The Basilica of the National Shrine of the Immaculate Conception hosts an annual summer organ recital series. The series features performances on the basilica’s chancel and gallery organs. The series has been running for over 40 years. The recitals offer a unique opportunity to experience sacred music outside of a liturgical setting.
5 months ago
The Basilica of the National Shrine of the Immaculate Conception in Washington, D.C., has hosted its annual summer organ recital series for over 40 years 1, 2. This long-standing tradition offers a unique opportunity for visitors to experience the grandeur of sacred music outside of a liturgical setting 1, 2. The series is held on Sunday evenings throughout July and August, with performances beginning at 6 p.m. 1, 2.
The recitals showcase the basilica’s renowned chancel and gallery organs, which together comprise more than 9,600 pipes 1, 2. Each organ performance is preceded by a half-hour carillon performance from the basilica’s 56-bell Knights’ Tower Carillon 1, 2. This year, the carillon performances are given by Jeremy Ng, a certified carillonneur and rising senior at Yale University 1, 2.
Basilica officials emphasize that the series aims to provide a musical experience as profound as the visual beauty of the church’s art and architecture 1, 2. Peter Latona, the basilica's director of music, describes the series as promoting an "extraordinary and almost mystical form of art" 1, 2. Benjamin LaPrairie, associate director of music, notes it allows visitors to appreciate the instruments and music in the same way they would the mosaics and other artworks 1, 2. Adam Chlebek, assistant director of music, highlights the mission to "transform hearts and minds through the power and beauty of music" 1, 2.
Musicians for the series are selected annually from a global pool of applicants, ensuring a lineup that includes both emerging artists and internationally acclaimed performers 1, 2. Adam Chlebek, a recent graduate of the Eastman School of Music and assistant director of music at the basilica, opened this year's series 1, 2. Attendance is open to all, with a freewill offering accepted to support the program 1, 2. The series typically draws around 100 attendees each week, with an evolving demographic that now includes more young people and diverse backgrounds 1. The objective is to grow the audience to share this experience more broadly 1. The 2025 Summer Organ Recital Series concludes on August 31 1, 2.
How does sacred music enhance liturgical worship and devotion?
Sacred music significantly enhances liturgical worship and devotion by fostering active participation, elevating prayer, and expressing the inestimable value of the Church's musical tradition .
The musical tradition of the universal Church is considered a treasure of inestimable value, surpassing other art forms because, as sacred melody united to words, it forms a necessary and integral part of the solemn Liturgy . The Second Vatican Council emphasized that sacred music's objective is "the glory of God and the sanctification of the faithful" . This ministerial function of sacred music in the service of the Lord has been praised in Sacred Scripture, by the Church Fathers, and by Roman Pontiffs, particularly St. Pius X .
Sacred music is a privileged means to facilitate the active participation of the faithful in sacred celebrations . As an ancient saying states, "bis orat qui bene cantat," meaning "the person who sings well prays twice" . The intensity prayer acquires from being sung increases its ardor and multiplies its efficacy, helping to promote prayer, raise minds to God, and give people a taste of God's goodness . Christian joy expressed in song should mark every day, especially Sunday, the "Lord's Day," with a particularly joyful note .
The Church has encouraged song at liturgical celebrations throughout her history, providing wonderful examples of melodic commentary to sacred texts in accordance with the creativity of every culture .
Gregorian chant holds a special place among musical expressions that correspond best with the qualities demanded by sacred music, especially liturgical music . The Second Vatican Council recognized it as "specially suited to the Roman Liturgy" and stated that it should be given "pride of place in liturgical services sung in Latin" . St. Pius X considered it "the supreme model of sacred music," inherited from the Church Fathers and jealously guarded for centuries . Gregorian chant is marked by a moving meditative cadence, touching the depths of the soul and expressing various emotions like joy, sorrow, repentance, and praise, making the Psalms come alive . It continues to be an element of unity in the Roman Liturgy and has had a considerable influence on the development of music in Europe .
While recognizing the pre-eminent place of Gregorian chant, the Church has welcomed other musical forms, especially polyphony . The Second Vatican Council affirmed that "other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations" . These various musical forms should accord "with the spirit of the liturgical action" . The work of Pierluigi da Palestrina, a master of classical polyphony, is particularly evocative and serves as a model for composers of sacred music .
The 20th century saw a significant development in popular religious song, which the Second Vatican Council encouraged to be intelligently fostered in devotions, sacred exercises, and liturgical services . This singing is particularly suited for the participation of the faithful, not only in devotional practices but also in the Liturgy itself, as it constitutes "a bond of unity and a joyful expression of the community at prayer, fosters the proclamation of the one faith and imparts to large liturgical assemblies an incomparable and recollected solemnity" .
The criterion that must inspire every composition and performance of sacred music is beauty, which invites prayer . When song and music signify the Holy Spirit's presence and action, they encourage communion with the Trinity, making the liturgy an "opus Trinitatis" . It is essential that "singing in the liturgy" flows from "sentire cum Ecclesia" (thinking with the Church), blending union with God and artistic ability . The Church's Magisterium has consistently emphasized that various forms of music must be consistent with the spirit of the Sacred Liturgy to avoid the risk of divine worship being adversely affected by unsuitable profane elements . This requires sound cultural, spiritual, liturgical, and musical formation for pastors and faithful, as well as reflection to define criteria for creating and disseminating a high-quality repertoire .