By Paula Day

Preparation and execution of the music for the Installation Mass of Archbishop Eugene A. Marino, S.S.J. poses a new dimension, challenge and opportunity for musical expression, according to Hamilton Smith, music director for the event.

Music for the ceremony will traverse centuries of Church tradition and a wide range of musical styles. A choir of 120 voices composed of singers from various parishes and a folk group of 20 were brought together for the occasion. It is the first time in Smith’s 22 years of experience with Church music in the archdiocese that an archdiocesan-wide choir has been formed for an event of this magnitude.

Smith, music director of the Cathedral of Christ the King, points out that there are rich options in Church music today: many fine composers, a richer palette of music from which to choose. Choir members come with polished musical skills. In addition to the organ, other instruments are used. All of these elements will be utilized in the music for the Installation Mass.

The goal of the music planners was to achieve a balance and a contrast between congregational singing and solo choir performances. Another goal was to select music showing the cultural diversity of the archdiocese including Afro-American spirituals, a Spanish liturgical response, folk music and traditional Church anthems. Rhonwyn Rogers, director of the archdiocesan Office for Black Catholics, assisted with the music planning and Alphonso Nuckles of St. Paul of the Cross parish, Orlando Carneiro and Doug Pruss from the Cathedral will share directing responsibilities with Smith.

“On a big occasion like this it’s fitting to use large scale musical works appropriate to the Liturgy as well as accessible works” known by the whole congregation, Smith said. His hope that the music will reflect the diversity and cultural richness of the Church of Atlanta is also a desire voiced by Archbishop Marino to those planning the installation ceremony.

Mrs. Rogers, who claims no musical expertise, said that after reflection and prayer, she chose music she felt was familiar and meaningful to the black Catholic community. Her experience helping with the annual Martin Luther King Jr. celebrations and attending workshops on black Catholic liturgies helped her, she said.

“Music crosses all boundaries,” she observed. “I hope this only serves as a first for our archdiocese to see that we can begin to share and appreciate all of the gifts that are brought by many to the one body.”

An expected 30-minute entrance procession of cardinals, bishops and several hundred clergy will be enhanced by this variety of music. The opening fanfare, “All Creatures of Our God and King,” is a familiar piece that lends itself to organ and brass accompaniment and congregational singing. The Atlanta Symphony Brass Ensemble will assist with this and other musical accompaniment. The music then turns to the black experience for “Lead Me, Guide Me.”

The traditional and widely known hymn, “O Christ the Great Foundation,” to be used as an entrance hymn, offers the opportunity to achieve two things, according to Smith. Before and between its five verses, the brass and organ can embellish the music with elaborate instrumentation. Its length will allow the choir to perform one verse in four-part harmony and for the congregation to join in singing the other verses.

Dr. Timothy Wissler and James Jones will be organists for the ceremony.

“We Rely on the Power of God,” adapted from St. Paul’s second epistle to Timothy, is an example of appropriate music based on Scripture, that was not available 10 years ago, Smith said. The music was used for the installation in 1983 of Bishop Anthony Bevilacqua in Pittsburgh. The repetitive refrain is easily learned, permitting the congregation to sing and also watch the procession. The musical style is dignified and sweeping: the many verses allow for diversity using the choir, brass and organ. Smith calls the work an “ideal example of music appropriate for a procession.”

After the ceremony of installation, when the newly-installed archbishop takes his seat, fully vested with crosier in hand, on the cathedra, the choir will sing the centuries-old Gregorian chant, “Veni Creator Spiritus,” linking the past and present in a prayer to the Holy spirit asking for His presence and guidance.

The “Festival Eucharist” by Richard Proulx in a traditional setting, will form the musical thread for the Liturgy of the Eucharist. A Spanish setting for the “Lamb of God” will be sung by the choir.

One of the Communion songs comes from the ecumenical community in Taize, France, “Ubi Caritas,” sung in the universal Church language of Latin, is translated, “When there is charity and love, there is God.” The Afro-American hymn “Blessed Assurance” will be sung by the choir, with a soprano solo, during Communion.

“Come to the Table,” another Communion hymn, belongs to the folk idiom. It was written by Father Paul Berny, a priest of the archdiocese now serving as a chaplain in the Air Force. A post-Communion piano meditation will be played and sung by Sister Elaine Frederick, O.S.P., a friend of Archbishop Marino.

The recessional, “Lift High the Cross,” will allow again the use of full organ, brass and timpani.