“Doles jrom tbe Soir A PUBLICATION OF THE PATRONS OF SACRED Music - St. Jon CaNrius Cuurci, Cricaco, InLiNors FaLt 2011 EDITION ‘Tie PATRONS OF SACRED Music WORK VITH THE AD MajoreM Det GLORIAM FOUNDATION ‘To RESTORE THE SACRED MUSIC OF THE CHURCH “FOR THE GREATER GLORY OF GoD.” “All Donations are Taxe-Deductble 0 the fllest ectart ofthe lv. Our PATRONS PRESERVE THE PATRIMONY OF SACRED Music In the history of the Church the ats have always held a place ofhonor Mentioning the name Michae- langelo, sitss up images of the Sistine Chapel and his fresco, the Last judgment or his sculpture of the Pi- eta, Bemini’s name brings about visions of mapnifi- cent stnuctuse of classical design of St. Peter's Basil- ica, Fra Angelico captures the simplicity of the life of St. Francis in his ftescos. Other aitists using many fons of ait saise the heats and minds of the ob- sexver to an intesior peace, a consolation a spirit of joy, musicians excel in their ait as they aust elevate the waitten words, the texts, and breath life into them with sound. This foun of att is known as au sic, which is sound in time J ‘When an individual heas Gregosian chant he joins countless throngs in the prayerfil music of sacted ‘worship, kneeling along side all those saints of the eatly days of the Chusch who sang the same Gregor. ian melodies we still sing today. As we listen to the motets of Palestina we stand next to St. Phillip New, his spiritual dicectox as our hearts are raised in adoration of God. And as we hear the tsiumphant Gloria in ecclas of Mozatt’s. “Coronation Mass,” we acknowledge the contsibution of Classical. composers. like -Mozast Schubest, and Haydn, who took the Sacred texts of the Mass as wells Psalms, Hymns and Canticle, to transfoum these sacred texts by the musical atts for the greater glory of God As the Second Vatican Council teaches: The musical tradi- on of the universal Church is a treasure of inestimable value, greater even than ‘hat of any other art. (Cacrasanctum Con- lium, 112) As a Patron of Sacted Music you join the ranks of very thoughtfil, and generous in- dividuals, men and women, who wished to provide the very best which man can give to God in the wosship of the Chusch, especially at Holy Mass. ‘With yous contabution whether it is small of lasge, you assist our music progam to maintain the high standasds set so many yeas ago when T became Pas- tor of St John Cantius. As a Patzon of Sacred Music, ‘you bsing to life music wihich, for so many, las been tegulated to the concest hall, to once again be sung ints proper context, the Holy Sacifice ofthe Mass To help develop a deeper undestanding of the power of Sacred Music a3 a means of prayes, spisi- tual ensichment and of spreading the Gospel, I have appointed Rev. Scott A. Haynes, S.C, as:the Caap- Ian of the Patrons of Sacced Music. God bless. Rev. C. Frank Phillips, C.R. President, Patrons of Sacred Music‘Miss Tina Mae Haines Concest Osganist and Conductor Catholics have traditionally looked to the pipe oxgan, as Mozatt once said, a5 “The King of Instzuments ” Ous main pipe osgan, which plays for the Sunday Masses, has serviced our pas for over a centucy While it still works, many parts of the oxgan have been failing for yeass and the problems have been getting progressively worse. Inevitably, evesything manmade weas out. A pipe ogan is like a city. Itis compsised of many things, both lasge and small. Just as in a house, when one thing breaks, other things seem to start breaking and falling apast. Behind the facade pipes you see from down below on the chusch floos, there ase literally thousands lit- tle parts that make up the structure of the oxgan. ‘These ate the organ bellows which provide all the air for the osgan, the pipes, some a few inches in length, others 16 fret long. These ate sooms built inside the omgan case on vatious floos, just like a mini sky sctaper, each housing rows upon rows of pipes, liter- ally thousands Recently, we contracted an independent oman fam to evaluate our osgan in the upper west loft in hopes of sepaising it ‘The results were devastating Over the past century, the numerous changes made by vatious oman fitms dsastically diminished the integ- sity of our organ. The pipes and patts of vasious of gans, most of poor quality, were mixed and matched with our oman and the histosic value of our osgan guadnally dwindled ‘The independent osgan fim we contracted to evaluate our current pipe oxgan in the upper west gallery was asked to waite a repost on the value of each individual past of the organ and then to recommend a plan for us to sefiusbish our oxgan. ‘The company apologized to us that they could not honestly chasge us for such a repost, as our pipe or gan’s custent value is so little as it was not even ‘worth the time to write a sepost on it Cur osgan needs so many sepaiss that it is no longer cost effec- tive to fix it. They recommended that, if we could afford it, we should scrap the oman and build a brand new instmment. This would cost upwands of 45to 5 