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Qljurtlir 55 «2^**^

Lenten Number

VOL. Ill JANUARY. 1908

No. 2

pifiUi^UiIria: 1305 !^n^ »tmt fnttta.. K. ». X

Copyrisht, 1008
AMERICAN ECCLESIASTICAL REVIEW

THE DOLPHIN PRESS
SulMcriptioa Prio*. tl^ • Ycat; 6/6 a Ymt

BBt«re<l M 8«eoad-CUM lOU IC*tter

2 August, iwr, «t th*

Port Office At PhilacUlphl*. P*..

uadtftbe Act of CongreM of 3 March, 1«7«.

Vol. Ill January, 1908 No. 2

CONTENTS.

PAGE

Liturgical Notes. Ash Wednesday; First Sunday of Lent 57

" Pax," England.

Gregorian Rhythm. — A Theoretical and Practical Course. {Illustrated.)

Part II, Chapter II, The Metz Rhythmical Signs {Continued): The Significative
Letters of the Metz School; Melodic Letters and Rhythmical Letters. Chapter
III, Notes and Intervals; Reading the Notes on the Stave; Notes in Use in Gre-
gorian Chant; Clef-Letters; Names of the Notes; their Position on the Stave;
Rhythmical Signs on the Stave; Intervals; Definition of the Interval; Interval of

a Second 62

The Very Rev. Dom Andre Mocquereau, O.S.B.. Prior of Solesmes.

Odes to Organists: I. The Ideal Church Organist; II. The Real Church Organist . . 72
The Rev. Hugh T. Henry, Litt. D., Overbrook Seminary, Pa.

The Art of Accompanying Plainchant. Chapter XVI {Continued). Chord Progres-
sions; Prolonged Tones. Chapter XVII. Rhythmic Harmonization of Note
Groups; Harmonic Means of Accompaniment; Non-Harmonic Means of Accom-
paniment ; Silspensions 77

Max Springer, Organist of the Royal Abbey of Emaus, Prague. Trans-
lated from the German by the Benedictine Fathers, Conception. Mo.

The Boston Diocesan Music Commission. Ecclesiastical Music must aid Devotion . . 87
Address of Archbishop O'Connell.

Letters to the Editor:

The Present Status of Plainchant in Europe; Theory and Practice at Appuldurcombe.

(The Rev. Dom. Waedenschwiler, Mt. Angel, Oregon) 89

The Paulist Chorister Society of Chicago. (The Rev. William J. Finn, C.S.P.,

Chicago, 111.) 93

The " Laus tibi Christe" after the Gospel. (D. C. Young, Port Jervis, N. Y.). . 93
Singenberger's Harmonization of the Gregorian Requiem. (Al. Rhode, St.

Louis, Mo.) 94

"Verbotene Quinten." (Quem Nosti) 95

They Might " Harm the Piano" if Played too Strongly. (Ignace Mueller, New

York. N. Y.) 96

Chronicle and Comment :

Concerning Hymns 97

Congregational Singing:

I. How Should it be Started? 99

II. One Practical Illustration 99

CONTENTS.

PAGE

Notes:

Status of the Church Music Reform Movement in the United States lOO

The American Caecilienverein lOi

May Women Sing in the Gallery Choir? lOi

Music at Funerals and Marriages 102

" School Mass " of the Children in the Parish School 102

Worthy Hymns for School Children 103

Teaching the Plainchant in Primary Schools 103

Rules to be observed by Members of a large Choir 103

The " Schola Cantorum " of Paris 104

Music that "excites the Nerves" 104

Music in the Parish Schools of the Pittsburg Diocese 104

The Paulist Chorister Society of Chicago 105

Church Music Reform in New York 106

Catalogue of Approved Church Music 107

Boston and the Church Music Movement 107

Publications Reviewed :

Pirro, Andre: L'Esthetique de Jean Sebastien Bach 109

Mills, Wesley: Voice Production in Singing and Speaking, based on Scientific

Principles in

The Ofifice of Compline 112

Bibl, Rud.: Praeludien-Album 113

Casimiri, Raphael: Op. 22, Cantus varii in Quadragesima et in Hebdomada Sancta. 113

