Muzyka podczas papieskich pielgrzymek… w archidiecezji krakowskiej (1979–2006)
Music during Papal Pilgrimages to the Cracow Archdiocese

Summary/Abstract: During all papal pilgrimages  –  of John Paul II and of Benedict XVI to the CracowArchdiocese – people responsible for liturgical music of these events were invariablyaware – as it is proved in this paper – that the role of music was to serve liturgy, to leadthe prayers of God’s people congregated before the Pope. Therefore, they seemed to fulfillall the Church prescripts on sacred music specifying that “by the union of voices, minds are more easily raised to heavenly things by the beauty of the sacred rites, and the wholecelebration more clearly prefigures that heavenly liturgy which is enacted in the holy cityof Jerusalem.” (MS 5) It is then significant to emphasise a great concern given to liturgicalmusic during the mentioned events.Papal pilgrimages were an inspiration to create new compositions, some of them ofimmense and considerable value, e.g.: Beatus Vir by Henryk Mikołaj Górecki, Hymnuwielbienia [Hymn of Adoration] by Juliusz Łuciuk or Tu es Petrus by Henryk Jan Botor.Amongst the other – lesser, yet not less important compositions, were invocations to theBlessed and the Saints, composed mostly by Irena Pffeifer and Marian Machura, or thechants composed to the texts of Marek Skwarnicki. There were also new thoughts andideas, e.g. of Piotr Pałka. The new compositions invariably enriched and ornamented papalliturgies, being even introduced into the canon of liturgical chants of the Church. Itshould be mentioned here that these compositions also complied with the prescriptionsof the Church in this matter:Composers, filled with the Christian spirit, should feel that their vocationis to cultivate sacred music and increase its store of treasures.Let them producecompositions which have the qualities proper to genuine sacred music,not confining themselves to works which can be sung only by largechoirs, but providing also for the needs of small choirs and for the activeparticipation of the entire assembly of the faithful (SC 121).Another conclusion which might be drawn from this paper is the utmost care withwhich choirs and orchestras were selected for the events. It should be noted that the choirsand orchestras invited to papal liturgies in Cracow and in the Cracow Archdiocese werealways of highest standard, the choirs daily active in the parish churches of Cracow andthe Archdiocese. Amongst them are: The Choir and Orchestra of the Cracow Philharmonic,The Choir of the Polish Radio of Cracow, Psalmodia The Choir of the PontificalJohn Paul II University in Cracow, The “Organum” Academic Choir, The MariańskiChoir from Our Lady of Lourdes Lourdes Parish Church in Cracow, Schola CantorumCracoviensis from Collegiate Church of St. Ann, The Cathedral Choir and the CecilianChoir, Dominanta Choir from the Cracow University of Economics, as well as manyother music groups, also those already mentioned. The liturgies were accompanied bybrass, symphonic and chamber orchestras, as well as by youth bands. Also here it seemsappropriate to quote the relevant document with the fully complied precept:during the liturgy of the Holy Mass it is prescribed to perform the old andthe new polyphonic music in Latin and in the Polish language, however,in such a manner so as not to exclude the faithful from participation in singing. The polyphonic music, especially this composed by the old masters,is regarded by the Church as inestimable treasure and cultural heritage(IEP 18).In the music setting for papal pilgrimages an equally vital element was the sound ofpipe organ whose role was to make the celebrations of the holy rites more beautiful, grandand also fruitful. The organ players of the events in question were the most renownedCracow organists: Michał Woźny, Marian Machura, Mieczysław Tuleja, Witold Zalewski,Wiesław Delimat, Krzysztof Michałek, Henryk Jan Botor, Jan Rybarski and many others.It could not be otherwise as the Vatican Constitution on Liturgy clearly specifies that:In the Latin Church the pipe organ is to be held in high esteem, for it isthe traditional musical instrument which adds a wonderful splendor to theChurch’s ceremonies and powerfully lifts up man’s mind to God and to higherthings (SC 120).And although the pipe organs were only played in churches and at the Cracow BishopChapel, the masters of the organ also in the so called field conditions of papal pilgrimagesused their master skills to glorify God and serve to the congregated faithful.Finally, the chants sung by the congregated people should be brought upon. Thesechants were first collected in song books available for pilgrimages. Each liturgy was arrangedin such a way so that the faithful could participate, not remain mere listeners. Thechants were adjusted to the order of the Mass Service, carefully selected from those wellknown to enable the congregated people to participate most actively in prayers. It wasentailed by the post Vatican II way of thinking:One cannot find anything more religious and more joyful in sacred celebrationsthan a  whole congregation expressing its faith and devotionin song. Therefore the active participation of the whole people, which isshown in singing, is to be carefully promoted as follows (MS 16).In the whole presentation of liturgical music during papal pilgrimages to the CracowArchdiocese, a very important thing is to focus on a great care for quality, beauty and theprayer-like character of it. Perhaps it was noticed indeed by Pope Benedict XVI himself,when upon finishing the Mass Service on the Cracow Błonia Fields in 2006, he commentedthat “liturgy was beautiful and liturgical music as well.” Could there be any betterwords of esteem for those who had arranged it?It goes without saying that all people who prepared scholas, choirs, supervised andtrained instrumental bands, orchestras, who played the organ, who conducted commonsinging, composed and wrote music notes during all papal pilgrimages deserve highestpraise and particular gratefulness. Many years have passed since 1979, some of thosepeople are no longer living, some are long retired, the others are still active in the mattersof Church music of the Cracow Archdiocese. They all deserve recognition. This monographis to commemorate all those people and their immense work. We thank God forthem; may He be praised in all their music created for the benefit of papal pilgrimages inthe Cracow Archdiocese. Let us finish with probably the most relevant citation from St.Luke: “We are unworthy servants; we have only done what was our duty.” (Luke 17:10).

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