Bulletins, Newsletters, and Flocknotes

This morning the Holy Father received in Audience:

H.E. Cardinal Claudio Gugerotti, Prefect of the Dicastery for the Eastern Churches.

Resignation of the Bishop of Speyer (Germany)

Appointment of Auxiliary Bishop of Toamasina (Madagascar)

 

Resignation of the Bishop of Speyer (Germany)

The Holy Father has accepted the resignation from the pastoral governance of the Diocese of Speyer (Germany), presented by H.E. Msgr. Karl-Heinz Wiesemann.

Appointment of Auxiliary Bishop of Toamasina (Madagascar)

The Holy Father has appointed the Rev. Fr. Mariusz Kasperski, O.M.I., until now Superior of the Community of the Missionary Oblates of Mary Immaculate in Toamasina and Parish Priest of Saint Eugène de Mazenod in Tsarahonenana, as Auxiliary Bishop of the Archdiocese of Toamasina (Madagascar), assigning him the titular See of Burca.

Curriculum vitae

H.E. Msgr. Mariusz Kasperski, O.M.I., was born on 15 August 1963 in Wolsztyn, in the Archdiocese of Poznań (Poland). He completed his studies in Philosophy and Theology at the Major Seminary of the Congregation of the Missionary Oblates of Mary Immaculate in Obra, Poland. He took perpetual vows on 8 September 1991.

He was ordained a priest on 21 June 1993 in Obra.

After his priestly ordination, he served as Parochial Vicar of Saint Stanislaus Kostka in Lubliniec, Poland (1993-1995).

In 1995, he was sent as a missionary to Madagascar, where he held the following positions: missionary en brousse in Ambinanindrano, in the Diocese of Ambositra (1996-1997); Parish Priest of Saint John the Baptist in Analakininina, in the Archdiocese of Toamasina (1997-1999); Director of the O.M.I. Pre-Novitiate (1999-2006); Member of the Council of the O.M.I. Delegation in Madagascar (2003-2015); Parish Priest and Superior of the Community of Antananarivo in Soavimbahoaka (2006-2012); Parish Priest of Saint John Paul II in Tsimahavaobe, Diocese of Morondava (2012-2015); Superior of the O.M.I. Delegation in Madagascar (2015-2022); Superior of the O.M.I. Community in Toamasina and Parish Priest of Saint Eugène de Mazenod in Tsarahonenana, Toamasina (since 2023).

The General Audience this morning took place at 10:00 a.m. in St Peter’s Basilica, where the Holy Father Leo XIV met with groups of pilgrims and faithful from Italy and from all over the world.

In his address in Italian, the Pope, continuing the cycle of catecheses on “The Documents of the Second Vatican Council,” focused his meditation on the theme: Constitution Sacrosanctum Concilium. Sacred Music (Reading: Col 3:16-17).

After summarizing his catechesis in a number of languages, the Holy Father addressed particular words of greeting to the faithful present.

The General Audience concluded with the recitation of the Pater Noster and the Apostolic Blessing.

[ AR   - DE   - EN   - ES   - FR   - IT   - PL   - PT   - ZH_TW ]

Catechesis. The Documents of the Second Vatican Council . III. Constitution Sacrosanctum Concilium . 7. Sacred Music

 

Dear brothers and sisters,

The sixth chapter of the Constitution Sacrosanctum Concilium ( SC ) of the Second Vatican Council is dedicated to sacred music . The document states that “The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.” ( SC , 112). It specifies that “Sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action, whether it adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites. But the Church approves of all forms of true art having the needed qualities, and admits them into divine worship.” ( ibid. ).

Here we find the core of the Council ’s teaching, which confirms and deepens the ministerial function of music in the liturgy, which had already been highlighted by Saint Pius X in the Motu Proprio Inter sollicitudines (22 November 1903). Music, indeed, is part of the liturgical action and is not merely a decorative part of the celebration. In the liturgy, to sing and to play music means to pray, attuning one’s heart to that of our sisters and brothers and to God, through active participation in the mystery that is being celebrated. In particular, music expresses the affective dimension of prayer, as Saint Augustine says: “Cantare amantis est”, that is, “singing belongs to those who love” ( Sermo 336, 1). This is very important, because it helps us to open our hearts to God’s action in grace and to allow ourselves to be moulded by it.