Fischer-Miiller: Complete Vespers for the feast of the B. V. M. . 114

Fischer-Miiller: Chant Requiem and Libera 114

Vranken: Cantate Domino 114

Cubing: Thirteen IMotets for i, 2 and 3 Voices 115

Gessner: Quinque Hymni de SS. Sacramento 115

Vranken: Feestmis " Haec Dies" 115

Vranken: Missa 'O Quam Gloriosum " 115

Cornell: Unison Mass in E Flat iij

Springer: Fiinfzig Thematische Tonstucke fiir die Orgel • 116

Vranken: "' Veni Creator Spiritus " • . . 116

Griesbacher: Missa in hon. S. Ignatii de Loyola 116

Musical Supplement :

Kyrie, Gloria, and Credo of the Mass in honor of St. Augustine, for Treble, Tenor and
Baritone (or Bass), with Organ Accompaniment, by Max Hohnerlein.

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Vol. III. JANUARY, 1908.

LITURGICAL NOTES.

Ash Wednesday.

THE great campaign of penance known as Lent opens with the impressive
ceremonies of Ash Wednesday. Before the eleventh century, as most of our
readers may be aware, it was the custom of holy Church to inflict public penance
upon such of her children as had been guilty of grievous sins. At the beginning
of Lent these penitents confessed their sins, clothed themselves with sackcloth,
and were sprinkled with ashes by the priests ; then, after the recitation of the
seven Penitential Psalms, the bishop thus addressed them : " Behold, we drive
you from the doors of the church by reason of your sins and crimes, as Adam
the first man was driven out of Paradise because of his transgression." Some
responsories were then sung, after which the doors were closed upon the peni-
tents until Maundy Thursday should witness their happy reconciliation to God.
When the practice of public penance fell into disuse, it became customary to
sprinkle ashes upon the heads of all the faithful. We have all sinned, and have
merited not only the wages of sin, the death of the body, but also eternal death,
from which we shall not escape unless we do penance. It is to remind us of this
that holy Church puts the ashes upon our heads with this solemn warning: " Re-
member, O man, that thou art dust, and into dust thou shalt return." The chants
which accompany this solemn rite are full of contrition and of hope in a merciful
Lord ever ready to forgive.

The opening Antiphon begs of God to look upon us with the eyes of His
compassion and to deliver us from the abyss of misery into which our sins have
plunged us. It is taken from the 68th Psalm, a touching and beautiful prophecy
of the Passion : the thought of our Divine Lord's sufferings for us will encourage
us to enter upon the path of expiation and self-chastisement.

Antiphon.

Exaudi nos, Domine, quoniam benigna est Hear us, O Lord, for Thy mercy, is kind:

misericordia tua : secundum multitudinem look upon us according to the muhitude of

miserationum tuarum, respice nos Domine. Thy tender mercies, O Lord.

Ps. Salvum me fac Deus : quoniam in- Ps. Save me, O God, for the waters are

traverunt aquae usque ad animam meam. come in even unto my soul.

58 CHURCH MUSIC.

The next two Antiphons, sung during the distribution of the ashes, are taken
from the Prophet Joel, who, foretelhng at once a great plague of locusts and the
future terrible day of judgment, bade the people turn to the Lord with fasting
and mourning, and the priests in the temple to cry for mercy. To these words
the Church adds the beautiful prayer of Mardochai : " Shut not the mouths of
them that sing to Thee, O Lord." It is the ceaseless voice of praise rising up to
heaven from many a hallowed sanctuary the wide world over that appeases the
anger of God and induces Him to spare His sinful people.

Antiphon.

Immutemur habitu, in cinere et cilicio je- Let us change our garments for ashes and

junemus et ploremus ante Dominum: quia sackcloth: let us fast and weep before the

multum misericors est dimittere peccata nos- Lord ; for our God is very merciful to for-

ira Deus noster. give us our sins.

