.tt Dovatiov. are 1a··Deavctibte to tbe fvtte.t e·tevt of tbe tar.
1be vv.icat traai·
tiov of tbe vvirer.at
Cbvrcb i. a trea.vre
of ive.tivabte ratve,
greater erev tbav
tbat of av, otber art.
,´acro.avctvv Cov·
citivv, 112,

As a Patron oí
Sacred Music you
join the ranks oí
·ery thoughtíul,
and generous in-
di·iduals, men
and women, who wished to pro·ide the ·ery best
which man can gi·e to God in the worship oí the
Church, especially at loly Mass.

\ith your contribution whether it is small or large,
you assist our music program to maintain the high
standards set so many years ago when I became Pas-
tor oí St. John Cantius. As a Patron oí Sacred Music,
you bring to liíe music which, íor so many, has been
regulated to the concert hall, to once again be sung
in its proper context, the loly Sacriíice oí the Mass.

1o help de·elop a deeper understanding oí the
power oí Sacred Music as a means oí prayer, spiri-
tual enrichment and oí spreading the Gospel, I ha·e
appointed Re·. Scott A. laynes, S.J.C., as the Chap-
lain oí the Patrons oí Sacred Music. God bless.

Re·. C. lrank Phillips, C.R.
President, Patrons oí Sacred Music

In the history oí the Church the arts ha·e always
held a place oí honor. Mentioning the name Michae-
langelo, sitrs up images oí the Sistine Chapel and his
íresco, the Last judgment or his sculpture oí the Pi-
eta. Bernini`s name brings about ·isions oí magniíi-
cent structure oí classical design oí St. Peter`s Basil-
ica. lra Angelico captures the simplicity oí the liíe oí
St. lrancis in his írescos. Other artists using many
íorms oí art raise the hearts and minds oí the ob-
ser·er to an interior peace, a consolation a spirit oí
joy, musicians excel in their art as they must ele·ate
the written words, the texts, and breath liíe into
them with sound. 1his íorm oí art is known as mu-
sic, which is sound in time.

\hen an indi·idual hears Gregorian chant he joins
countless throngs in the prayeríul music oí sacred
worship, kneeling along side all those saints oí the
early days oí the Church who sang the same Gregor-
ian melodies we still sing today. As we listen to the
motets oí Palestrina, we stand next to St. Phillip
Neri, his spiritual director, as our hearts are raised in
adoration oí God.

And as we hear the triumphant Ctoria iv e·cet.i. oí
Mozart`s Coronation Mass,` we acknowledge the
contribution oí Classical composers like Mozart,
Schubert, and laydn, who took the Sacred texts oí
the Mass as well as Psalms, lymns and Canticles, to
transíorm these sacred texts by the musical arts íor
the greater glory oí God. As the Second Vatican
Council teaches:
Catholics ha·e traditionally looked to the pipe organ,
as Mozart once said, as 1he King oí Instruments.`
Our main pipe organ, which plays íor the Sunday
Masses, has ser·iced our parish íor o·er a century.
\hile it still works, many parts oí the organ ha·e
been íailing íor years and the problems ha·e been
getting progressi·ely worse. Ine·itably, e·erything
manmade wears out. A pipe organ is like a city. It is
comprised oí many things, both large and small. Just
as in a house, when one thing breaks, other things
seem to start breaking and íalling apart.

Behind the íaçade pipes you see írom down below
on the church íloor, there are literally thousands lit-
tle parts that make up the structure oí the organ.
1here are the organ bellows which pro·ide all the air
íor the organ, the pipes, some a íew inches in length,
others 16 íeet long. 1here are rooms built inside the
organ case on ·arious íloors, just like a mini sky-
scraper, each housing rows upon rows oí pipes, liter-
ally thousands.

