September 2012
September 27
Celebrate! closes its doors
September 27, 2012
After more than five decades providing high-quality pastoral and liturgical resources to Catholic parishes and people in ministry, Celebrate! magazine is shutting down due to increasing publication costs. Novalis Publishing says the challenge of increasing costs prevented the magazine from breaking even financially. While readers and organizations did much to sustain its life, Novalis decided to close the publication with the Fall 2012 issue. Readers can continue to access the magazine’s content at www.celebrate-liturgy.ca until Dec. 31. Originally known as Homiletic Service, the magazine was launched in 1961 on the eve of the Second Vatican Council. “We are deeply saddened to see the end of this excellent publication which gave so much to Catholics deeply engaged in the daily life of their Church,” said Joseph Sinasac, publishing director of Novalis. “Yet we remain committed to developing an online alternative for serving all those involved in the life of the Church.” Sinasac also praised the work of its Edmonton-based editor Bernadette Gasslein for raising the journalistic standards to a high level over her 21 years at the helm. “Under Bernadette’s passionate leadership, the magazine won from the Catholic Press Association and the Canadian Church Press dozens of awards for both its content and presentation,” he said. In spite of having lost her job as editor, Gasslein is not idle. Currently she is assisting her husband Gordon Andreiuk, an Edmonton lawyer, and is doing some writing for an American publisher and for The Prairie Messenger. “So I’m not really out of a job,” she said. “I also have a book coming out with Novalis in early spring.” The book, which she described as an imprint of Living with Christ, is a small 32-page book called Living with the Prayers of the Mass. Celebrate! began in 1961 and was designed to offer homilists the new scholarship that was emerging. In 1988, when the name was changed to Celebrate! the focus broadened to include material for formation for all liturgical ministers and catechists. It was described as “a magazine for catechists, religion teachers, homilists and liturgy planners.” The magazine has always been addressed to a “niche audience” in the sense that it is designed for ordained and lay ministers, said Gasslein. “That is by nature a relatively small audience, and it is also a difficult audience to contact because lay ministers, unless they are on staff at parishes, change frequently.” At last count, Celebrate! had a circulation of around 5,000. Regular features in the magazine include material on children’s spirituality, ministry to youth and young adults, Christian initiation, formation for Eucharist, the connection between liturgy and social justice, catechesis and music ministry, and a special section designed for Catholic teachers.
September 28
Putting Jeremiah’s journey to music
September 28, 2012
TORONTO - The idea to capture the voice of “the weeping prophet” Jeremiah came to composer Peter Togni back when he was 19 and listening to Jeremiah’s lamentations as composed by Orlando di Lasso. “It just blew me away, and I had this idea tucked way in the back of my brain that maybe one day I would end up writing that,” said Togni. “No matter what religion you are or aren’t, the message of Jeremiah, to me, is a universal one. It’s really about somebody who tells the truth, and is disregarded. That’s the whole piece, in a way.” In his work Lamentatio Jeremiae Prophetae, Togni, who was recently the recipient of the Queen Elizabeth medal, has charted the journey of the prophet in a four-movement concerto for bass clarinet and choir, the third of which will be showcased during Toronto’s Nuit Blanche art festival on Sept. 29-30. “It’s the personal journey of Jeremiah through various stages of his experience of being a prophet. Imagine waking up one day and discovering that you’re called by God to be a prophet; it’s a rather difficult thing to have to assume,” said Jeff Reilly, renowned bass clarinetist, who is on both the original recording with the Elmer Iseler Singers and will be performing with the Nathaniel Dett Chorale during Nuit Blanche. The composition has a profound effect on Reilly, as Togni (a long-time personal friend and musical collaborator) wrote the piece for Reilly specifically. “For him to write something for me was probably a very natural extension for him of our working relationship, and, for me, probably the greatest gift I’ve ever received from any human being in my entire life was that piece,” said Reilly. “I still look at it as an act of grace — that that piece exists.” The four movements of the concerto act as a vehicle for Jeremiah’s suffering, contemplation and eventual acceptance of the task set before him. Togni deftly weaves the Latin text of the choir with the bass clarinet as the voice of Jeremiah — both areas work as a counterpart to the other to advance the plot and emphasize the prophet’s journey. “In one way, it’s a virtuosic concerto… it stems from the early meanings of the word concerto which means to play together,” said Togni. “Sometimes the choir is kind of like a Greek chorus, like an architect of the space. The bass clarinet is Jeremiah, speaking in that space.” Togni also notes that the concerto is reflective of a 21st-century paradigm, wherein he is able to allow Reilly a great element of creative control in his own right. “The piece is 75 per cent composed, and 25 per cent improvised. Jeff is 25 per cent improvised, so he feels things in the moment. It’s kind of as if I would write a concerto for Miles Davis,” said Togni. “There’s an awful lot of trust.” “That’s a hard thing to do,” said Reilly of the juxtaposition of sung phrase, to the instrumental evocation of Jeremiah. “They’re singing words… and they have a certain way of working and thinking as an ensemble. There is a real challenge there. “It’s an extraordinary piece of music, and it’s an amazing performance piece.” The original recording of Lamentatio was on the renowned ECM label, and was the first work by a Canadian composer to appear there. At Nuit Blanche, the Nathaniel Dett Chorale (which was founded by Brainerd Blyden-Taylor, artistic director) is working the movement into their set titled Oblivion, which is an exploration of silence. “The third movement is Silentio, the one that I’m playing this weekend, and that’s his acceptance of grace,” said Reilly. “It’s a very powerful and a very beautiful movement. He takes refuge in the silence of the Lord.” Lamentatio will also be featured at the opening gala of the Winnipeg New Music Festival in January, where it will be performed again by the Elmer Iseler Singers. “The truth of the matter is that we’re all called upon to certain roles in our life that we don’t necessarily want to take on. But, by the grace of things beyond yourself, you have found yourself in a position to take on responsibilities, and assume a part of yourself that is bigger than the way you looked at yourself before,” said Reilly. “It’s a beautiful story and it’s something that I think we can all relate to in a personal way. We all have to take on roles that we don’t particularly want to.” For more information on the Nuit Blanche performance, see www.scotiabanknuitblanche.ca.