was a way to honor, to solemnize, to draw attention. The function is not only pragmatic but beautification. But of course, not liturgical minimalism "home" and with that kind of thinking ...
The ecclesiastical architecture and liturgical art also suffered from the liturgic and its aversion to traditional beauty and devotions - rejection of images of the Sacred Heart, for example.
Attachment to letter headings, disconnecting them from the spirit that permeated our traditional liturgical rite, also is a result of minimalism.
The result was the coldness of certain liturgical celebrations, which already taking shape in the '50s and '60s, and came to dominate the environment, Europeans and Americans in particular, in the 70's and early 80's.
Soon the reaction. The man, desirous of symbolism, coming to lose it in the Catholic liturgy, aimed it at another location.
And Protestantism itself, once so cold and austere, it trailed a symbolic road to recovery, though, unbound by the truth, with signs somewhat strange. Hence, at levels more restrained, gospel choirs of the Baptist churches of African Americans, or the deep southern gospel rooted in the mentality of cowboys white Presbyterians and Baptists, the vibrancy of the revivals, especially Methodists, and in more extreme environments, the hysteria of certain Pentecostal groups, his cries, his anointing, his "fall" in the Holy Spirit.
Within Catholicism, this loss was felt the symbolism so that movements such as "meeting" and find in their meetings and retreats, to recover the sense of sacredness. This is seen, for example, in the "prayers of hands" in moments of spirituality with the lights off (to generate an emotional environment), the content of religious songs sweet and intimate, and in recent years, the invasion of Catholic Pentecostalism, with your palms at Mass, his pop-rock, their ecstasies. Minou
liturgical minimalism sensitive expression of faith and, failing that, if pursued in other environments, thirsty man who was the same. As I said, informally, Professor. Carlos Bouquet:
The effect that charismatic look with a guitar delay pedal with arpeggiated minor chords while a voice proclaims pitched inanities is a pathetic caricature of the effect of a Gregorian chant in a church at twilight, with incense wafting through the air. When they have access to the wealth of classical liturgy, it is extremely likely to find in them the search for sensitive that moves them to destroy the modern liturgy.
is why, although the majority of older people today - they were young rebels in the '60s - not like the Roman liturgy in the extraordinary form, or, when it comes to the ordinary way, despise Latin, Gregorian chant, and anything that resembles a traditional bias, the taste for all these riches is present among many young people. Suffered enough and did not like the coldness of winter liturgical. Some seek to "warm" distortion of the sensitivity of neo-Pentecostal churches - with their anointed roses, with their current prosperity pastors laying hands on people, its fantastic exorcisms - or the Catholic version of the quest for spirituality "palpable." Others, in contact with the post-conciliar Mass well done - even without fully extricate itself from some defects liturgic - or with the Tridentine Mass, consider them the best protection against frost minimalist falling on their heads.
these standards, the promotion of the liturgy done well, with abundant use of Latin, Gregorian encouraging, beautiful vestments, aferíveis visually aesthetic effects, is made up, yes, powerful tool of evangelization. Although the main reason why we defend the traditional Mass and the Mass according to the modern lines is another - inclusion in the organic development of liturgy, the best expression of the Catholic faith in the sacrifice of the Mass and in Eucharistic dogmas, worship God as He wants to be worshiped - can not be overlooked that aspect accessory very similar to the old advice: save the beauty the world! "

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The architecture of mobile Maurizio Sacripanti

Sacripanti Maurizio (Rome, 1916 - 1996) was one of the best architects in the world. It marked the research of mobile architectures as early as the design of the skyscraper Peugeot in Buenos Aires for a competition in 1960.

" Mutable is subtracted image sets " (1) : a lto 200 meters above ground, the Peugeot is "a neighborhood vertical banded blades on which you can write " (1) . E 'consists of volumes, hooked on a central tower communications, heights ranging from one to ten floors: each volume is a commercial advertising and design is integrated into the composition so as to communicate to the city the names of different companies.

insight and views of the skyscraper nottirna Peugeot

E 'organized on three rings that make up many autonomous areas in terms of functional and constructive. The office floors are made for planimetric elements set, whose surfaces are modular to reach the required one. "The skyscraper container will not be anonymous but will be identified as the sum of the volumes corresponding to companies that occupy it, punctuated by bursts or lodges consentirnno the vision of the outside of the" heart of skyscraper " (1) . Large brise-soleil aluminum orient themselves automatically through a system of photocells and stamped with segments of characters and symbols that make up letters and desired brands. The jury judged the best project in the competition, but inexplicably gave him a shameful second place, giving the first in an anonymous box because "higher." Yet the call did not require a race in height, but an innovative idea.

