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. "
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