Antiphon.

Inter vestibulum et altare plorabunt sacer- Between the porch and the altar the priests,

dotes ministri Domini, et dicent : Parce the Lord's ministers, shall weep, and shall

Domine, parce populo tuo : et ne claudas ora say : Spare, O Lord, spare Thy people : and

canentium te Domine. shut not the mouths of them that sing to

Thee, O Lord.

The following Responsory speaks for itself : now is the time for doing pen-
ance and obtaining pardon ; and if we lose this opportunity, can we promise
ourselves another?

Responsory.

Emendemus in melius quae ignoranter Let us amend of the sins we have com-

peccavimus : ne subito praeoccupati die mor- niitted through ignorance: lest suddenly

tis, quaeramus spatium poenitentiae, et in- overtaken by the day of our death, we seek

venire non possimus. for time to do penance and find it not.

Attende, Domine, et miserere, quia pecca- Look on us, O Lord, and take pity; for

vimus tibi. we have sinned against Thee.

Ps. Adjuva nos, Deus, salutaris noster; Ps. Help us, O God, our Saviour, and

et propter gloriam Nominis tui, Domine, for the glory of Thy Name. O Lord, de-

libera nos. liver us.

The Introit of the Mass is taken from Chapter XI of the Book of Wisdom.
Having humbled ourselves before God, we may now approach Him, and remind
Him of His patience and His tender love for man; He spares us because He is
the Lord our God ; or, in the closing words of the above-mentioned chapter,
" Thou sparest all, because they are Thine. O Lord, who lovest souls !"

Introit.

Misereris omnium, Domine, et nihil odisti Thou hast mercy upon all, O Lord, and

eorum quae fecisti; dissimularis peccata hatest none of the things which Thou hast

hominum propter poenitentiam ; quia tu es made; overlooking the sins of men for the

Dominus Deus noster. sake of repentance: because Thou art the

Lord our God.
Ps. Miserere mei, Deus, miserere mei : Ps. Have mercy on me, O God, have

quoniam in te confidit anima mea. mercy on me: for my soul trusteth in Thee.

LITURGICAL NOTES.

Tlie Gradual again expresses loving confidence in God's mercy : He has not
only delivered us from our enemies, He has even humbled them before us, as
He had dealt with the psalmist on the occasion for which this 56th Psalm was
composed. David had cut off the hem of Saul's garment in the cave at Engaddi ;
he had had his pursuer in his power, and could easily have slain him, had not
his spirit of faith withheld him from laying hands on the Lord's anointed.

The Tract is a beautiful and earnest supplication for pardon, which is re-
peated in the ferial Mass on Mondays, Wednesdays, and Fridays throughout Lent.

Gradual.

Miserere mei, Deus, miserere mei : quo- Have mercy on me, O God, have mercy

niam in te confidit anima mea. on me: for my soul trusteth in Thee.

V. Misit de coelo, et liberavit me : dedit V. He halh sent from heaven and deliv-

in opprobrium conculcantes me. ered me ; He hath made them a reproach

that trod upon me.

Tract.

Domine non secundum peccata nostra, quae Deal not with us, O Lord, according to our

fecimus nos, neque secundum iniquitates sins which we have committed, nor punish

nostras retribuas nobis. us according to our iniquities.

Domine, ne memineris iniquitatum nostra- Remember not, O Lord, our former in-
rum antiquarum : cito anticipent nos miseri- iquities : let Thy mercies speedily prevent us,
cordiae tuae, quia pauperes facti sumus for we are becoming exceedingly poor,
nimis.

Adjuva nos, Deus, salutaris noster : et Help us. O God, our Saviour: and for

propter gloriam Nominis tui, Domine, libera the glory of Thy Name, O Lord, deliver us :

nos: et propitius esto peccatis nostris. prop- and forgive us our sins for Thy Name's

ter Nomen tuum. sake.

The Offertory Antiphon rises from confidence even into joy at the anticipa-
tion of our speedy deliverance, and of the healing of our spiritual maladies.