Recently, we contracted an independent organ íirm
to e·aluate our organ in the upper west loít in hopes
oí repairing it. 1he results were de·astating. O·er
the past century, the numerous changes made by
·arious organ íirms drastically diminished the integ-
rity oí our organ. 1he pipes and parts oí ·arious or-
gans, most oí poor quality, were mixed and matched
with our organ and the historic ·alue oí our organ
gradually dwindled. 1he independent organ íirm we
contracted to e·aluate our current pipe organ in the
upper west gallery was asked to write a report on the
·alue oí each indi·idual part oí the organ and then
to recommend a plan íor us to reíurbish our organ.
1he company apologized to us that they could not
honestly charge us íor such a report, as our pipe or-
gan`s current ·alue is so little as it was not e·en
worth the time to write a report on it. Our organ
needs so many repairs that it is no longer cost eííec-
ti·e to íix it. 1hey recommended that, ií we could
aííord it, we should scrap the organ and build a
brand new instrument. 1his would cost upwards oí
4.5 to 5 million dollars.

As you know there are so many churches closing
nowadays, here in the U.S., as well as in other coun-
tries. So we began to consider another option. \hy
not see ií we could íind a church that was closing
that had a good quality organ, e·en oí historical
·alue, to see ií they might sell it to us íor a reduced
cost. \e looked at churches around the country,
e·en in Quebec, but Di·ine Pro·idence pro·ided
our solution right here in Chicago.

Aíter due research, and consultation, we were able
to secure the purchase oí a complete pipe organ oí
sizable proportions which would be most suitable
íor our church and be a great resource íor our entire
music program. 1his instrument, which has histori-
cal ties to the Swiít lamily oí Chicago, and to the
íamous Parisian concert organist and composer
Marcel Dupré, was built by the Casa·ant Organ
Company oí Quebec Canada and installed here in
Chicago in a Methodist Church on the south side.
Recently this Methodist Church closed its doors and
was willing to sell it to us at a nominal cost. Ií our
current pipe organ is a Model-1 lord, the organ we
ha·e obtained írom the Methodists is a Rolls Royce.

\hile it is neither economical to reíurbish our cur-
rent organ nor possible to restore its integrity as a
historical instrument, the Casa·ant Organ we ha·e
obtained is a remarkable instrument that, with resto-
ration, will reign majestically írom the organ loít oí
St. John Cantius Parish íor a century or more. 1he
organist Marcel Dupré in his concert organ tours oí
the United States remarked that this Casa·ant Organ
,Opus 1130, was the best organ in Chicago, his ía-
·orite e·en o·er the splendid organ oí Rockeíeller
Chapel at the Uni·ersity oí Chicago.

1he Casa·ant Company, which made the instrument
we ha·e recently purchased, is among the great or-
gan companies oí the world. Many oí our Patrons oí

Miss 1ina Mae Haines
Concert Organist and Conductor
Sacred Music will be íamiliar with the organ at Sym-
phony lall here in Chicago, which is a Casa·ant Or-
gan. In the restoration oí our Casa·ant Organ ,Opus
1130, íor St. John Cantius, the Casa·ant Organ
Company will be assisted by Jeíí \eiler Organ Com-
pany oí Chicago. Mr. \eiler is the curator oí the
Casa·ant Organ at the Chicago Symphony. So the
expert ser·ice and maintenance that the organ at
Symphony lall gets will be gi·en to our Casa·ant
Organ at St. John Cantius, ensuring its longe·ity.

In digging through the historical correspondence oí
the Methodist Church here in Chicago as well as the
records oí the Casa·ant Organ Company in Quebec,
which thoroughly document the construction oí this
instrument, we ha·e learned that Miss 1ina Mae
laines was the organist who designed the Casa·ant
Opus 1130. She was a successíul ·ery musician here
in Chicago decades ago, on the íaculty oí the Sher-
wood Conser·atory oí Music, a pianist, conductor
and a concert organist who studied under the ía-
mous Catholic composer and organist lélix-
Alexandre Guilmant in Paris.