million dollas. ‘As you know these ate so many churches closing nowadays, hese in the U.S, as well at in other coun- tuies. So we began to consider another option. Why not see if we could Sind a chusch that was closing that had a good quality oman, even of historical value, to see if they might sell it to us for a reduced cost. We looked at chusches around the country, even in Quebec, but Divine Providence provided our solution sight hese in Chicago. After due seseatch, and consultation, we were able to secuse the purchase of a complete pipe oxgan of sizable proportions which would be most suitable for ous chusch and be a great resource for our entise music program This instrument, which has histos- cal ties to the Swift Family of Chicago, and to the famous Patisian concest omanist and composer Marcel Dupsé, was built by the Casavant Osgan Company of Quebec Canada and installed hese in Chicago in a Methodist Church on the south side Recently this Methodist Church closed its dooss and ‘was willing to sell it to us at a nominal cost. If our cussent pipe osgan is a Model’ Ford, the organ we have obtained from the Methodists is a Rolls Royce. ‘While it is neither economical to refisbish ous eu sent osgan nor possible to restose ite integrity as a histosical instrument, the Casavant Oxgan we have obtained is a remaskable instmiment that, with resto- sation, will eign majestically fiom the organ loft of St. John Cantus Pasish for a century or mose. The osganist Mascel Dupet in his concest oxgan touss of the United States remasked that this Casavant Oxgan (Cpus 1130) was the best oxgan in Chicago, his fa voste even over the splendid osgan of Rockefeller Chapel at the Univessty of Chicago “The Casavant Company, which made the instaument ‘we have secently purchased, is among the great or gan companies of the world Many of ous Patrons ofital Image of what C; look Sacted Music will be familias with the oan at Sym phony Hall hete in Chicago, which is a Casavant Or gan. In the sestosation of our Casavant Oxgan (Opus 1130) for St John Cantius, the Casavant Osan Company will be assisted by Jeff Weiler Oman Com pany of Chicago. Mr Weiler is the curator of the Casavant Osan at the Chicago Symphony. So the expert service and maintenance that the omgan at Symphony Hall gets will be given to our Casavant Oxgan at St. John Cantius, ensuring its longevity. In digging through the histosical conespondence of the Methodist Chusch hese in Chicago as well as the secosds of the Casavant Osgan Company in Quebec, ‘which thoroughly document the constmiction of this instmument, we have leamed that Miss Tina Mae Haines was the ospanist who designed the Casavant Opus 1130. She was a successfil very musician here in Chicago decades ago, on the faculty of the Shes- wood Conservatory of Music, a pianist, conductor and a concest osanist who studied under the f mous Catholic composer and ospanist Félix: Alexandte Guilmant in Pass ‘Tina Mae, 2 consummaste professional amsician, was pesonally involved in this oman project. She moni- tored and ovessaw every aspect of the constaiction and design of Casavant’s Opus 1130 to ensuse that this instmiment would match the quality of the wodlé-famous osgans of Pant, the oman of Notse- Dame, Le Madeleine, and of Saint-Sulpice. Out of profound respect for the labor of love that Miss Haines had for building Casavant’s Osgan, Opus want's Opus 1130 (“ ce in August, 2013, when installed in St. John Cantius. 1130, we have nicknamed our new osgan, fondly, “Tina Mae” In saving “Tina Mae,” a generous pavate donor has agreed to be a major sponsor the installation of this magnificent instmment which will cost $1.5 million dollass. But we still need to saise at least half of this, amount from other sousces. As always we come to you, knocking on your doom, because we cannot save “Tina Mae” alone. I have placed Father Scott Haynes, SJC, who has done much to improve our music program and expand the sung High Masses, in chasge of ovesseeing this omgan project. Some items ‘which will have to occur will be the removal of our old pipe osgan, the reinforcement and strengthening of stnictusal beams in the upperloft, new loosing in the upper west loft, and preparation for the actual installation of the osgan. To inspite and encourage your generosity to “Save Tina Mae,” this pavate do- nor has generously agseed to match all donations of $500.00 or mote to the Patrons of Sacred Music. As a Patron of Sacred Music we sely on your genes: ous suppost in providing amsic for our High Masses, sponsosship of our “mini concests” and other musical events. However, the legacy of the installation of an histosic pipe osgan like Casavant’s Opus 1130 wall be a crowning glory for our music progcam tanging from use at Holy Mass, to oman concerts on a tepular basis with world senown of ganists. All donations can be sent to “Patrons of Sa cred Music,” 825 N. Caspenter St, Chicago, IL 60642. If you wish to specifically send funds sent to “Save Tina Mae,” madz the memo section with the