Offertory.

Exaltabo te Domine, quoniam suscepisti me : I will extol Thee. O Lord, for Thou hast
nee delectasti inimicos meos super me ; Dom- upheld me : and hast not made my enemies
ine clamavi ad te, et sanasti me. to rejoice over me : O Lord, I have cried to

Thee, and Thou hast healed me.

The Communion Antiphon conveys a useful lesson: if we would persevere
through our career of penance, we must meditate on the law of the Lord, which
obliges us to that penance ; in this manner we shall bring forth the fruit of our
good works, like a tree planted by the waterside.

Communion.

Qui meditabitur in lege Domini die ac He that shall meditate on the law of the

nocte, dabit fructum suum in tempore suo. Lord day and night, shall bring forth his

fruit in due season.

First Sunday of Lent.

In order to inspirit us for our forty days' battle, holy Church has given us
as a war-song the 90th Psalm. It furnishes all the chanted portions of to-day's

6o CHURCH MUSIC.

Mass and several verses recur in the Divine Office throughout Lent. This mag-
nificent canticle was sung by the Jews in times of war, or danger, or pestilence.
It appears to have been composed in form of dialogue : two human voices are
introduced discoursing on the loving protection of God over those who trust in
Him ; after which the Divine Voice is heard making the most consoling promises :
Because he hath hoped in Me, or, according to the Hebrew, because he cleaveth
to Me in My love, I will deliver him, etc. The Introit sets before us some of
these great promises, and then tells who is he that will merit them : he that trusts
in the help and the protection of the God of heaven, or, as the Hebrew has it,
" in the shadow of the Saddai (the Almighty)." What greater motive for con-
fidence than the mighty power of Him who shelters us?

Introit.

Invocabit me, et ego exaudiam eum: eri- He shall cry to Me, and I will hear him:

piam eum et glorificabo eum: longitudine 1 will deliver him and I will glorify him:
dierum adimplebo eum. I will fill him with length of days.

Ps. Qui habitat in adjutorio Altissimi : in Ps. He that dwelleth in the aid of the

protectione Dei coeli commorabitur. Most High, shall abide under the protection

of the God of heaven.

" Our wrestling," says St. Paul, " is not against flesh and blood ; but against
principalities and powers, against the rulers of the world of this darkness, against
the spirits of wickedness in the high places." Yet in this terrible struggle we
have nothing to fear: these spirits of darkness are not so strong as the holy
Angels, who bear us up in their hands and guard us on all sides.

The Tract gives us almost the entire psalm, in order to inspire us with con-
fidence in the goodness of God. If we are faithful in the battle, He will not
only deliver us, making us to tread our fierce enemies under our feet, but He
will glorify us when the victory is won and will show us salvation on the day
of His and our resurrection.

Gradual.

Angelis suis Deus mandavit de te, ut cus- God hath given His Angels charge over

todiant te in omnibus viis tuis. thee to keep thee in all thy ways.

V. In their hands they shall bear thee up,

V. In manibus portabunt te. ne unquam lest at any time thou dash thy foot against
offendas ad lapidem pedem tuum. a stone.

Tract.

Qui habitat in adjutorio Altissimi, in pro- He that dwelleth in the aid of the most

tectione Dei coeli commorabitur. High, shall abide under the protection of the

God of heaven.

Dicet Domino : Susceptor meus es tu, et He shall say to the Lord : Thou art my

ref ugium meum : Deus meus sperabo in protector and my refuge : my God, in Him

eum. will I trust.

Quoniam ipse liberavit me de laqueo For He hath delivered me from the snare

venantium, et a verbo aspero. of the hunters: and from the sharp word.

Scapulis suis obumbrabit tibi, et sub pen- He will overshadow thee with His shoul-

nis ejus sperabis. ders; and under His wings thou shalt trust.

LITURGICAL NOTES.

Scuto circumdabit te Veritas ejus: non
timebis a timore nocturno.