1ina Mae, a consummate proíessional musician, was
personally in·ol·ed in this organ project. She moni-
tored and o·ersaw e·ery aspect oí the construction
and design oí Casa·ant`s Opus 1130 to ensure that
this instrument would match the quality oí the
world-íamous organs oí Paris, the organ oí Notre-
Dame, Le Madeleine, and oí Saint-Sulpice. Out oí
proíound respect íor the labor oí lo·e that Miss
laines had íor building Casa·ant`s Organ, Opus
1130, we ha·e nicknamed our new organ, íondly,
1ina Mae.`
In sa·ing 1ina Mae,` a generous pri·ate donor has
agreed to be a major sponsor the installation oí this
magniíicent instrument which will cost >1.5 million
dollars. But we still need to raise at least halí oí this
amount írom other sources. As always we come to
you, knocking on your doors, because we cannot
sa·e 1ina Mae` alone. I ha·e placed lather Scott
laynes, SJC, who has done much to impro·e our
music program and expand the sung ligh Masses, in
charge oí o·erseeing this organ project. Some items
which will ha·e to occur will be the remo·al oí our
old pipe organ, the reiníorcement and strengthening
oí structural beams in the upper loít, new ílooring in
the upper west loít, and preparation íor the actual
installation oí the organ. 1o inspire and encourage
your generosity to Sa·e 1ina Mae,` this pri·ate do-
nor has generously agreed to match all donations oí
>500.00 or more to the Patrons oí Sacred Music.

As a Patron oí Sacred Music we rely on your gener-
ous support in pro·iding music íor our ligh
Masses, sponsorship oí our mini concerts` and
other musical e·ents. lowe·er, the legacy oí the
installation oí an historic pipe organ like Casa·ant`s
Opus 1130 will be a crowning glory íor our music
program ranging írom use at loly Mass, to organ
concerts on a regular basis with world renown or-
ganists. All donations can be sent to Patrons oí Sa-
cred Music,` 825 N. Carpenter St., Chicago, IL
60642. Ií you wish to speciíically send íunds sent to
Sa·e 1ina Mae,` mark the memo section with the
Digital Image of what Casavant's Opus JJ30 (´1ina Mae¨) will
look like in August, 20J3, when installed in St. John Cantius.
word Organ.` God reward you!

Re·. C. lrank Phillips, C.R.

Y YOU OU 1 1O O 1 1HL HL

.aa¡tea frov tbe ívc,cto¡eaia
of Mv.ic iv Cavaaa

Larly Years

lealey \illan, composer,
organist, choir conductor, teacher, was born in Bal-
ham, an area oí London, Lngland, October 12,
1880. le died in 1oronto Ontario on lebruary 16,
1968. lealey \illan maintained that he was born
with the ability to read music, although his íorebears
- some oí them Irish according to an unsubstanti-
ated íamily legend - were not musicians but doctors,
schoolmasters, and clergymen. At eight-and-a-halí
he entered St. Sa·ior`s Choir School, Lastbourne, as
a probationer and progressed so well in his studies
that in six months, a school record, he became a
regular choir boy.

le studied piano and organ, harmony and counter-
point, was successi·ely appointed assistant school
librarian, librarian, and assistant librarian at the
church itselí, then attained the en·ied position oí
doctor`s boy,` which entailed assisting the church
organist by setting out the proper music, dusting the
organ keys, and turning on the pneumatic engine. At
age 11 he began directing choir practices íor boys
older than himselí and played and conducted íor the
Vespers ser·ices at St. Sa·ior`s, alternating with the
adult organist.

\illan went on to pri·ate organ study with \illiam
Ste·enson loyte, organist oí All Saints Church in
London. \illan credited Sangster and loyte with
his basic musical education ,unknown men, really,
but great teachers`, and in later liíe was íond oí
quoting remarks oí both men, such as loyte`s Any
íool can play notes, I want to hear the music!` \il-
lan`s natural musical giíts seem to ha·e been congru-
ent with his pleasures: in his mid-teens he would
amuse himselí by working out the intricacies oí mu-
sical counterpoint.

Larly Career

In his years oí ser·ing as organist at ·arious London
churches, \illan gained a reputation as an authority
on Gregorian plainchant. le joined the Gregorian
Association in London in 1910, and was organist íor
the St Cecilia Society, among other musical pursuits.
In 1905 he married Gladys Lllen lall, a music stu-
dent, who bore him íour children and remained his
companion until her death in 1964.