Simple but ingenious project presented in 1965 in the competition for the new opera house of Cagliari: a theater movement. This is a single stage, single unit plastic processed in accordance with the requirements of each representation through the ceiling and floor on prismatic joint mobility motorized controlled by a computerized system.

split mobile Theatre of Cagliari, 1965

This would been able to study and invent time to time, the most varied, from traditional to more daring and experimental, evaluated jointly spatial values, public-relations actors, acoustic conditions and visibility. This project was praised as the best and had to settle for a shameful second place.

the competition for the Italian Pavilion at Expo 1970 in Osaka modiale, Sacripanti has yet another project in motion (see sketch the image to start page). He wrote: " maybe ... memory of a Pantheon "set in motion", where the dome becomes a system of blades in the balance and the walls transparent membranes , maybe ... I remember the hut or tent ... but more was the desire to rediscover an area where the shadow deltempo shattered, no longer static, leaving the sky elusive and living together ... "(1).

Italian pavilion for Osaka '70

14 vertical blades oscillate driven by a pneumatic system , placed under a system of eccentric pins which set a deformable surface clear that it follows the oscillations. 3035 square meters of exhibition on several levels to show the world the best Italian products in a building that constantly changes in unpredictable ways, a symbol of an Italy itself dynamic and moving. This was also judged the best project and took the second prize: Another shame of a country static and static, which did not and does not want move, then watched as Bruno Zevi.
"I sick of being told that my designs are the best and then arrive at regular "repeated Sacripanti. The projects that we have mentioned are just three examples a tireless work, a brilliant and innovative that occupied him throughout his life: "I wanted the modular design and motion planning functions in which the protagonist was time."

The lesson of this great Italian architect has been closed too quickly with the usual excuse sloppy, cynical and indolent character always ready to repeat: " was a man of his time . That is to say, between the lines, " has had its day." Sacripanti, however, was a man of our time. Above all, our future.
GC

(1) Maurizio Sacripanti: City border Bulzoni publisher, Rome 1973

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The Encyclopaedia of schizophrenia Italic

20 years (twenty), perhaps more, were necessary to achieve the second subway line in Rome. Who was born already old, proof of Italian lace panties fetish for her grandmother, who then promptly allow themselves to fall into disrepair and become moldy.
Why? Among other things, in Piazza Barberini and the Superintendent of the Roman remains (and if there is in Italy un'accolita history of rapists are, with few exceptions, the Superintendents) blocks everything. Intermetro proposes to excavate under the entire square, and to get to the Barberini metro so that it passes between the retrieved Roman remains: great idea! But no: the Superintendent is not well. It 's just a highly important example.
want the "full respect" of city centers and at the same time, if there is to invent the new city without a cultural-ideological prejudices, they refuse to do it: you are going to like the old woman, who worked at the time horses and, from 600, the carrrozze. When not even overlapping the new needs of life to the historic town and claiming at the same time that we do not change a nail. So there is opposed to the new town in name of the medieval village and has the result that does not work neither the one nor the other: the paralysis.
The TAV? NO-TAV. Just the magic word: NO! A Porta Susa, Turin, where it should start the TGV to Milan (in conjunction with the "thorns" directional Turin), many Milanese have cleverly taken home: if I can be in central Milan in 50 minutes, rather, for many who work in Milan , live in Turin (where the housing cost far less) and go every morning to work comfortably in Milan, instead of going crazy in Milanese traffic. But the Porta Susa station, between thoughts, objections and quibbles various Italian, now finds itself with problems crazy induced, unresolved and more predictable, so at the last moment, at least for now (need to be afraid, because in Italy, starting from the innate di Mameli, the temporary-improvised regularly becomes final), the TAV will be at the terminal Turin Porta Nuova, with all the systemic consequences of the case.
We talk about the "skyscraper" (but you can call it a skyscraper tall building just 167 meters?) Intesa-San Paolo in Turin, designed by Renzo Piano? Plan, by the way, he started working in Italy to 64 years we have imported. Photomontage fake to prove that tower above the Mole and Intesa falls on: false! It has the same height and in reality the rise to 2.5 km as the crow flies. Here is a photomontage of false with which the eco-listings have tried to scare the people of Turin, however, with the tower "Grease" to perfection

and behold the sky-line real will be determined by location and size of the actual tower, as the Plan had to document and illustrate a posteriori:

Other un'Encyclopédie that there would be filled! Those who want can document, for example, the PRG of 1962 drafted by the Roman Luigi Piccinato, quoted by the press around the world as a brilliant turn into urban world and remained a dead letter until it was removed from the new plan. And, again as part of PRG Roman '62, there would have to reflect on the priority assigned by the Axis Piccinato Atterezzato, which was decentralized in the territory of ministries and services on a regional scale making them accessible and decongestion of Rome and its historic center .
for impotence compensatory, meanwhile, advocate planners increasingly all-encompassing and all-encompassing plans that claim of requirements and also the wattles of cocks and promptly fail. While it would be enough to intervene nodes on a few hot and leave the rest free to organize themselves according to the market. You do not know, in Italy, where anarchy is the daughter of the alleged hyper-program or if it is the opposite. Above all, this is a country terrorized by the choices; Piccinato used to say: "Every country has urban planning it deserves, Italy has the planning that shit! .
GC

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Bungaro

Bungaro, aka Antonio Calo ( Brindisi , May 23 1964) is a songwriter Italian .
His debut is tied to two stakes at the Sanremo Festival : in 1988 with strong and I'll be in 1991 with And here we are with Marco conidia and Rosario Di Bella , respectively On the first album of songs towing tip of your tongue and sing the second is best. In 1993
wins A record for the summer with the song We get lost in many, which gives the title to the third album, while in 1994 wins Award Rino Gaetano as the revelation of the year with the album in one breath. Then
wins twice Critics Prize at Mia Martini Festival di Sanremo with the song No limits, proposed by Eramo Catwalks and ( 1998), and bruises and flowers, played by Patrick Laquidara ( 2003). Also for Laquidara, who produces, writes more songs, including works, which won the Critics' Award and one for the best music Musicultura , the Festival of Recanati. In 2003
with beautiful eyes, soundtrack I do not of Ricky Tognazzi , won the "Music & Ischia Film Award ".
In 2004 is once again at the Sanremo Festival with Guardastelle, a song which won the Prix Lunezia contained in the fifth album Waiting .
In 2005 writes for Manuela Zanier no answer to the song, soundtrack Do not be afraid of Angelo Longoni .
In 2006 the singer Grace Michele reworked his song "Women in autumn, putting it into his CD Breath . In 2007
wrote three songs that are included in the album A beautiful girl of Ornella Vanoni . In 2008
writes for Roberta Bonanno the song The last lie, top song of the compilation you burn linked to Friends 7. Other two songs (Take me like that and I have no fear) are inserted into the singer's debut album. In 2009
writes for Valerio Scanu the song Remember me the single square is 8 in the FIMI, and is the soundtrack of Love 14 by Federico Moccia . In 2009
writes for Marco Mengoni the song Where we fly , the novel in which the singer wins X Factor 3. The
January 15 2010, he released his new album entitled "Art" with the participation of Fiorella Mannoia , the Cuban musician Omar Sosa and Lucilla Galeazzi .
In the "Art" is the song "Rise Injured" unpublished text of Bungaro music by Sergey Lazarev, song that the singer was a candidate to Sanremo Festival 2010 which was then discarded.
his work as a songwriter and author for various Italian artists ( Gianni Morandi , Syria , Fiorella Mannoia , Antonella Ruggiero , Nicky Nicolai , Tosca ) and foreign (Daniela Mercury, Youssou N'Dour , and Kay McCarthy Tinkara) alongside that of the author of soundtracks for movies and short films , as well as the artistic producer and organizer of stage composition for young songwriters.