Singing also fosters communion . It contributes to the unity of hearts, overcoming differences between people and bringing everyone together in praise of God through the symphony of voices. Thus, it becomes an epiphany of the Church, a tangible manifestation of the communion that belongs to her very nature.

Certain requirements arise from the profound theological significance of sacred song as an integral part of the liturgical action. The first is that it must respond at every level to what is most appropriate for the liturgical moment, beyond fashions or the particular sensitivities of composers. Its form, especially in its melodic aspect, must be at once noble and simple, of high musical quality and easily performable, particularly when it is intended to be sung by the whole assembly (cf. SC , 121).

For the same reason, the Council recommends that the texts too should be suitable, profound and at the same time readily understandable, inspired mainly by Sacred Scripture, the liturgical books and the spiritual Tradition of the Church. Attention must be paid to this, so that the dynamic expressed in the ancient principle lex orandi, lex credendi , that is, the law of prayer is also the law of faith, may remain alive and continue to grow.

Sacrosanctum Concilium devotes considerable attention to the theme of the active participation of the faithful (cf. no. 114). This “must be understood […] on the basis of a greater awareness of the mystery being celebrated and its relationship to daily life” (Benedict XVI, Apostolic Exhortation Sacramentum caritatis , 52), in a “spirit of constant conversion which must mark the lives of all the faithful” ( ibid. , 55). As for the concrete way in which this can be achieved through the specific role of sacred music, the Constitution offers a clear answer: “the people should be encouraged to take part by means of acclamations, responses, psalmody, antiphons, and songs” and “reverent silence” should be fostered ( SC , 30). It urges each person, minister or member of the faithful, to perform “all of, but only, those parts which pertain to his office by the nature of the rite and the principles of liturgy” ( SC , 28), in the harmonious balance between the different ministries, the various interventions and moments of silence.

The Council then attributes great value to Gregorian chant, without excluding other genres of sacred music from the celebration. Particular attention is also given to the organ (cf. SC , 120), while the use of other instruments is permitted “on condition that the instruments are suitable, or can be made suitable, for sacred use, accord with the dignity of the temple, and truly contribute to the edification of the faithful” ( SC , 120).

A theme close to the Council ’s reform is that of inculturation , including in the field of sacred music. In particular, with regard to the musical traditions of different cultures, the Council emphasizes the importance of taking them seriously into consideration, as they form part of people’s religious and social life. Therefore, on the one hand, an “attitude toward religion” should be promoted in everyone ( SC , 119). On the other hand, as far as may be practicable […] every effort should be made to see that the traditional music of these peoples, both in schools and in sacred services may be promoted (cf. ibid. ).

A particular role in the liturgical context is given to the schola cantorum . The Council recommends the promotion of this pastoral instrument, to ensure the “proper performance of the parts which belong to it, according to the different kinds of music sung, and to encourage the active participation of the faithful in the singing” (Sacred Congregation of Rites, Instruction Musicam sacram , 19).

For this reason, the composer of sacred music is called to know and preserve the musical heritage of the Church, allowing it to inspire new compositions at the service of the liturgy, while respecting contemporary sensibilities and the different cultural traditions, so as “‘purify worship from ugliness of style, from distasteful forms of expression, from uninspired musical texts which are not worthy of the great act that is being celebrated’, to guarantee dignity and excellence to liturgical compositions” (Saint John Paul II, Chirograph on Sacred Music , 22 November 2003, 3).

For all these reasons, the Council Fathers recommend promoting the formation and practice of sacred music “in seminaries, in the novitiates and houses of study of religious of both sexes, and also in other Catholic institutions and schools” ( SC , 115), and ensuring that musicians and singers receive sound liturgical formation (cf. ibid. ).

