Andrea Grillo and Another Benedictine Monk Reply to the Abbot of Solesmes: Juxtaposition and Forced Assimilation Are Not Unity

The Abbot of Solesmes' strange proposal—to create a hybridized missal that would please exactly no one, except perhaps a few monks in the Fontgombault congregation—has prompted more than a few responses. Here we present a translation of the barbed critique of Andrea Grillo, the mind behind Traditionis custodes, followed by a lucid assessment from a Benedictine monk.

Liturgical unity, not typographical. The One Roman Rite and Fr. Guéranger

by Andrea Grillo

The context in which the Abbot of Solesmes, Fr. Kemlin, frames his reflection—in a letter to Pope Leo dated November 12 of last year (made public only in recent days)—is of some significance. He knows that Solesmes is not a place like any other. It preserves the memory of one of the Fathers of the Liturgical Movement, who, as is rightly stated at the beginning of the letter, stands at the origins of the Liturgical Movement that led to the Liturgical Reform. [This is a repugnant falsehood, as anyone can see who reads Guéranger's Liturgical Institutions. - PAK]

He admits, however, that the monastic congregation of which he is president has experienced a rift between the practice at Solesmes—which uses the rite reformed by Paul VI—and other monasteries, such as Fontgombault, where the Tridentine rite is used instead.

Dom Guéranger’s "Liturgical Institutions" Published for the First Time in English

The ongoing devastation inflicted upon the sacred liturgy is by no means unique to our time. Since the earliest days of the Church, the liturgy has suffered from the attacks of heresy, schism, and human caprice. Through the ages—whether from the blasphemous Vigilantius, the radical Waldensians of the Middle Ages, the Protestant reformers of the sixteenth century, or the rationalist infiltrators of the Enlightenment—there has always been a persistent, corrosive impulse to undermine, distort, or dilute the sacred rites entrusted to the Church.

In the nineteenth century, Dom Prosper Guéranger (1805–1875), the abbot of Solesmes and founding father of the modern liturgical movement, stood resolutely against a virulent strain of this anti-liturgical spirit.

The Broad Ocean of the Latin Rite: What True Liturgical Diversity Looks Like

Recent years have seen a surge in curiosity about the classic Rome rite, its forms, symbols, and history. Everywhere neophytes can be heard asking cautiously about “the Latin Mass,” while those who are more versed in the traditional Catholic world may be found disputing the merits and shortcomings of the ’62 missal and the Office of St. Pius X, or extolling the glories of the pre-’55 Holy Week.

Following "The Liturgical Year" with Dom Prosper Guéranger: AD TE LEVAVI

Dom Guéranger and the Abbey of Solesmes will be our guides to this Advent: the Lord is near.

The words below are from his masterpiece, L'année liturgique:

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THE FIRST SUNDAY OF ADVENT

This Sunday, the first of the ecclesiastical year, is called, in the chronicles and charts of the middle ages, Ad te levavi Sunday, from the first words of the Introit; or, Aspiciens a longe, from the first words of one of the responsories of Matins.

“When the shepherd becomes a wolf, the flock must defend itself”: Dr. Michael Fiedrowicz

The following essay by the eminent patrologist and scholar of the Roman liturgy, Michael Fiedrowicz, discusses classical theologians on the right of resistance to the abuse of ecclesiastical authority. It was written prior to the release of the CDW document but in anticipation of it. First published in IK-Nachrichten of Pro Santa Ecclesia, December 2021/January 2022, the translation appears exclusively at Rorate Caeli.—PAK

Saints Athanasius & Cyril

“When the Shepherd Becomes a Wolf, the Flock Must Defend Itself”

Prof. Dr. Michael Fiedrowicz

Expect the worst

Gregorian Chant: Perfect Music for the Sacred Liturgy

I am pleased to publish here at Rorate Caeli the full text and video of the lecture I gave on Gregorian chant as the supreme model of sacred music—a reservoir of faith and a wellspring of devotion—at the Sacred Liturgy Conference in Spokane, Washington, in May of 2019. The organizers of the Sacred Liturgy Conference gave me permission to post the video, which I recommend for its slides and musical examples. However, the text may be of value to those who prefer to print it out and read it. There are slight discrepancies between text and video that make no difference to the meaning. PAK

Gregorian Chant: Perfect Music for the Sacred Liturgy

Peter A. Kwasniewski

One might think that something called “plainchant” or “plainsong” would not furnish much to talk about; after all, its very name says it’s plain and it’s chant. In reality, Gregorian chant it is anything but plain, except in the sense that its beautiful melodies are meant to be sung unaccompanied and unharmonized, as befits the ancient monastic culture out of which they sprang. What we call “Gregorian chant” is one of the richest and most subtle art forms in Western music—indeed, in the music of any culture. In my presentation today, I will first give a rapid sketch of the history of chant, then address why we sing our liturgy rather than merely speaking it, and finally delve into the characteristics that make Gregorian chant uniquely suited to the Catholic liturgy.