Roman

Rev. Clarence Joseph Rivers, Catholic priest of the Archdiocese of Cincin-*

nati, was born in 1931. Since his ordination in 1956; Fr. Rivers has taught English at Purcell ‘High School in Cincinnati, directed The Queen’s Men, a drama guild, in addition to his duties as assistant pastor at St. Joseph’s Church and later at the Church of the As- sumption, Walnut Hills.

- -Fr. Rivers received an M.A. in scholastic philosophy from the Athenaeum of Ohio and did further graduate studies in English liter- ature at Xavier University (Cincinnati) and Yale. He is currently working for an M.A. in speech and drama at the Catholic Univer- sity of America.

AN AMERICAN MASS PROGRAM represents a contemporary American expres- sion of music for the Roman Catholic Liturgy. Liturgical and Scriptural texts appear in _ English translation. An occasional paraphrase or freely adapted metaphors such as “There is None Like Him” sonal tone to these songs. of prayer. In format, the PROGRAM conforms partially to the

traditional sequence of sung parts in a Mass

introduce a fresh, per-

but is influenced in detail by the composer’s sensitivity to the role of sung, prayer in litur- gical worship. Especially interesting, for ex- ample, is the restoration of the Kyrie (“Lord, have mercy”) into a position of response in the Entrance Song. The composer has given special attention’to the usually spoken Gospel _ Acclamation. In a most joyful manner the

“Glory to God,

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congregation can respond: glory, O praise Him, alleluia!’’ And welcome indeed, is the setting enabling us‘to experi- ence the Our Father anew.

Although fundamentally rooted in the folk tradition of Negro spirituals, the musical style of AN AMERICAN MASS PROGRAM reflects additional elements from modern psalmody, Gregorian Chant, and the influ- ence of liturgical forms. Fr. Rivers says: “This music was not composed with any musical theories consciously “in mindJt.: His

style, however, participates deéply in a tradi- © tion that prays naturally — spontaneously — .

in song and subscribes to musical theories in the very conventional nature of its forms. He never quotes spirituals directly but rather

“rhythmic syncopations and “blue”

incorporates their. characteristic melodic pat- terns and rhythmic life. into ‘an original

af

expression.

Melodies on the whole are built on the five-note scale common to spirituals; gentle notes are applied with reserve and taste. Phrases are balanced, yet not always symmetrical. The blending of text and music is always a natural one. Text rhythms and phrases fit organically into the short motives that make up Father’s melodies. He introduces rhythmic variety within the repetitive structures; continuous

texts such as the Our Father and Hail Mary

are given formal unity through short interior

repetitions. Father Rivers has adapted the typical call- response delivery of spirituals to the liturgi-

cal. responsorial style. Consequently, most

items are built up as verses and refrains to

be sung alternately by cantor and congrega- tion. These parts fulfill separate but compli- mentary musical and textural functions. Full- length refrains are oriented primarily toward a rhythmic melody that almost sings along

by itself. On the other hand, the musical set- ~

ting and composer’s style.of singing make the cantor’s verses function more as‘a proclama- tion of the message. Musical artifices never interfere with this Message, although melodic

‘invention is considerably more elaborate than

most modern psalmody patterns. Within fairly consistent metric and- phrase structures, the composer: introduces stretched ‘meters and a rhythmic freedom that literally | emancipate the text from musical laws. » 7

The special appeal of AN AMERICAN MASS PROGRAM arises from the simplicity and naturalness of the melodies, from its lack of pretentious artistry, and the strikingly un- selfconscious expressions of sorrow and joy, love and trust. The ease*possible in learning these melodies and the spirited delivery they inspire make them especially suitable for congregational use. Skillful melodié and rhythmic junctures between verses and _ re- frain assist a natural. flow from«one to an- other. The PROGRAM is deficient, perhaps, in only one way; but we are confident that Father will eventually publish :settings for the Gloria and Creed!

