. . . the writer can testify to the Chicago experience!
The Great War over, the liturgical movement kept moving. Special gatherings, liturgical weeks and days, became common, as in the French cities Rouen and Lourdes.
A Congress of Sacred Music in 1919 was attended by cardinals and bishops and bishop-level abbots. Interest was building in high places.
Gregorian chant, approved vigorously by Pius X 20 years earlier, was being taught to children — a half million in New York City, to cite a major effort. People were being encouraged to receive communion at mass — another Pius X footprint — and were in some cases reading Scripture at mass.
Pius XI told of “lively satisfaction” at these developments.
In Holland, the country best organized in these matters, clergy-staffed liturgical commissions were established in every diocese.
The lights of the movement were beginning to shine.
Dom Odo Casel’s calling liturgy a “mystery” rite made him the source of “perhaps the most fruitful theological idea” of the 20th century in the view of then Cardinal Ratzinger.
The prolific Pius Parsch (1884-1954) and the Italian-born Romano Guardini (1885-1968), who was raised in Germany, would be mainstream contributers and theological shapers of the reform in decades to come.
Bonneterre was happy to recall these giants of scholarship but was at the same time critical. In 1920, he noted that their writings “remained moderate, but that did not last long.” In fact, “It was in Germany that the movement experienced its first and perhaps most serious deviations.”
The flourishing was under way, however, including in Italy, Spain, and the United States. In New York in June, 1920, at an International Congress of Gregorian Chant, mass was sung in chant by 4,000 children from 47 Catholic schools where a half million students were learning the chant.
In the Chicago archdiocese in the early ’40s, grade schools were still learning it. They also were taught how to pray at the “dialogue” mass, condemned in our time as “the worm of decay” that “began to devour traditional rites from the inside.”
The year 1909 . . . was the year in which Dom Lambert Beauduin presented his ideas for more “active” lay participation in the liturgy at the National Congress of Catholic Action in Malines on the invitation of Cardinal Désiré Joseph Mercier.
So. All was not working to tradionalists’ satisfaction. Back to main theme:
I was in such a school — and sang too in the men and boys choir, where the music was the church-approved, magnificent polyphony of the Renaissance, and the choir director scorned chant!
Meanwhile, Fr. Lasance produced his Sunday missal, Dom Lefebvre his Catholic Liturgy, translated from the Italian.
In 1921, the St. John’s Abbey, Minnesota, Benedictine Virgil Michel published My Sacrifice and Yours; and Dominican sisters in Grand Rapids, Michigan, published brochures for classroom use in teaching liturgy, titled With Mother Church.
Only later, in the ’50s, would the “American Movement” fall under what Bonneterre considered the very bad influence of “the French and German movements.”
Indeed, even at this early date, the pastoral-vs.-God-centered liturgies conflict was in the mix, Bonneterre explained.
The pastoral approach emphasized the “apostolic” character of liturgy as emphasized by the Belgian, Dom Beauduin, who “tended” to overemphasize it, he wrote.
This conflict was to become increasingly pervasive as the movement faced “the great temptation . . . to make liturgy above all a means of apostolate; to bend [it] to the needs of the apostolate.”
Of which more later.
Here was the danger, said Bonneterre in the 1980s: the movement could not “withstand this temptation” to subordinate worship to pastoral technique, and “this magnificent work [of reform] broke down, bringing with it nearly the entire fabric of the Church.”
Big stakes, to say the least.
But zest for ecumenism remains a key part of the problem . . .