![]() A relative with a paralyzed arm, upon touching her sacred remains, was cured. Rita died her cell was aglow with heavenly light, while the great bell of the monastery rang of itself. Her body has remained incorrupt to this day the face is beautiful and well preserved. The sweet odor spread through the convent and into the church, where it has continued ever since. Rita's death, her face became beautifully radiant, while the odor from her wound was as fragrant as that of the roses she loved so much. She died May 22, 1456, and both in life and after death has worked many miracles. For this reason roses are blessed in the Saint's honor. Although it was not the season for roses, the relative went and found a rose in full bloom. Rita was dying, she requested a relative to bring her a rose from her old home at Rocca Porrena. Because of the foul odor emanating from the wound, she was denied the companionship of the other Sisters for fifteen years.Īs St. The wound became worse, and gangrene set in. Suddenly one of the thorns detached itself from Christ’s crown of thorns and fastened itself on her forehead so deeply that she could not remove it. After hearing a homily on the Passion of Christ she returned to her cell kneeling before her crucifix, she prayed: "Let me, my Jesus share in Thy suffering, at least of one of Thy thorns". Rita lived a very austere life and performed many severe penances. Astonished at the miracle, the Nuns received Rita, and accepted her as one of their own. Miraculously she was instantly transported to the Augustinian monastery. One night, as Rita was praying, she heard someone call her name and a knock on the door. On three separate occasions, she asked to be admitted to the Augustinian Nuns, but her request was refused each time, and she returned home to Rocca Porrena. Rita's former desire to consecrate herself to God in the religious life returned. ![]() Both of her sons died shortly afterwards. Her sons swore vengeance on their father’s killers, but through Rita's intercessory prayers, they forgave the offenders. After 18 years of marriage, Rita’s husband was murdered by an old enemy. The couple had two sons, who inherited their father's temperament. Pious though her parents were, they refused her pleas, but instead gave her away in marriage, at the age of eighteen, to an ill-tempered young man who was the town watchman. At the age of twelve, she desired to consecrate herself to God in the religious state. She was a cheerful, amiable, pious and devout child who spent much of her time in prayer. The family was well-known for their charity, which merited them the surname of "Peacemakers of Jesus Christ." ![]() Rita’s birth was an answer to their prayers. Rita was born at Rocca Porena, Italy, in 1386 to Antonio and Amata Lotti, who were quite advanced in years. ![]() Theodore Marier Is the Most Important Liturgical Musician-Even Today.The saint of the day for May 22 is Saint Rita of Cascia, religious. And yes, that's Leo Abbott sitting at the Casavant console with Dr. Finally, I wish to thank the late John Dunn (1943-2022), Headmaster & Director of Music Emeritus, Saint Paul’s Choir School for his painstaking editorial updates of Marier’s psalter-a true labor of love-and generous sharing of institutional knowledge.Īnd many thanks to Jeffrey Ostrowski and the Marier family. I also wish to thank BrPaul Murray, Class of 1996, for his tireless editorial work on Marier’s compositions. Paul’s Choir School" and for supplying recordings and scores. I also wish to thank to William Endicott, Class of 2008, for his thesis, "Repleatur Os Meum Laude Tua, A History of the Music and Mission of the St. Atwood, Diocesan Director of Music for the Diocese of Bridgeport Connecticut for his wonderful dissertation "The Influence of Plainchant on the liturgical Music of Theodore Marier." I wish to I wish to extend profuse thanks to Dr. He demanded excellence not only from his students, but from the institution he founded. He took these liturgical directives to heart and acted upon them. The founding of Saint Paul's Choir School Harvard Square in 1963 (what a year in the Church!) was to Marier a natural conclusion of the liturgical documents put forth by Popes Pius X, Pius XI, and Pius XII, and ultimately Vatican II. He provided a road map in the early 1970s to singing the brand new Novus Ordo and did so with an eye towards continuity with our Roman Catholic traditions. He built bridges long before Sacrosanctum Concilium. Marier's lasting influence **for us today** lies in his response and implementation of Vatican II. Theodore Marier given at the Sacred Music Symposium in Costa Mesa, California is included in this brief article.ĭr.
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