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Michele Paulicelli

Pugliese, of peasant origin, is strongly anchored to a simple philosophy and deep, rich in human spirituality, which led him to visit places, concepts and symbols in a musical key. The reason of his work is to achieve true musical theater event intended to arouse intense gatherings especially in youth. His most significant artistic experiences since the mid-70s when, along with Amy Grant and Peter Pintucci, gives life to a group of music-show consists of about twenty-five people, including singers, musicians and dancers, "Pandemonium" which, along with Gabriella Ferri, were the stars of a hit television series by the title "Let's go to start. "Success comes with" Forza people come, "the musical that the '81 has more than two thousand performances in Italy and abroad. It is a show that revisits the figure of St. Francis, the character played by the same Paulicelli, the who also wrote the backbone of the music. After this very important chapter in his career, Michele Paulicelli is dedicated to artistic experiences that tend to cultivate groups who share the Christian message and in particular the Franciscans. It is here that the Little Theatre was born Franciscan Anzio which, together with the Youth Movement Towards Assisi, is now one of the most peculiar phenomena of youth gathering, where the musical theater becomes the preferred way to spread the concepts of love and brotherhood. "Angels" continues the path of style and content of Michele and reaffirmed that hope, joy and solidarity are values \u200b\u200bindispensable to him. Discography: Forza Venite Gente, Angels, Unmasking, Christ 2000, Ecologic Rock, Little Comet Tales on stage: Little Red Riding Hood, Snow White, Cinderella, Sleeping Beauty

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Mario Rosini

Mario Rosini ( Joy Colle , November 6 1963) is a musician and singer Italian . It is well known for finishing second place in Sanremo Festival 2004 .
always loved music and singing as a child participated in several singing competitions as a member of the Apulian Duo Rosini, with his brother John, the two attend the "CANTAPUGLIA" 1976 (winning the event) and the Cantagiro 1980. Until 1984 he attended the Conservatory "N. Piccinni "in Bari , studying for seven years, before leaving for Milan and take a solo career.
is a very versatile musician who has performed in various genres: Pop , Funk, Hip Hop , Jazz, New Age and Sacred Music . He has collaborated with artists such as Pino Daniele , Rossana Casale and Mick Goodrick . Among the eighties and nineties took part in the tour's musical Anna Oxa , Grazia Di Michele , Mia Martini, Rossana Casale , Tosca, Alex Britti and Irene Grandi .
After obtaining a contract with the Cafe Concerto, record label founded by Federico Monti Arduini in 2004 participate in the race to Festival di Sanremo with the song You are my life and comes in second, with behind the winner Marco Masini And calling for the San Remo festival comes third in the Critics' Award "Mia Martini". It must be said that this Festival is remembered for the boycott of FIMI that prevented its artists to participate in either race as guests, so that was defined by some journalists, the Festival of strangers. Since December 2007
Michele Bovi, deputy director of the TG2 calls him as a musician heading Tg2 Punto.it where Rosini had a duty to interpret songs in tune with the various moments of broadcast journalism.
currently teaches at the Conservatory of Paisiello Taranto which holds the chair of Song Jazz.
In 2008 and 2009, he also appointed the Presiding of the Artistic Committee of the "Premio Mia Martini".

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Zelus DOMUS TUAE COMEDIT ME

confess that sometimes invades the dismay me, for the liturgical question ... in Brazil this week, casually seeing a televised celebration of unspeakable Assembly of Bishops I was appalled at the lack of respect for the venerable sacrament of the Body and Blood the Lord enshrined in horrendous containers like earthenware containers. At a time when the Holy Father to pronounce almost daily for a return to the sacred, particularly in proper celebration of Mass and the Sacraments, we mourn the lords bishops discuss issues that might be better situated in the agenda of a meeting of the MST or other organizations left and begin each day by celebrating at odds with the standards for the entire Latin Church. I believe that a serious study of documents from the Apostolic See, for example the instruction "Redemptionis Sacramentum" would bring better fruit to church life in their dioceses:

"So reprove be any use for the celebration of Mass common vessels, or of little value, in terms of quality, or devoid of any artistic value, or simple containers, or other crystal vases, clay, porcelain and other materials that break easily "(Redemptionis Sacramentum, 117).

