In recent years we have spoken—or bad mouthed—a lot of liturgical music. In doing so, we have often cited documents everywhere to support opposing or irreconcilable theses. Less often, perhaps, have we spoken of liturgical music with regard to its aesthetic value; meaning morality of perception in beauty.
Liturgical music is called to represent the unrepresentable—the Holy of Holies, the Mysterium—namely, God Who has chosen to become human flesh in order to get closer to men. Thischoice did not intend just a “lowering” of divinity to human level as such, but an “elevation” of the human to the divine. It was not simplification but exaltation. That’s why the effort of those who make music for the liturgy is an effort to go beyond, not to achieve. We need a liturgical music that hurts, that is able to make blood come out from the vein of the Word because it is in-viting. To “invite” is an interesting verb with numerous meanings, ranging from wanting to forcing.
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