In-“effect, AN AMERICAN MASS PRO- GRAM stands as an important modern syn- thesis of an American folk style and Catholic liturgical prayer. °

DURING ITS FIRST TWO YEARS OF USE, not a single note of AN AMERICAN MASS PROGRAM was written down. Fr. Rivers had composed the melodies originally for his own inspiration and enjoyment, but later used them to develop a program of active participation in the Mass at St. Joseph’s Church, Cincinnati. At Grailville, North American headquarters of the Grail Movement, clergy, lituggists from all parts of the country have

sung the music. in liturgical celebrations.

Reception: every whie Fé. has been encouraging, even enthusiastic.

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laity, musicians and

Cride -AN& “AMERICAN '

MASS PROGRAM has always been st ae by rote, increasing requests for the “music” prompted a transcription of the sung note into the written note. But notation: of music formed and transmitted in an aural tradition is always, at best, a compromise. The written note could not suggest the proper style of the music that singing so accurately conveys. The most satisfactory way to publish this music was a recording.

Professional or trained singers were not used lest the congregational sound be de- stroyed. The singing is unpracticed, the harmony spontaneous. Fr. Rivers himself is the cantor. The recording attempts to show that this music can be easily mastered by any congregation; that its singing can be spon- taneous and spirited as this group’s — if not more so! The recording also attempts to transmit a personal, free, and natural inter- pretation of the style. Finally, the success of AN AMERICAN MASS PROGRAM should begin to establish the validity of an indig- enous American music for prayerful, liturgi- eal worship.

'In considering the encouraging reception of AN AMERICAN MASS PROGRAM, Fr. Rivers says: ;,

“Sincerely, humbly, and perhaps _pre- sumptuously — I hope that this music can be of some help in bringing the liturgy of the Church closer to the lives of Her people.”

THE PROGRAM IS, of course, flexible

and suitable for other liturgical or extra-

_liturgical~ celebrations. Litany petitions, for

example, should be adapted according to the feast and reflect current needs of the com- munity. One of the Alleluia refrains could serve just as appropriately. for an Epistle response. Assuming. good. textural and musi- cal continuity, refraitis might be interchanged. Although on this recording the cantor sings thes Our Father and Hail Mary, the congre- gation may sing the entire texts. Similarly, several caritors may be»preferred. Fr. Rivers has always invited the congregation to add its own spontaneous and original harmonies. If this record is used for teaching pur- poses, it is suggested that the refrains be learned from Fr. Rivers’ renditions. As in an aural tradition, however, freedom. of inter- pretation within the basic style of the music is encouraged, but in keeping with the nature of the text and the occasion of prayer that it serves. Notes by Mary Seavoy

AN AMERICAN MASS PROGRAM* is

available in two printed forms:

* complete notation of cantor’s and congre- gational texts;

° complete text with notation of congrega- tional parts only.

“* Published with ecclesiastical permission.

All rights reserved.

Distributed by

World Library of Sacred Music

1846 W. estwood Avenue Bee

Cincinnati, Ohio 45214 i oe

GAS PET ey « e See

Se ee ee Pa ey he

produced by

The Queen’s Men

Side I

Entrance:

OUT OF THE DEPTHS (Ps. 129) At the Gloria:

COME, LET US REJOICE (Ps. 94) Gospel Acclamation:

GLORY TO GOD, GLORY

Offertory Litany:

GOD THE FATHER, HEAR OUR PRAYER At the Sanctus:

HOLY, HOLY, HOLY (ls. 6:2)

Pater Noster:

OUR FATHER WHO ART IN HEAVEN Communion:

GOD IS LOVE (New Testament texts) Side 2

Recessional:

THERE IS NONE LIKE HIM Alternate Settings *

Entrance:

BLESS THE LORD (Dan. 3:57-88)

Gospel Acclamation:

Sp - 1002 = _

PRAISE CHRIST, THE SON OF THE LIVING GOD; Ps. [45°

Offertory:

HAIL MARY, FULL OF GRACE (Lk. 1) Offertory:

I LIFT MY EYES TO THE MOUNTAIN (Ps. 120)

Communion:

THE LORD IS MY SHEPHERD (Ps. 22)

Color photograph by Brand Studios Layout and design of record jacket by William Schickel, designer; David Camele, associate

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