by Fred Moleck
Lucien Deiss, CSSp, 1921 - 2007
On Tuesday, October 9, in Bicetre, France, Spiritan Father Lucien Deiss died. His death closes a monumental era of post–Vatican II liturgical reform.For nearly a half century his musical compositions and groundbreaking work in Scripture scholarship and commentary set him on a course that was Spirit driven–to spread God's word.
His missionary work did not take him to remote places known only in National Geographic specials.
No. His work was into the mission field of the parish church, cathedral, school, and religious community.
More than likely your parish, cathedral, school, or religious community has felt his impact. If you've ever sung
Keep in mind that Jesus Christ has died for us and is risen from the dead.
He is our saving Lord, he is joy for all ages.you have felt and experienced his mission to wake us up to sing praise to God.
Just last week at a Mass where I was the hired help (paid substitute organist), the assembly sang "Keep in Mind" with conviction.
It was the communion processional. That means the community sang it without the printed page—"off the heart," if you will.
Not only "off the heart" but "from the heart." "Keep in Mind" is firmly established in the common repertory of thousands of churches and serves well as a communion processional, a gathering processional (it is especially effective at funerals), and in some places, the memorial acclamation at the Eucharist.
Yes, yes, yes. I know that is not a prescribed memorial acclamation. I am equally aware that in some of those places where it is sung, parish people with torches and pitchforks would be at the rectory doors should "Keep in Mind" be removed from the repertory.
Father Deiss' impact on the liturgical music reforms of the past fifty years continues to be felt. The success of the impact is based on two factors: impeccable academic and scholarly credentials, and a passionate pastoral sense.
He taught chant in his religious order's seminary. His biblical scholarship was tapped by the Vatican to structure the lectionary cycles in the reformed liturgy.
His essays on chant and psalmody are benchmarks in the evolution of Scripture renewal in our lifetimes.
His innumerable workshops and keynote presentations at liturgical music conferences, diocesan study days, and university seminars indicate to me that he took his scholarship and music skills to where the church should be—in the midst of people.
He could not be contained in a classroom or a library. He was not captive in the ivory tower too familiar in academic scenes.
He actively spread God's word by enfleshing it with some of the most humanly attractive music ever composed for use at the liturgy.
Many Catholic musicians were captured by his first compositions to hit the American church. They were mostly settings of the psalms that appeared in Biblical Hymns and Psalms, volume 1 (1965, five printings) and volume 2 (1970, three printings)—in all, over one million copies.
Incredibly accessible to the average congregation (mild singers, but willing to sing something), the collections provided well-crafted translation of the psalms with easily sung music.
The collections also taught us what the psalms are—religious poetry that span the human experience.
For example, exultation—Psalm 100, "All the Earth Proclaim the Lord"; nuptial joy—Psalm 128, "Like Olive Branches"; comfort in God's presence—Psalm 131, "My Soul Is Longing for Your Peace"; exuberant joy—Psalm 57, "I Want to Sing, I Want to Shout Your Joy."
This last setting of "Psalm 57 fairly danced, and that's just what we did: we danced.
A happy alliance was formed when Father Deiss was joined by le danseur premier Gloria Weyman, who expanded our minds and consciousness (blew our minds comes closer) when she interpreted his texts in classic choreography.
An experienced dancer (former member of the Ballet Russe) and teacher, she brought an artistic sense to the new concept of liturgical dance forms.
Her ebullient personality and patient instructions to the fledgling dancers who signed up for the workshop (I was one at a dance workshop in 1968) helped us to feel that we didn't have two left feet and three heads.
In case you are wondering, the answer is no. I did not wear a leotard, tutu, or pointed shoes. My "comfortable clothes" were my usual vesture: khakis, blues button-down oxford shirt, and penny loafers.
Her charisma and grace added to the missionary effort of Father Deiss. One cannot think of one name without the other.
Singing the psalms. Lyrical translations of the psalms. Liturgical dance. Experiencing fresh air in the church's liturgy. Streching liturgical norms.
They were all part of the vigor in the first days of liturgical reforms.
Central to that exuberance was the work of Father Lucien Deiss. If you have a few moments now, why don't you sing quietly to yourself or with someone else "Keep in Mind" in thanksgiving for his life among us and the invaluable partnership that Gloria Weyman added to the missionary effort.
Keep in mind that Jesus Christ has died for us and is risen from the dead.
He is our saving Lord, he is joy for all ages.Amen.
You can reach Fred Moleck via email at fmoleck@comcast.net