Dear brothers and sisters, the Fathers of the Church held liturgical singing in great esteem as a symbol of ecclesial communion. We can therefore conclude with these beautiful words of Saint Ignatius of Antioch: “Let each of you unite to become a choir, so that, harmonious in love and taking up the song of God in unison, you may sing with one voice through Jesus Christ to the Father, so that he may hear you and recognize, from the good works you perform, that you are members of his Son” (cf. Letter to the Ephesians, 4, 2).

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Special greetings:

I extend a warm welcome to all the English-speaking pilgrims and visitors taking part in today’s Audience, especially those from Malta. Upon you and your families, I invoke the joy and peace of our Lord Jesus Christ. God bless you all!

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Summary of the Holy Father's words:

Dear brothers and sisters, in our continuing catechesis on the Second Vatican Council ’s Constitution on the Sacred Liturgy, Sacrosanctum Concilium , today we consider the importance of sacred music. Indeed, singing and playing a musical instrument are acts of prayer. Music thus fosters our unity in praising God and opens our hearts to be fashioned by his grace. Far from being merely decorative, therefore, sacred music is a treasure of profound value. It should always be dignified, draw inspiration from Sacred Scripture and reflect the grandeur of the mystery celebrated. Sacred music is also to reflect local cultures, expressing the authentic traditions of peoples, while promoting the universal Church’s musical heritage. The Council also emphasized the need for solid liturgical formation and education in sacred music. Dear brothers and sisters, in the liturgy, may we join together in love, and – in the words of Saint Ignatius of Antioch – “with one voice sing to the Father through Jesus Christ.”

Appointment of Consultors of the Dicastery for Promoting Integral Human Development

The Holy Father has appointed as Consultors of the Dicastery for Promoting Integral Human Development: the Reverend Monsignor Peter Klasvogt , Rector of the Pontifical College of the Teutonic Church of Santa Maria in Camposanto in Rome (Italy); the Reverend Francesco Coluccia , Director of the Office for the Pastoral Care of Health of the Archdiocese of Otranto (Italy), and Emmanuel Katongole , Professor of the Department of Theology at the University of Notre Dame in South Bend (United States of America); the Reverend Mr  Joseph Jeyaraj Swaminathan , S.D.B., Associate Professor at the Faculty of Educational Sciences of the Pontifical Salesian University in Rome; the Most Distinguished: Mr  Omer S. Combary , Professor in the Département d’Economie at the Université Thomas Sankara in Ouagadougou (Burkina Faso); Ms  Lucy Afandi Esipila , Regional Executive Secretary of Caritas Africa; Mr  Paolo Foglizzo , Editor of Aggiornamenti Sociali – Fondazione Culturale San Fedele in Milan (Italy); Peter G. Kirchschläger , Director of the Institut für Sozialethik at the Universität Luzern (Switzerland); Ms  Kathryn A. Koch , President and Chief Executive Officer of the Trust Company of the West in Los Angeles (United States of America); Ms  Jacqueline Remond , Adjunct Lecturer at the School of Theology of the Australian Catholic University in Sydney (Australia); Caren Rodrigues , Associate Professor at the Saint Joseph’s Institute of Management in Bangalore (India); Clemens Sedmak , Director of the Nanovic Institute for European Studies at the University of Notre Dame in South Bend.

HIS HOLINESS POPE LEO XIV WAS DEEPLY SADDENED TO LEARN OF THE FATAL FERRY ACCIDENT ON LAKE KARIBA.  ENTRUSTING THE SOULS OF THE DECEASED TO THE LOVING MERCY OF ALMIGHTY GOD, HE SENDS HEARTFELT CONDOLENCES TO THOSE WHO MOURN THEIR LOSS.  HIS HOLINESS LIKEWISE OFFERS PRAYERS FOR THE CIVIL AUTHORITIES AND EMERGENCY PERSONNEL IN THEIR ONGOING RESPONSE TO THIS TRAGEDY.   UPON ALL THOSE AFFECTED HE INVOKES THE DIVINE BLESSINGS OF CONSOLATION, HEALING AND STRENGTH.

CARDINAL PIETRO PAROLIN

SECRETARY OF STATE