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Contents © 2005
by Jim Holman.
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ROAMIN' CATHOLIC
May 2005

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NATIONAL SHRINE OF ST. FRANCIS OF ASSISI, SAN FRANCISCO

Reverence and Respect

According to the church's website, its Franciscan staff of priests celebrate Mass in a "contemplative atmosphere of authority and dignity with choral music of reverent majesty." Their very capable schola cantorum (choir) "sings some of the most beautiful music of Christian culture, composed over the centuries." The website further encourages an atmosphere of prayerful recollection after Mass, warning us "applause is never appropriate. Please be considerate of those in prayer."

Handouts were available containing the Latin and English texts of most of the hymns and chants.

All the statues are covered with purple cloth, except for that of St. Clare as she knelt before a covered crucifix in the dimly lit church. The walls contained murals of the life of St. Francis. A cloth was draped over the altar-table, which sat on a raised platform in the sanctuary.

Before Mass, the organist played an organ piece which, I thought, with all its imagery could have signified a musical microcosm of life's journey towards heaven, with its evocations of darkness and light, turbulence, strife, momentary tranquility, its sometimes chilling dissonances, and final resolution. The piece demonstrated to me why Mozart once affirmed that the organ is the "king of instruments."

Meanwhile, the church bells tolled, summoning worshipers to Mass. Then, sanctuary bells chimed twice, indicating we should stand. The choir began its polyphonic Pueri Hebraeorum from the Renaissance composer Tomas Luis de Victoria, each section of voices sounding like a battalion of seraphim, singing independent, yet intertwining, melodies.

The procession began at the sanctuary, slowly and solemnly marching to the back of the church for the blessing of the palms. It was led by an altar boy with censor, two women each holding palms larger than themselves, a man in a white alb, two more altar boys, then two priests dressed in red and holding palms. The second priest was our celebrant, Franciscan Friar Allen Ramirez.

Father made the sign of the cross, then addressed the congregation, briefly summing up the meaning of Palm Sunday. He chanted the blessing of the palms, then read from Matthew 21, the Gospel account of Jesus' entry into Jerusalem.

Next, the group with Father processed back to the sanctuary as the choir chanted, Gloria, laus et honor tibi sit, Rex Christe Redemptor; the men and women alternated singing the Latin verses. The congregation still clutched their palms. Father incensed the altar, then relinquished the censor to the altar boy. The men and women sang the last verse together, and in the last chorus, a soprano sang an organum harmony (parallel fifths).

A barely audible lectoress read from the prophet Isaiah.

The refrain for the gradual melody was, "My God My God, Why have you forsaken me," with various sections in unison, or non-polyphonic four-part harmony.

A woman, only slightly more audible than the first lectoress, read the second reading from Philippians 2:1-6.

The second gradual melody, or tract (used in place of the alleluia), was a Latin chant sung by the women, whose singing reminded me of the Anonymous 4 (an all-woman quartet famous for their renditions of ancient music). They sang a piercing melodic line, solid yet supple, pure and ethereal. The text was from Philippians: "Christ became obedient for us unto death, even death on a cross...."

Liturgically garbed in surplice, men holding red lectionaries processed to the center of the church in front of the sanctuary, bowed to the altar, turned to the people, and chanted the passion. One singer narrated, while the other two sang the parts of Jesus, Peter, Pilate, the people, etc. The congregation sat for the reading until the crucifixion, at which time we knelt, and then stood for the remainder. The trio solemnly made their exit.

Due to the length of the gospel, there was no sermon. A man intoned Credo III, which the congregation sang in Latin. Only Father bowed (according to the rubrics) at the "et incarnatus est." Afterwards, a woman petitioned God for the Church, catechumens, peace, the sick, and for us.

A couple took up the gifts: a clear container of red wine, and a flat plate of wafers. The male choir members chanted Psalm 69, of which the translation in the song sheet read: "for food they gave me gall, in my thirst they gave me vinegar to drink." Father again incensed the altar, then was likewise incensed by the altar boy, who then incensed the congregation. The choir sang a motet of Psalm 69 by Orlando di Lasso.

Following the polyphonic Sanctus by Tomas Luis de Victoria, we knelt for the second Eucharistic prayer. Two candle-bearers flanked the altar, the third acolyte knelt in front of the altar. The sanctuary bell rang after Father prayed, "let your spirit come upon these gifts," and rang again after the respective consecrations of the bread and the wine. Father genuflected after each consecration.

The choir chanted a simple, though non-standard, "Christ has died, Christ has risen..." for the memorial acclamation.

Some held hands during the Our Father, squeezing tight after reciting "for the kingdom, the power and glory." The choir sang a polyphonic Agnus Dei, and all knelt for the Ecce Agnus Dei.

Amongst all the liturgically garbed men at the altar to receive communion was a leather-jacketed layman, looking as out of place as a hell's angel among guardian angels. In spite of the full house, Father Ramirez managed to distribute the Eucharist solo. There were two stations for the precious blood, one manned by another Franciscan priest, and the other by the leather-jacketed fellow. The choir sang another soul-stirring polyphonic piece, this time a motet by William Byrd, with lyrics from Isaiah 64 ("Be not so angry Lord...").

After the final blessing, the organ returned with its chilling dissonances, a piece called Herzlich tut mich verlangen by Jean Langlais. A crucifer led the procession out, the crucifix covered with a purple cloth. Even after the altar party left, the church maintained its spirit of reverence and respect for those still in prayer.

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