A sagitta volante per diem, a negotio per-
ambulante in tenebris : a ruina et daemonio
meridiano.

Cadent a latere tuo mille, et decern millia
a dextris tuis: tibi autem non appropin-
qiiabit.

Quoniam angelis suis mandavit de te: ut
custodiant le in omnibus viis tuis.

In manibus portabunt te : ne unquam offen-
das ad lapidem pedem tuum.

Super aspidem et basiliscum ambulabis :
et conculcabis leonem et draconem.

Quoniam in me speravit liberabo euin : pro-
tegam eum quoniam cognovit nomen meum.

Invocabit me, et ego exaudiam eum, cum
ipso sum in tribulatione.

Eripiam eum et glorificabo eum ; longi-
tudine dierum adimplebo eum, et ostendam
illi sahitare meum.

His truth shall compass thee with a shield :
thou shalt not be afraid of the terror of the
night.

Of the arrow that flicth in the day, of the
business that walketh about in the dark, of
ruin, or of the noon-day devil.

A thousand shall fall at thy side, and ten
thousand at thy right-hand; but it shall not
come nigh thee.

For He hath given His angels charge over
thee; to keep thee in all thy ways.

In their hands they shall bear thee up :
lest at any time thou dash thy foot against a
stone.

Thou shalt walk upon the asp and the
basilisk; and thou shalt trample under foot
the lion and the dragon.

Because he hoped in Me I will deliver
him: I will protect him because he hath
known My name.

He shall cry to me, and I will hear him;
I am with him in tribulation.

I will deliver him, and I will glorify him:
I will fill him with a length of days, and I
will show him My salvation.

The Offertory Antiphon once more bids us trust in the protecting power of
God. The words " under His wings " remind us of our Lord's loving tender-
ness, when He would fain have gathered the children of Jerusalem as a hen
gathers her chickens under her wings. The truth of our holy faith is the shield
wherewith we are " able to extinguish all the fiery darts of the most wicked one."

Offertory.

Scapulis suis obumbrabit tibi Dominus, et The Lord will overshadow thee with His

sub pennis ejus sperabis : scuto circumdabit shoulders, and under His wings thou shalt
te Veritas ejus. trust: His truth shall compass thee with a

shield.

The Communion Antiphon repeats the words of the Offertory, with their
meaning deepened and intensified by the intimate union which now binds us to
our Divine Protector.

Communion.

Scapulis suis obumbrabit tibi Dominus, et
sub pennis ejus sperabis: scuto circumdabit
te Veritas ejus.

The Lord will overshadow thee with His
shoulders, and under His wings thou shalt
trust : His truth shall compass thee with a
shield.

" Pax."

62 CHURCH MUSIC.

GREGORIAN RHYTHM.
A Theoretical and Practical Course.

BY DOM ANDRE MOCQUEREAU, O.S.B.,
Prior of Solesmes.

PART II.— Chapter II.

III. The Metz Rhythmical Signs (Continued),
i. Rhythmical Signs Proper (Continued).

119. It is, moreover, necessary to repeat here the remark already made on
the subject of the two pnnctums of Saint Gall (II, 71) : the rhythmical meanings
of these two punctums can hardly be gathered save in the neumatic groups where
the contrast between the two forms appeared clearly. Outside of this, the Mes-
sinian scribes use, in current script, the long punctuni (as in figure 109), which
has then no more rhythmic value than the Saint Gall punctum planum in a sim-
ilar case.

120. This indecisiveness in the signification of like signs is entirely in the spirit
of that epoch, when oral teaching occupied so important a place. Far from being
astonished at it, we should, on the contrary, be convinced that the most perfect
neumatic notations of the ninth, tenth, and eleventh centuries are in reality, for
readers of the twentieth century, far from being perfect. In order to under-
stand them it is not enough for us to look at the external form of the melodic
and rhythmical signs ; we must consider their context, scrutinize the laws regu-
lating their use, penetrate into the reasons therefor, seize the particular habits of
each copyist, compare the manuscripts, and only then determine the signification.

a. The Significative Letters of the Metz School.

