Holy Father Addresses Congress on Sacred Music
Vatican City, January 27, 2001

(VIS) - This morning in the Consistory Hall, Pope John Paul met 80 participants in the International Congress of Sacred Music, including composers, musicians, specialists in liturgy and teachers of sacred music. He also greeted representatives of the Ecumenical Patriarchate of Constantinople, the Patriarchate of the Russian Orthodox Church, the Lutheran World Federation and the Jewish community.

In his talk to them in French, Spanish, English and Italian, the Pope underscored the history of sacred music and the multiple forms it has taken over the centuries in the Church, including Gregorian Chant, polyphony and popular religious music. He recalled that it was "following the ancient Jewish tradition, in which Christ and the disciples were nourished, that sacred music developed throughout the centuries on all continents, according to the genius of each culture, and showing the magnificent creative elan displayed by the various liturgical families of East and West."

The Holy Father remarked that "Gregorian chant is an integral part of the liturgy" and "a unique and universal spiritual and cultural patrimony ... at the service of the Word of God. Its influence on the development of music in Europe was considerable." He added that the Church "also shows that it is hospitable to other musical forms, especially polyphony."

"The 20th century, especially the second half," he pointed out, "saw a development of popular religious music in line with the desire expressed by the Second Vatican Council that it be 'skillfully fostered'. This form of singing is especially suitable for the participation of the faithful, both in devotional practices and in the liturgy itself. It requires qualities of creativity of the composers and poets."

John Paul II then made reference to the many celebrations during the Holy Year, stating that "Gregorian chant, classical and contemporary polyphony, popular hymns, especially the Hymn of the Great Jubilee, made possible liturgical celebrations which were fervent and of high quality."

The Pope then paid homage to an Italian artist, recalling that "today ... we are commemorating the centenary of the death of the great composer Giuseppe Verdi, who owed much to the Christian heritage."

In concluding remarks, the Holy Father said that "the application of Vatican Council II orientations on the renewal of sacred music and liturgical song ... today calls for a solid formation of pastors and faithful on the cultural, spiritual, liturgical and musical levels."

AC/SACRED MUSIC/... VIS 010129 (390)

The Text of the Holy Father's Talk
Go to English part of Talk

Saturdayt, 27 January 2001

Signor Cardinale,
Cari amici,

1. saluto cordialmente tutti voi, partecipanti al Congresso internazionale di Musica Sacra, ed esprimo la mia viva gratitudine alle autorità che hanno promosso l'incontro, il Pontificio Consiglio per la Cultura, l'Accademia Nazionale di santa Cecilia, il Pontificio Istituto di Musica Sacra, il Teatro dell'Opera di Roma e la Pontificia Accademia di Belle Arti e Lettere dei Virtuosi al Pantheon. Un grazie particolare va al Cardinale Paul Poupard per le gentili parole di saluto, che mi ha rivolto a vostro nome.

Je suis heureux de vous accueillir, compositeurs, musiciens, spécialistes en liturgie et enseignants de musique sacrée, venus du monde entier. Vos compétences assurent à ce Congrès une réelle qualité artistique et liturgique, et une incontestable dimension universelle. Je souhaite la bienvenue aux Représentants qualifiés du Patriarcat œcuménique de Constantinople, du Patriarcat de l'Église orthodoxe russe et de la Fédération luthérienne mondiale, dont la présence constitue un appel stimulant à mettre en commun nos trésors musicaux. De telles rencontres permettront d'avancer sur le chemin de l'unité à travers la prière qui trouve une de ses plus belles expressions dans nos patrimoines culturels et spirituels. Je salue enfin avec respect et reconnaissance les Représentants de la Communauté juive qui ont bien voulu apporter leur expérience spécifique aux spécialistes de la musique sacrée chrétienne.

2. "Le chant de louange qui résonne éternellement au ciel et que Jésus Christ, souverain prêtre, a introduit dans cette terre d'exil, a toujours été continué par l'Église au cours des siècles, avec constance et fidélité, dans la merveilleuse variété de ses formes". La Constitution apostolique Laudis Canticum, par laquelle le Pape Paul VI promulguait en 1970 l'Office divin, dans la dynamique du renouveau liturgique inauguré par le Concile Vatican II, exprime d'emblée la vocation profonde de l'Église, appelée à vivre le service quotidien de l'action de grâce dans une continuelle louange trinitaire. L'Église déploie son chant perpétuel dans la polyphonie des multiples formes d'art. Sa tradition musicale constitue un patrimoine d'une valeur inestimable, car la musique sacrée est appelée à traduire la vérité du mystère qui se célèbre dans la liturgie (Cf. Sacrosanctum Concilium, n. 112).

Dans la suite de l'antique tradition juive (Cf. 1 Ch 16, 4-9.23; Ps 80), dont le Christ et les Apôtres étaient nourris (Cf. Mt 26, 30; Ep 5, 19; Col 3, 16), la musique sacrée s'est développée au long des siècles sur tous les continents, selon le génie propre des cultures, manifestant le magnifique élan créateur déployé par les diverses familles liturgiques d'Orient et d'Occident. Le dernier Concile a recueilli l'héritage du passé et réalisé un travail systématique précieux dans une visée pastorale, consacrant à la musique sacrée tout un chapitre de la Constitution sur la Sainte Liturgie Sacrosanctum Concilium. Du temps du Pape Paul VI, la Sacrée Congrégation des Rites a précisé la mise en œuvre de cette réflexion par l'Instruction Musicam sacram (5 mars 1967).

