Tra le sollecitudini
Tra le sollecitudini is the title of an apostolic letter to the church music, in the form of a Motu proprios. It was released on 22 November 1903 by Pope Pius X (1903-1914 ). " The Magna Carta of church music identifies the Gregorian chant as the music that belongs essentially to the Catholic Church and as truly holy and true art."
The key message for church music is:
"The Church music has in the highest degree the special properties of the liturgy have, namely the sanctity and goodness of form; it grows by itself another feature, the general public. These properties can be found in the highest degree in Gregorian chant, has in excellent extent the classical polyphony. A church composition is so sacred and liturgical, the more it approaches in History, inspiration and taste of the Gregorian melody; and it is all the more worthy of the temple, as it moves away from this supreme role model. "
The Pope before pushing that the cast of soprano and alto voices alone boy had banned the use and employment of castrati in church choirs.
Description
The Motu proprio consists of the following, the content -level, parts:
1 Introduction
While general comprehensive explanations of Church Music Pope Pius X announced that he had taken the decision to declare the decree to the " Code of the church music " and called for an adherence to these arrangements.
2 General principles
Here the Pope pointed out the special importance of church music and turned on them the requirement to increase the pride and glory of the sacred rites, and to give the texts a greater force (1). He explicitly advocated forms of church music, which establishes its origins in the music of the people, that they are not respecting the general character of the Church Music distort (2).
3 The types of church music
Here he divided the kinds of sacred music, and pointed to the origin of the Gregorian style Sangesweisen (3). He told the Gregorian chant to the highest ideal of church music and expressed the wish that church composers should take this style to the model (3). Furthermore Pius X wished that one should ensure "that the Gregorian chant will be reintroduced to the people, so that the faithful take part in the celebration of the praise of God and the sacred mysteries again more active part, as was formerly the case " (3). Gregorian chant should be introduced again in the service, especially for this were basilicas, cathedrals, seminars and other religious institutions suitable (4). As inappropriate the Pope felt that the Italian opera style (6 ) the time and a secular modern style (5).
4 Liturgical texts
He now joined the elements of church music at the requirements of the liturgy, the Church language is Latin, and therefore forbid himself in the worship of singing in the vernacular (7). In the text precise ideas about the individual sections of worship and musical potential additions to follow.
5 The external form of church music works in this paragraph was the Pope to the song during the Holy Mass and put unambiguous rules that resulted in orders and prohibitions, fixed ( 11 a, b, c and d).
6 The singers
This was followed with this section, concluded for church music, elementary incision, the Pope, " that the women who are not yet to such an office " capable " are, may be admitted to any part of the choir, and in general to no involvement in the church choir " (13 ), and further it shall specify: If you want to use soprano and alto voices, so boys have to accomplish this task (13).
7 Organ and Instruments
In this statement the Pope preferred as an accompanying instrument for vocal organ, with the accompaniment support the vocals, but that does not suppress (16). He forbade the use of the pianoforte, all forms of drums, castanets and clips ( 19), most strictly forbidding the appearance of music corps in the church. He allowed, under certain circumstances, only the appearance of a selected group of wind instruments and music corps in processions outside the church (21).
8 extent of liturgical music
Not at all, as Pius X instructed, may unduly pull the end of the liturgy in the length of the church music, yet the music may the holy order of the liturgical celebration overload ( 22-23).
9 The principal means
In the last part of Pope decreed the establishment of diocesan commissions and instructs the bishops, conscientiously implement the papal orders and monitor in the parishes (24). He demanded that will be taught and maintained in the seminaries of Gregorian chant (25). Ultimately, he demanded that the forces are supported in the schools of church music according to " best efforts and encouraged. Where they do not are those who do it up to their founding. For it is of the utmost importance that the Church itself to endeavor to obtain the training of their conductor, organist and vocalist for the true principles of sacred art " (27).
10 final
On the 100th anniversary
Published on the occasion of the published 100 years ago Apostolic Exhortation Tra le sollecitudini Pope John Paul II ( 1978-2005 ) on 22 November 2003 Chirograph (hand writing). In it he praised the foresight of its predecessor and reached into the greeting on the occasion, " to call the important role of church music in memory, which St. Pius X is to God both as a means of elevation of the spirit as well as a valuable aid for the faithful in the active participation in the most holy mysteries and in the public and solemn prayer of the Church. In addition, he recalled Apostolic Exhortation of his predecessors, who had also noted the importance of sacred music. "
To this end, he mentioned the Popes Benedict XIV (1740-1758) with his encyclical Annus qui hunc (19 February 1749) and Pius XII. (1939-1958) with the encyclicals Mediator Dei (20 November 1947) and Musicae sacrae disciplina (25 December 1955). In close connection with Tra le sollecitudini stand the Constitution on the Sacred Liturgy Sacrosanctum Concilium, which was adopted by the Second Vatican Council. Pope Paul VI. (1963-1978) identified specific standards, which was adopted with the instruction musicam Sacram on 5 March 1967.
John Paul II went to the educational mission, to which Pius X had called ( 25) a:
" Concrete fruit of the reform of St.. Pius X was the establishment of the Pontifical University of Sacred Music in Rome in 1911, eight years after the Motu Proprio, from which then gave rise to the Pontifical Institute of Sacred Music. In addition to this academic, almost 100 years old institution that the church made a qualified service and provides, there are numerous other built in the particular Churches schools that deserve to entertain and to be additive in regard to an ever increasing knowledge and practice of good liturgical music. "
Letter accompanying the Motu Proprio
In an accompanying letter of 8 December 1903, the Cardinal Vicar of Rome, Cardinal Pietro Respighi he wore on this, to take over the implementation of these instructions and to monitor compliance with this nevertheless.
Assessment
Pope Pius X with this Apostolic Letter laid down the main tasks of church music, he aspired to, the use of liturgical texts of sacred music to accompany sacred music. To this end, he wanted to know the Gregorian chant understood as the highest requirement and described this as the only song that the Church had inherited from their fathers.
"That's why a composer for the church music was the holier, the closer they stand Gregorian chant. The classical vocal polyphony is eminently suitable for the liturgy. And since the Church has always recognized and promoted the advancement of the arts, and modern music will be approved, where it is consistent with the laws of the liturgy. Pius X thinks here in the musical categories shape and style. By naming them as criteria for the liturgy suitability of music, he says that it is the specific artistic character of a musical work, which makes this the Musica Sacra. "
Although he admitted the liturgical singing only in the Latin language, he saw nevertheless the possibility of music elements underlying the folk origin, to integrate into the church music.