\illan was exposed to his strongest musical inílu-
ences beíore the second decade oí the 20th century,
among continental composers these were \agner,
Brahms, and 1chaiko·sky, among British composers
Llgar is cited oíten, but \illan`s pupil Godírey Ri-
dout is probably correct in his assessment that Parry
and Staníord had a greater iníluence on him.

1he Canadian Years

In 1913 \illan recei·ed an in·itation írom A.S.
Vogt, principal oí the 1oronto Conser·atory oí Mu-
sic ,later Royal Conser·atory oí Music,, oííering him
the position oí head oí the theory department.
1hree weeks aíter his arri·al in 1oronto he accepted
the post oí organist-choirmaster at St Paul`s. In 1914
he was appointed a lecturer and examiner íor the
Uni·ersity oí 1oronto. lrom 1919-1925 he ser·ed as
music director oí the uni·ersity`s lart louse 1hea-
tre and in that capacity he wrote and conducted inci-
dental music íor 14 plays.

Commissions, Awards, Recognition

\illan was commissioned to write the homage an-
them O íora, Ovr Corervovr íor the coronation oí
Llizabeth II in 1953, the íirst non-resident oí Britain
to be so honored. In 1955 he was made an honorary
member oí the Canadian League oí Composers, and
in 1956 he recei·ed the Lambeth Doctorate írom
the Archbishop oí Canterbury.

Irom the Organ Bench to Orchestra Hall

L·ery organist stri·es to learn the many organ works
oí \illan, which are masterworks. One cannot said
to ha·e mastered the organ without ha·ing learned
his monumental
ívtroavctiov, Pa.·
.acagtia ava ívgve
,1916,, which
the great organ-
ist Joseph Bon-
net said was the
greatest organ
work since
Bach. \illan`s
works, which
include his hour
long setting oí
the Reqviev íor
chorus, soloists
and orchestra, are íull oí breadth and dignity. \il-
lan`s chamber music, orchestral works, operas and
songs are in·aluable contributions to the musical

le claimed that beauty is timeless, and that his duty
as a composer was to add to that beauty using ac-
cepted íorms and language, rather than to search out
the shape and sound oí things to come. \hen asked
about the increasing musical dissonance and musical
experimentation oí the mid-20th-century music, he
said, I hear only strange sounds which surprise and
disturb me.`

Willan's Sacred Music

\illan oíten reíerred to the Mass, the central act oí
worship oí his church, as a sacred drama. As a con-
ductor and choir-trainer he encouraged an apprecia-
tion oí plainsong and Renaissance music, and his
ideals oí choral tone were widely emulated. In lec-
tures and articles and, abo·e all, in the example he
set at the Parish oí St Mary Magdalene, he waged
constant war on unworthy church music. 1he music
composed íor the Church oí St Mary Magdalene is
displays \illan`s more mystical approach.

\illan`s deep interest in Gregorian plainsong and
polyphonic music, and his belieí in their correctness
íor the sacred liturgy, are clearly e·ident in this mu-
sic. Modality, melismatic ·ocal line, rhythmic íree-
dom based on ·erbal accentuation, and a strong pre-
occupation with linear shape rather than ·ertical con-
gruence combine to íorm a thoroughly personal id-
iom. It is this that separates this music írom the rest
oí his output and makes it possibly his most impor-
tant. 1he clearest examples are the 14 settings oí the
Mi..a breri. ,1928-63,, a set oí 11 Liturgical Motets
,1928-3¯,, oí which the three motets to Our Lady
Lady are deser·edly the most popular, his many
plainsong-with-íauxbourdons settings oí the Canti-
cle oí Canticles, and an earlier set oí Six Motets and
the Responsaries íor the Oííices oí 1evebrae pub-
lished in 1956.