3. La música sacra es parte integrante de la liturgia. El canto gregoriano, reconocido por la Iglesia como "el canto propio de la liturgia romana" (ibíd., n. 116), es un patrimonio espiritual y cultural único y universal, que se nos ha transmitido como la expresión musical más límpida de la música sacra, al servicio de la Palabra de Dios. Su influencia en el desarrollo de la música en Europa fue considerable. tanto los doctos trabajos de paleografía de la Abadía de Sain-Pierre de Solesmes y la edición de las recopilaciones de canto gregoriano, fomentadas por el Papa Pablo VI, como la multiplicación de los coros gregorianos, han contribuido a la renovación de la liturgia y de la música sacra en particular. La Iglesia, si bien reconoce el lugar preeminente del canto gregoriano, se muestra también acogedora de otras formas musicales, especialmente la polifonía. En todo caso, es conveniente que estas diversas formas musicales sean acordes "con el espíritu de la acción litúrgica" (ibíd.). Desde esta perspectiva, es particularmente evocadora la obra de Pier Luigi da Palestrina, el maestro de la polifonía clásica. Su inspiración le convierte en modelo de compositores de la música sacra, que él puso al servicio de la liturgia.

4. The twentieth century, particularly the second half, saw a development of popular religious music in line with the desire expressed by the Second Vatican Council that it be "skilfully fostered" (Sacrosanctum Concilium, n. 118). This form of singing is particularly suitable for the participation of the faithful, both in devotional practices and in the liturgy itself. It requires of composers and poets qualities of creativity, in order to open the hearts of the faithful to the deeper significance of the text of which the music is the instrument. This is also true of traditional music, for which the Council expressed great esteem and requested that it be given "its proper place both in educating people's religious sense and in adapting worship to their native genius" (ibid., n. 118).

Popular singing, which is a bond of unity and a joyful expression of the community at prayer, fosters the proclamation of the one faith and imparts to large liturgical assemblies an incomparable and recollected solemnity. During the Great Jubilee, I had the joy of seeing and hearing large numbers of the faithful gathered in Saint Peter's Square celebrating with one voice the Church's thanksgiving. I once again thank all those who contributed to the Jubilee celebrations: the use of the resources of sacred music, especially during the Papal celebrations, was exemplary. Gregorian chant, classical and contemporary polyphony, popular hymns, particularly the Hymn of the Great Jubilee, made possible liturgical celebrations which were fervent and of high quality. Organ and instrumental music also had their place in the Jubilee celebrations and made a magnificent contribution to the uniting of hearts in faith and charity, transcending the diversity of languages and cultures.

The Jubilee year also saw the staging of numerous cultural events, particularly concerts of religious music. This form of musical expression, which is as it were an extension of sacred music in the strict sense, is of particular significance. Today, when we are commemorating the centenary of the death of the great composer Giuseppe Verdi, who owed much to the Christian heritage, I wish to thank the composers, conductors, musicians, performers, and also the heads of societies, organizations and musical associations for their efforts to promote a repertoire which is culturally rich and expresses the great values linked to Biblical revelation, the life of Christ and the Saints, and the mysteries of life and death celebrated by the Christian liturgy. Religious music likewise builds bridges between the message of salvation and those who, while not yet fully accepting Christ, are sensitive to beauty, for "beauty is a key to the mystery and a call to transcendence" (Letter to Artists, n. 16). Beauty makes a fruitful dialogue possible.

5. L'applicazione degli orientamenti del Concilio Vaticano II circa il rinnovamento della musica sacra e del canto liturgico - in particolare nei Cori, nelle Cappelle musicali e nelle Scholæ Cantorum - chiede oggi una solida formazione ai pastori e ai fedeli sul piano culturale, spirituale, liturgico e musicale. Essa domanda inoltre una riflessione approfondita per definire i criteri di costituzione e di diffusione di un repertorio di qualità, che permetta all'espressione musicale di servire in maniera appropriata al suo fine ultimo che è "la gloria di Dio e la santificazione dei fedeli" (Sacrosanctum Concilium, n. 112). Ciò vale in particolare per la musica strumentale. Anche se l'organo a canne rimane lo strumento per eccellenza della musica sacra, le composizioni musicali odierne integrano formazioni strumentali sempre più diversificate. Auspico che tale ricchezza aiuti la Chiesa orante, affinché la sinfonia della sua lode si accordi con il "diapason" di Cristo Salvatore.

6. Cari amici musicisti, poeti e liturgisti, il vostro apporto è indispensabile. "Quante composizioni sacre sono state elaborate nel corso dei secoli da persone profondamente imbevute del senso del mistero! Innumerevoli credenti hanno alimentato la loro fede alle melodie sbocciate dal cuore di altri credenti e divenute parte della liturgia o almeno aiuto validissimo al suo decoroso svolgimento. Nel canto la fede si sperimenta come esuberanza di gioia, di amore, di fiduciosa attesa dell'intervento salvifico di Dio" (Lettera agli Artisti, n. 12).

Sono certo della vostra generosa collaborazione per conservare ed incrementare il patrimonio culturale della musica sacra al servizio di una liturgia fervorosa, luogo privilegiato di inculturazione della fede e di evangelizzazione delle culture. Vi affido per questo all'intercessione della Vergine Maria, che ha saputo cantare le meraviglie di Dio, ed imparto con affetto a voi e alle persone a voi care l'Apostolica Benedizione.

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