Guatemala Breaking News – Fuzzy Skunk

Marcos Ondarra

Our Time Magazine

And when they encounter the spirit of Saint Josemaría, they feel challenged ”, she assures.

As for the noblest of human sciences, Matis displays exquisite judgment. And there is no better proof of this than his devotion to U2, Pink Floyd or Natalia Lafourcade, which the priest listens to in prayer during his walks around the city. Eternal City.

His great luck has been to find in music a way to “rediscover the sacred”. If Saint Teresa saw God between pouts, Andrej Matis perceives him between violins. Perhaps because music inflames the soul until it flies and approaches the Creator in a musical transverberation.

Have you had close experiences with God through music? Yes, mostly thanks to my discovery of Gregorian chant. I had to learn Latin first, yes. Tolkien says that it is more natural for man to sing than to stutter. The elves in The Lord of the Rings speak so nobly that they almost seem to sing.

The key is to realize that the sacred is different from the profane.

Something similar happens with the Gregorian: they are words recited in such an authentic way that they become music, in prayer. Andrej Matis has that rare vocation for the old that makes him mix Tolkien and U2 with Bach and Gregorian chant in the same parlance. And although they seem disconnected elements, they all make up the harmonic piece that is his life.

What do you find special about the Gregorian? Gregorian chant is able to activate in man the perception of something sacred. It is enough to listen a little, even without understanding the lyrics, and one says: “Here is something that goes further, that transcends me.”

Furthermore, it is universal. There is nothing more common than the use of Latin in the liturgy. It unites the Church on earth and unites the present with all the centuries in which it was already prayed with this language. Without fear of anachronism, the vindication of Gregorian chant is part of Matis’s conception of art as perennial; indelible mark that God has left in the world. “One thing is to anchor in the past and another to receive and make your own something that has centuries of existence and that continues to be worthwhile,” he asserts. It turns out that “you can always grow in understanding those treasures that come from so far away.” The same thing happens with faith or with the liturgy.

A few days before this conversation, Matis heard Now release, by Paul Smith, in the interpretation of the English ensemble Voces8. And despite the fact that polyphony would be, as he says, too “audacious” for the Renaissance Palestrina or for Bach, it can accompany prayer well: “It evokes sacredness from the first moment; help to pray ”.

If the violinist from Saint Josemaría has learned something well, it is that it is possible to pray with profane songs. “One goes down the street singing With or Without You and the song helps him to speak with the Virgin or with Jesus ”. But that does not mean that the liturgy should be displaced: “U2 can serve you for a private prayer, while the liturgy is a public prayer that seeks universality. I don’t know if my 94-year-old grandmother, who went to mass every day, would have connected with U2… ”.

U2 is a clear example of how atavistic and current can be expressed at the same time. Yes, and that is not easy. The key is to realize that the sacred is different from the profane. The mug that you use to drink beer with your friends cannot be used to celebrate mass, at least if you consider it to be a mystery, a divine act in favor of humanity. That’s why you pour yourself a different glass. The differences have to do with the material, with the shapes, with the colors … The same thing happens with the music.

What is the formal dignity of an element of worship? We can find God in the middle of the world. Peeling potatoes, for example. But, put in a somewhat crude way, God is not in the potatoes.

To be continue…