Preserving Willan's Musical Heritage

1he National Library oí Canada became the custo-
dian oí the \illan papers in 19¯0 and mounted an
exhibition - íeate, !ittav: 1be Mav ava íi. Mv.ic - in
19¯2. Coincident with this, the library published the
lealey \illan Catalogue compiled by Giles Bryant,
the íirst such catalogue de·oted to the work oí a Ca-
nadian composer. A supplement was issued in 1982.
Concurrently there was a surge in \illan research. By
1990, more theses had been written on \illan than
on any other Canadian musician, and l.R.C. Clarke
wrote a detailed study oí \illan`s liíe and music.

1he Canons Regular and Healey Willan

lor years, I ha·e been an admirer oí \illan`s choral
music. As a conductor, I ha·e directed many choirs
in learning the sacred music he composed. A num-
ber oí year`s ago I taught the brothers here at St.
John Cantius the Mass oí St. 1heresa by lealey \il-
lan, which was published in the 1950`s in the New
St. Basil lymnal, among the best Catholic hymnals
that can be íound.

Months ago I wanted to get a copy oí each oí \il-
lan`s choral Masses, in hopes that our St. John Can-
tius Choirs could sing them íor Mass here. \hen I
called music stores to purchase the music I was sur-
prised that ·ery little was in publication and a·ailable
íor sale, so I contacted St. Mary Magdalene Parish in
1oronto, where \illan had been organist and choir-
master íor years, in hopes that I might íind someone
willing to help. Stephanie Martin, a íine composer
and choral conductor, now holds the position \illan
once held at St. Mary Magdalene, and she accommo-
dated all oí my requests, helping me to obtain the
musical scores I wanted.

A íew months later, I had submitted to Ignatius
Press, íor their Adoremus lymnal, a new Mass I
had written íor choir and organ, the Missa Vox
Clara,` I was asked ií I knew oí the Masses oí lealey
\illan, as they were hoping to include one in their
new hymnal. I told them about \illan`s music and
highly recommended it to them. \hen I contacted
Stephanie Martin with more questions about \il-
lan`s music, she introduced me to Mary \illan Ma-
son, lealey \illan`s 92 year-old daughter.
Mary, who is a proliíic author, has been re·iewed
musical and artistic e·ents in 1oronto íor decades.
1oday she has a monthly article in Catholic Insight
Magazine,` writing articles on the saints, Catholic
culture and Church history. Mary and I became great
pals ·ia email o·er a number oí months and we espe-
cially enjoyed discussing her íather`s music. She intro-
duced me to other íine works oí \illan that I had
not known and shared many personal íamily stories
and insights into her íather`s music.

As the youngest child oí the lealey \illan íamily,
Mary had the pri·ilege to be with her íather when he
died. As he passed the baton to her, he entrusted
Mary with the preser·ation oí his musical patrimony.
Now Mary has passed that baton into the hands oí
the Canons Regular oí St. John Cantius, with whom
she now entrusts the promotion oí her íather`s musi-
cal works.

1hanks to the assistance oí our attorney Mr. Joseph
Phelps, who tra·eled to 1oronto with me to meet
with Mary and to íormalize the legal arrangements
regarding the musical estate oí lealey \illan, so that
the Canons Regular could be properly designated to
preser·e and promote the uníorgettable music oí this
great man. In íuture editions oí Notes írom the
Choir,` we will share more about our plans íor the
de·elopment oí the lealey \illan Society íor Sa-
cred Music,` along with a progress report oí the re-
·i·al oí his music.
Re·. Scott A. laynes, S.J.C.
Chaplain, Patrons oí Sacred Music


My íather wrote music consistently and constantly.
In my earliest memories, that is what he did and I
took it íor granted. O·er many years I began to real-
ize he was someone quite special in musical terms.
In the last íew years oí his liíe we became ·ery close
íriends and so oíten he raised the question oí what
should be done and what would become oí his liíe`s
work, the o·er eight hundred pieces oí music, some
in manuscript, some little more than preliminary
ideas. In my blithe ignorance, I promised to take care
oí e·erything.