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Impressions of a priest to celebrate Mass publicly in the Rite of St. Pius V

Please reverence to Dr. Rafael Vitola Brodbeck, to reproduce here a post on his excellent blog http://www.salvemaliturgia.com/ , which gives us a meditation of a priest after celebrating Mass publicly for the first time in the Gregorian Rite. The same Mass that was celebrated in Brazil on the brink of discovery, the same Mass that gave strength to the priests martyred in England, French Revolution, the English revolution and the same Mass that sanctified generations for over 1,500 years:

Source: Save the Liturgy - Rafael Vitola Brodbeck Posting

An excellent article was sent to us by a reader, Fabio Rolim, who translated.
Reflections on the public celebration of Mass according to the usus antiquiorPor Fr Dominic Holtz, OPTradução Fabiano RollimOriginal in English available at: http://speciouspedestrian.blogspot.com/2010/05/reflections-on-public celebration.html- A reader asked if I could make a reflection on my first public celebration of Mass according to the 1962 Roman Missal, that has happened recently, on April 29. With the impressions were still fresh in my mind, I considered valid, first for me, fulfill the request, even if it were not for my other leitores.Devo draw attention to some things. Firstly, already celebrated sometimes in private, the Mass in the extraordinary form. I have also celebrated Mass in the ordinary way publicly in Latin (the first time, two weeks after my ordination), ad orientem, with Gregorian chant, polyphony, etc.. Seeking to keep me faithful to the text the Missal, I strive for my actions and attitudes to conform to the classical forms, I take enough opportunities for silent prayer (especially in the Offertory), and so on. By this I mean: the impressions recorded here are actually based on the classical public celebration of Mass, and not the result of other fatores.Ainda by way of preface, I recognize that I had the rare and wonderful privilege of having a choir (accompanied by classical instruments) who sang the Ordinary and Proper of the Mass with motets [1], perhaps only heard before, both in the royal courts of Bavaria and Austria in the sixteenth century. The music was simply sublime and I admit that my experience has been wonderfully positive and uplifting due, at least in part, to the glorious music offered by students and teachers of Jacob School of Music at Indiana University. Even so, I intend to speak more directly from my own experience of the celebration of the Mass celebrant Wed, ie as sacerdote.De first, so cold in the stomach ceased, existentially impressed with what they already know conceptually, namely the fact throughout the ante-Mass "is so useful and spiritually, more specifically, the prayers at the threshold of the altar. Once the prayers began, There was a real quiet spiritual accompanied by a clear sense about the seriousness of what I was going to do until the time came for me to approach the altar. Certainly the prayers during vestição and my own prayers before Mass, I would do anyway, they were important. However, the splendid alternation of prayers between me and the henchmen, a mutual (not merely jointly) confession of sins, the words and sober yet hopeful of that earned the Oramus nobis and you, and during that time, no need to worry in "sustain" the celebration of Mass, from the beginning gave me a sense of purpose and intention other than that I usually had experienced in a Missa.Ao same time (it was a Missa Cantata) and found true comfort in reciting silent while waiting for the choir finished the Kyrie and Gloria. It was kind of expected the same time allowed me to a gathering space in private prayer and kept me aware of my role as a servant of the rite. On the more crucial it was my role was not "my" time to drive the action, but my time esperar.Devo mention here that the distinction of the entire Mass of the catechumens as being more vocal, more coral, more audible, too became apparent experiential way, although I knew about it conceptually. What I experienced and the whole assembly since the beginning of the Introit to the conclusion of the Gospel was an extensive and continuous act of worship and proclamation. Certainly, I was not heard continuously, but whenever someone was not singing or praying, someone else was. I highlight this because the contrast with the Mass of the Faithful, notable for its significant moments of silence (talk more about that below), it became increasingly clear during the Missa.Digno of note is the feeling that the homily, without be something strange or inappropriate, is at least a caesura, a Luftpause [2] in the celebration. How can any poet or musician say, these breaks are not inconsequential, and really "belong" to the place where they are placed. Still, it is an interruption, a break, a pause, it becomes crystal clear as well: the ritual gesture of removing the handle; topographically on my shift altar to the ambo, the change vocally singing in Latin for speech in English and intentionally when I stop using words, gestures and movements received from the Church to use my own words, received in prayerful encounter with the Scriptures in preparation for preaching. At least now I understand, in a way that had not understood before, which specialize in homiletics meant they were concerned with the old homily as not "liturgical." For now, for something good or not, I will not judge. One thing that the homily was really made me see how deeply I had entered the Sancta sanctorum to pray the nobis receives the one time I really felt transported to a mental and spiritual state to another (given that this involved changing not only my guidance, but leave the proper space of the altar). It was different from what happened at other times, I turned to the people, as in Orate fratres or preparation of the Communion of the faithful (the Ecce Agnus Dei and Domine non sum dignus triple). Maybe it's not even noticeable not surprising to say, although it is true, I was deeply affected by the silence of the conclusion of the Canon. There was an intensity, a presence, an abundance of content that silence, unlike anything I had ever experienced before. Perhaps due in part to contrast with the sublime and almost continuous music I had heard until the Sanctus. Then, when the last Hosanna in excelsis came to an end and all that could be heard was the silence of my prayers ... It is a proven hard to put into words, even when I try to evoke what he meant to say the words of consecration without trying to communicate them audibly and intelligible to a heterogeneous assembly of the faithful, but saying them under the veil of silence so they could be what they are obvious and profound in its simplicity ... I can only say it was the processor or better, I hope it will be one lo.Como said above, was also struck by the relative increase of silence in the Mass of the Faithful, by many, in fact frequent "breaks" when nothing was heard. Still, there were mere pauses, or simply "conclusions" of prayers too long to be covered by the music. Were significant silences, dense, that drove me (and I hope the faithful) Communion in a way that the ordinary form does not. I hesitate at this point in making a trial, but the experience was certainly different and notável.Uma confirmation I got was this: it is infinitely more practical, while more consistent, that the faithful (to the extent that they are able) to receive the Eucharist tongue and kneeling. Mind you, I am very happy that any of the faithful, properly prepared, approach to receive Our Lord in the Sacrament, and would rather see them getting close to jumping than walking away with fear. Still, a practical point of view, have the heads of all more or less the same place (with the exception of young children and very tall men) do not have to guess where or how each will commune (hand or tongue, standing at a distance or up close, etc.) allowed me to be more comfortable in giving them Communion. I note that compared with several years of experience helping at the Cathedral Basilica of St. Louis where, even with its commendable celebration of Mass, the people who approached to receive communion if they could show (and actually had) in a variety of curious shapes! I should also add that, despite the relatively long ritual involving my own Communion and ablutions, not even remotely felt pressed for time. Again, the strong sense of being the Holy of Holies, and the prayers that I watched during the rite, really kept me focused on things of the altar, and this is due not only to the guidance (although I would not want to be the great enemy of the good here, and endorsement quite well that also experienced in the celebration of Mass ad orientem in the ordinary way). Likewise, the Placeat (which I pray to the same end of Mass in the ordinary way, but usually on the way back to the sacristy) and the Last Gospel did not seem appendices but salutary ways to drive me up from the altar back to the world torno.Deve be quite easy to realize that this experience was a powerful and beautiful for me. Each line was observed perfectly? I doubt it. Part of the beauty came from music? Certainly. Part of the perceived power was a result of novelty? Maybe. Time and experience will tell. What I can say with certainty is that now I say in an existential manner which would previously have said, correctly, but conceptually, namely that there is great and real benefits that come to the conclusion of the classical Roman rite of Mass, priests and benefits faithful in general would do well to find.