121. There remains no Messinian letter of Notker's to give us an explana-
tion of the significative letters of the school of Metz. Nevertheless, they may be
interpreted for the most part with complete certainty, if we compare them with
the MSS. of Saint Gall and with the Romanian letters. So far as the rhythmical
letters are concerned this certainty is absolute.

As in the case of the school of Saint Gall, we must distinguish two series :

1. The melodic letters.

2. The rhythmical letters.

FIRST SERIES.

Melodic Letters.

122. Higher notes — 5" or i=^Sursum.

Lower notes — H = Humiliter (lusum in Saint Gall).
Unison — Eq. = Equaliter.
Other letters employed in the Metz MSS. have, no doubt, a melodic mean-
ing; but the conclusions which we have reached as to their interpretation are as
yet too doubtful; and in thie meantime we shall postpone what we have to say
about them until later on.

GREGORIAN RHYTHM.

SECOND SERIES.

Rhythmical Letters.

123. Slow

j r = Tenete

Aitge, Augete, Ample.

Quick 1^;

NT, NL, ^UT. = Naturaliter.
124. Slower, Ritardando. — The T signifies, as at Saint Gall, holding the
voice; it is often the equivalent of A, Auge, Ample. These two letters are always
found over neums, which are long in the Saint Gall MSS.

Saint Gall.

s/ >/

J-

Metz.

\ — '

1 ^"' 1

♦c

Fig. no

The words Auge, Augete, Ample are suggested by the complete agreement
between the two schools.

125. Celeriter-Natiiraliter. Notker's letter C. (celeritcr) is found at Laon,
but it is often replaced by N. These two letters N and C correspond with notes
and groups which are either normal or are marked with a C by Saint Gall.
What word does this letter stand for?

In the Laon MS. No. 239 this letter N is found alone or followed by an
L = NL, and once by LT = NLT. In Codex 91 of Angers the N never occurs
alone, but always with an L (NL), and once as NLT.

The only expression that exactly corresponds with this letter, either whether
used alone, or in one of the various abbreviations, N, NL, NT, NLT, is natxiraliter,
in opposition to the lengthening or amplitude of the A {Ample, Auge) which
changes the normal movement, and the ordinary value of the notes.

126. The reciprocal interchange of the C and N in the Laon MS. No. 239
shows the exact value of the C, and that this value is just what we have already
attributed to it in the MS. of Saint Gall. The school of Metz comes to confirm
this interpretation.

64 CHURCH MUSIC.

7 "^

127. There is, however, one exception to be made to this rule. It is to be
noted in the Laon notation : it is when the sign used by the copyist expresses rather
more than he wishes to convey, then the C is used to act as a moderating influ-
ence on the exaggerated sign so as to bring it back to the required length, and in
this case the sense of Celeriter must be taken literally. Thus, in this case N
never takes the place of C. An example will make the matter easily intelligible.

The MSS. of Metz generally use the same sign for the Pressus (II, 38 and
ss) or for the Salicus (II. 46). The Pressus is a long double note, the Saliciis,
that is to say, its central note, is sustained but not generally doubled in length.
Between the two musical effects there is a close relationship, hence the same sign
is made use of in the Metz MSS., especially in that of Laon. But in order to
reduce it to its true value, the copyist, in the case of the Salicus, often adds the
C which here signifies Celeriter. The N is never attached to the Salicus, for that
would be a contradiction. In this case, the N would seem to demand its full
value for the Pressus-Salicus, but it is important that exactly the opposite should
be marked ; the C Celeriter is just the letter which is wanted ; it is a positive sign
of animation. The same sense must be attributed to the C which, in the codices
of Saint Gall, is sometimes found above the Pressus.

128. Exercise VII.

Look out the rhythmical signs in the Solesmes editions :
The dot after the note : ■" ♦' ^"
The perpendicular episema attached to the note: ^ |^
The perpendicular episema detached from the note ^ ^ T i T

The horizontal episema over a single note i " ♦ ~ oi" over an entire group.