It has been a learning experience that I cherish: the
publishers now my íriends, the publishers who ha·e
to be reminded oí their contractual obligations, pub-
lishers who let works go out oí print, out oí circula-
tion and neglect to let me know, perusing the Berne
Con·ention and the Ilsley report. Now aíter more
than íorty years I was beginning to ask myselí the
same question. \ho would look aíter his legacy oí
enduring works· Aíter all, ·iolinists ha·e their Pagan-
ini Variations still in print, and organists ha·e the
\illan ívtroavctiov, Pa..acagtia ava ívgve, but how
about the motets used around the world, O íora Ovr
Corervovr, the only lomage Anthem commissioned
íor a coronation not written by a British resident, the
music íor 1evebrae and so many other signiíicant mas-
terpieces, the Reqviev begun a century ago, leít uníin-
ished, and with modulations unheard oí until Benja-
min Britten wrote similar works many years later, or
his opera Deirare, which seemed a bit dissonant when
it was períormed in 1946 but now sounds right·

So it was a delight and an answer to prayers when
two ·ery modern angels ílew down out oí the sky,
lather Scott laynes oí St. John Cantius and Joseph
Phelps, a musician angel and a lawyer angel, and there
couldn`t be too many oí those. 1hey spoke oí stew-
ardship, oí data based technology íor making the
work I had been doing with pen and a little computer
into a great compendium oí knowledge, order, per-
manence and accessibility, a tribute to the composer
about whom I ha·e read is a natural successor to \il-
liam Byrd, 1543-1623.

Since a majority oí his works were written íor the
ser·ice oí the church, some people who ne·er knew
him, suppose he was a solemn, retiring indi·idual.
Such is not the case at all. le laughed uproariously
and írequently chuckled. le lo·ed a good story and
told them well. le lo·ed all creatures great and small.
Particularly dogs. Once he admonished our íox ter-
rier to lea·e the birds in the garden alone and she got
his message although she qui·ered when sparrows
came enough íor
his crumbs. le
lo·ed cryptic cross-
word puzzles and
could make words
rhyme in unusual

I must ha·e asked
him once to put
some harp parts in
something because
he demurred saying that harp solos reminded him oí
angels picking their teeth. \ou ne·er knew what to
expect but it was usually hilarious. le once described
some rather pedantic piece as like taking a reluctant
puppy íor a walk on a rubber leash.

L·en when conducting his choir in the most solemn
music, there was an energy, a passion, a dri·e, that
ne·er allowed what he reíerred to as lugubriance.`
le despised the habit oí dragging the tempo at the
ending. 1here is always joy in his music, a statement
oí deep íaith.

At a meeting oí the American Choral Directors Asso-
ciation in Kansas City years aíter his death, a group
oí American directors and I chatting together were
asked by Canadian Robert Cooper, ií they could
name three Canadian composers. 1wo were easy but
then there was a silence. I asked ií they had e·er
heard oí \illan. 1hey all said, O course!` and then
one added, you don`t think oí \illan as a Canadian
any more than you think oí Bach as a German.` I
hope my íather was listening in. le would ha·e lo·ed

So there it is, as he would say,
lealey \illan`s legacy entrusted
to St. John Cantius íor all time
under lather Scott laynes direc-
tion. I hope and think my ía-
ther`s question is íinally an-
swered and that he is content, all
that I could possibly ask.

Mary \illan Mason
Daughter oí lealey \illan

Plan to tra·el to lrance in the Summer oí 2012, with
the Patrons oí Sacred Music, Re·. Scott A. laynes,
S.J.C., Chaplain and Mater Dei 1ours. In addition to
·isiting popular Catholic shrines, we will also plan to
·isit monastic centers oí Gregorian chant, such as the
ílourishing Benedictine Monasteries oí Solesmnes
and La Barroux.

In Paris, we will plan to see and hear some oí the
most íamous pipe organs in the world. A special trip
like this could be an excellent cultural experience íor
you, your íriends and íamily. All are welcome. Con-
tact lather Scott laynes at music¸cantius.org íor
details or call ,312, 243-¯3¯3, ext. 111. Details will be
posted online at www.cantius.org as soon as possible.


