Stepping into a strange church for Sunday Mass is invariably
an adventure that evokes no little amount of trepidation; it is extremely difficult
to know what to expect. So, two weeks ago, as a visitor in a strange town, I
found myself wondering rather nervously what kind of Mass I had walked into.
Would there be a borderline heretical homily? Sketchy changes to the words of
the Mass? Liturgical dancers?
At first it seemed like it would be middle-of-the-road: a
quiet Midwestern parish with a school attached. The interior had obviously been
built or redone in the 60’s, but there was nothing out of the ordinary, and it looked
like the Mass would be conducted fairly well.
Until the music started.
From the opening hymn to the recessional, the entire Mass was
accompanied by a lone soprano pounding bravely away on an electric organ,
backed up by a heavy-handed snare drum. The hymns were all from the ‘70s and ‘80s:
something about peace, and celebrating, and justice, and we are one people, and
harmony—all punctuated by loud raps on the drum. “Let us build the city of God (BOOM-chh-BOOM) may
our tears be turned into dancing (BOOM BOOM).” I gritted my teeth, closed my
eyes, and strained all my attention to focus on the readings, the homily (which
was decent), and the holy sacrifice of the Mass—all to no avail. When the final
“Thanks be to God” was muttered—full of genuine gratitude, on my part, that it was
over—and the congregation crowded quickly out of their pews and into the
parking lot, I staggered out into the sunshine feeling as though I’d just been
subjected to the very dregs of liturgical artistry.
Now, come to think of it, I have heard some genuinely
dreadful liturgical music in my time, both lyrically painful (“Lord of the
Dance,” anyone?) and musically inappropriate (saxophone jazz at the Easter
Vigil), but this Mass marked a particularly depressing milestone in my
experience. It wasn’t just the inane lyrics; it wasn’t just the Disney-esque, vague
‘70s melody; it was the fact that, in addition to already being bad music, it was done so badly.
I wondered why this fact was what had made the music so
distracting and frustrating to me, and I remembered that “A thing worth doing,”
as G.K. Chesterton once said, “is worth doing badly.” This essentially means
that if something is worth doing, then it is still worth doing even if we’re
not very good at doing it. Take, for instance, my kitchen garden. It’s not
acres of rich, abundantly fruitful lands that yield bucket-loads of harvest;
it’s a little square of Southern clay with a few scraggly vegetables vines and
a berry bush or two. But growing a garden, planting seeds and reaping the fruit
of your own labor, is a thing worth doing,
so it’s worth doing even if one is not wildly successful at it. Learning how to paint is something worth
doing—even if the artist isn’t a Rembrandt or Michelangelo. Writing is likewise
something worth doing, even if it’s done rather badly—which is my excuse, anyway.
But, on the other hand, I think it would be safe to propose
a corollary to Chesterton’s principle: if a thing worth doing is worth doing
badly, then a thing not worth doing
is not worth doing badly. It’s not
worth it to fight a war over a mile of territory; it is doubly idiotic to wage
such a war badly. It’s not worth
doing to plant a tree in the middle of the desert where it does not belong; it
would be even less of a worthy task to badly botch the job of planting the
tree.
I would not have minded the mind-numbingly-mediocre music at
Mass half so much, I think, had it been good
music done badly. If the most a parish could get was a cantor singing “Holy,
Holy, Holy” a capella, then very
well: singing “Holy, Holy, Holy,” is a thing worth doing. If all that the music
ministry has to offer, however, is bad
music done badly, then it would be
better to have no music at all. Insipid liturgical hymns from the ‘60s onward
are not worth doing, nor is a snare drum snapping an electric organ into meter.
Why, then, must we have these things at all? Would not a reverent silence be
far more conducive to prayer, to raising the mind and heart to God?
Such, at least, were my thoughts as the last pounding
strains of “Here In This Place” faded away and I exited the Mass that Sunday,
hoping desperately that somehow the Church will see a renewal of beautiful
liturgical music—done well—in my lifetime. It will mean something of a
revolution: throwing out the banal hymnals and the drums; putting more time and
greater effort into seeking out good musicians, and cultivating the taste of
younger generations to appreciate more traditional hymns. Meanwhile, I am
resolved to stoke the fires of that revolution, by making it clear that the bad
music done poorly has to go: give me good music at Mass (even done badly) or
give me death—I mean, silence.