[1] N. T. - Motet is a polyphonic musical genre emerged in the twelfth century where, initially, used to separate texts for each voice. The apogee of its use occurred in the sixteenth century. [2] N. T. - Luftpause (German origin): this is a symbol used in musical writing, like a comma, which tells the singer or musician to make a brief pause, creating an effect similar to a comma in a speech, lit. 'Pause for breath. "

What To Write In A Service To Community Letter

short confirmation: Cardinal George Pell will be the new prefect of the Congregation for Bishops

The various sites linked to tradition today reported an auspicious news, which was already eagerly awaited: Pope Benedict XVI confirmed the appointment of Cardinal George Pell, Archbishop of Sydney, as new mayor the Congregation for Bishops. Personal friend of the reigning Pontiff, is a strong supporter of the liturgy well celebrated and also of the extraordinary form. The importance of the appointment comes from the fact that even though on the eve of completing 70 years, the new prefect of the Congregation of the most important for the health of the Catholic Church, will influence the appointment of bishops for at least another six years, enough time to a significant change in the world episcopate. The Vatican expert Andrea Tornielli adds that the position allows the "filter" the information to the episcopate, and says that this will influence the Church's face in the next 20 years. Cardinal Pell is chief of the Vox Clara, who led the new translation, very loyal, the original Latin into English (which is needing to be done urgently in the Portuguese-speaking countries). It is expected to very soon, other changes in the Roman Curia, especially in the Congregation for the Clergy, whose mayor, Brazilian Cardinal Claudio Hummes is on the verge of turning 75.