Our lall Schedule oí Sacred Music is posted online at
www.cantius.org as a PDl download. 1he Schedule
oí Sacred Music also lists all Music L·ent lundrais-
ers` which we encourage you to attend íor your en-
joyment and to help us raise íunds íor the Sacred
Music program. All the Sacred Music e·ents are also
listed there in the Calendar.` Copies are also a·ailable
at the back desks in St. John Cantius Church. Ií you
would like a copy mailed to you, please call Lauretta
in the St. John Cantius at ,312, 243-¯3¯3.


\e hope you enjoy all oí our lall Music L·ent lund-
raisers,` but we especially in·ite you to attend the lall
Gala lundraiser and Dinner on Saturday, No·ember
6, 2011, at 6:00 p.m. íeaturing 1re·or Mitchell, 1enor
and Stephanie Sheííield, Soprano. 1he concert is
a·ailable íor the a >15.00 donation. Reduced ticket
prices are a·ailable íor seniors, students and children.
1he concert ends with a wine and cheese social, but
we hope you will also consider attending the >500.00
per plate gourmet dinner at ¯:30 p.m. that íollows the
6:00 p.m. recital.

Our ·ery popular Lessons and Carols program is,
held this year on Saturday, December 10, 2011, at
¯:00 p.m. 1he concert is a·ailable íor a >15.00 dona-
tion. Reduced ticket prices are a·ailable íor seniors,
students and children. At 5:30 p.m. you are in·ited to
enjoy a relaxing catered dinner at >100.00 per plate in
the Caíé San Gio·anni ,St. John Cantius` lower le·el,.
Attending these special e·ents is a great assistance to
íortiíying our music program. God reward your gen-

In the Middle Ages, at the preparation oí the giíts
oííered up in loly Mass, the singers recei·ed a spe-
cial task. In papal ligh Masses, while the choirmaster
ga·e the highest prooí oí his ability in his rendering
oí the oííertory ·erse, one oí the choristers carried to
the altar the water that would be used in the chalice.

In this way, church music shared in the mystery oí
the water and wine, that mystery by which we ha·e
íellowship in the Godhead oí lim \ho deigned to
share our manhood. 1he singer carries the sign oí the
water, which, when mixed with the wine, becomes
wine itselí.

lis singing, and the art oí the music he períorms, are
such a mixture, expressi·e oí human nature made
worthy to partake oí the di·ine nature.
By oííering sacred song the singer is made holy, he is
transíigured by the Sacred Mysteries oí the Altar,
wherein he beholds the transubstantiation oí the
wine into the Blood oí Christ, shed íor the remission
oí our sins. 1he Precious Blood oí Christ, seen un-
der the appearance oí wine, will be consumed in
loly Communion, like the best wine` at Cana`s
wedding íeast that was kept to the end.

1he singer himselí is transíormed because he be-
comes the ser·ant to whom the Lord says at the
wedding, Draw, and gi·e a draught to the master oí
the íeast. . . . 1he master oí the íeast did not know
whence the wine came, but the ser·ants who had
drawn the water knew` ,John 2:9,.

1he singer recei·es knowledge that enables him to
proclaim the truth to those who belie·e and who
hope to see the glory oí the Lord. 1he singer draws
the water, and his reward is
a giít oí knowledge. Noth-
ing surpasses this spiritual
knowledge, this insight into
the mystery oí Godhead
and manhood, the íullness
oí the liíe oí God as re-
·ealed to us, and the whole
breadth oí the liíe oí man
as experienced in this

1his realization ennobles
us and humbles us at the
same time. And ií we per-
mit oursel·es to experience
this, we attain to the clear-
ness, the clarity oí water.

As disciples oí Jesus Christ,
this is our model oí humil-
ity, as we are called to con-
·ersion in heart and mind.

low is this possible ií not
by the graces oí the Sacred
leart oí Christ, and by our
own willing cooperation in
this transíormation· 1hus,
as our Lord said: Let him
accept it who can.`
,Matthew 19:12,

Re·. Scott laynes, S.J.C
Patrons oí Sacred Music