The mark of prolongation or of appui over a single note or over an entire
group.

The time has now come for placing melodic signs and rhythmical signs on
the musical stave, and for passing on to the study-practice of intervals and modes,
which will allow us to begin our first rhythmical exercises with the help of melody.

Chapter III.

Notes and Intervals.

129. This chapter consists of two parts:

I. Reading the notes on the stave. Before commencing the vocal exercises
the student should be able to read the notes of the Gregorian chant as quickly as
the letters of a book.

II. Rhythmical vocal exercises.

I. READING THE NOTES ON THE STAVE.

i. Alphabetical indications of all the notes in use in Gregorian chant.

130. The musical system in use in the Gregorian chant comprises eighteen
notes, which the ancients designated by means of Latin letters, as follows. Below
each note are added the modern names of the corresponding notes.

GREGORIAN RHYTHM. 65

1234 567
OABCDEFG
sol la si do re mi fa sol

8 9 10 II 12 13 14

abed e f g

la si do re mi fa sol

IS (16 17 i8j

aa bb cc dd

la si do re

if ut

tj ut
Fig. Ill

flS "t

The lowest note was originally the la (A), the initial sol being addefl later
and being represented by the Greek gamma, whence the name gamut generally
appropriated to what are now called scales.

The first octave, the lower one, was indicated by capital letters; the second
or middle octave by small letters ; and lastly, the few notes required from the
upper octave were shown by double letters.

Other methods of designation and "even of notation by means of letters were
invented, but the above will suffice for our use.
n. Clef-letters.

131. The Clefs. — These indications by means of letters remained long con-
fined to the use of teachers, and they were not employed for purposes of nota-
tion except to a very limited extent. The invention of the musical scale sud-
denly lifted them above this modest role. These same letters were placed by
Guido of Arezzo at the beginning of the lines of the stave, and thus became the
Key or Clef of the Gregorian notation, for they fixed with unmistakable clear-
ness the place of the intervals on the scale. Hence, they were called Clefs.

132. All the letters were placed in turn at the beginning of the lines, but
to-day only two are in use in liturgical notation : the C or ut, and the F or fa.

i. The do-C\ti or ut-C\ti = J is generally found on the fourth line,^ but it
also occurs on the second and third lines.

do do do do do do do do

do do do do

Fig. 112
The numbering of the lines begins from the bottom.

. 4. HUNK

I 3rd line

\ 2nd LINE

V 1st line

SPACE
SI'^CE
.SPACE

Pig- ri3
The parts between the lines are termed spaces.

Leger-lines. When the range of the melody exceeds that allowed by the four lines, the
additional lines required above and below are called leger-lines.
Lecer link above

LfGER line LtLOW

Fig. 114

66 CHURCH MUSIC.

When the ut-Clef is thus placed at the beginning of a Hne it shows that the
note ut (do) occurs on this Hne.

ii. The fa-Clef or F-Clef = K. This Clef is ordinarily found on the
third line:

/a fa fa fa

FA-Clef
3rd link

•P _ . . .

Fig- 115

It also occurs on the fourth line;

FA-Clef
4th linb

fa^

Fijr.

116

and

some

editions

the second line

/«

FA-Clef
2nd line

Fig. 117

133. Transcriptions into modern notation only require a single Clef, the sol-
Clef, or G-Clef, which is placed on the second line:

- SOL SOL SOL SOL

-4 • • 9-

Fig. 118

in. The actual names of the notes: their position on the stave.

134. Names of the notes. — Again it is to Guido of Arezzo that we owe the
names of the notes. He borrowed them from the first syllables of the hemistichs
of the Hymn of the Feast of St. John the Baptist, " Ut queant laxis " :

UT queant laxis REsonare Hbris
uira gestorum FAmuli tuorum
soLt;^ polluti LAbii reatum

sancte loannes.

UT — This syllable has been replaced by the syllable do since the seventeenth
century. The do must have been employed for the first time by G. M. Bononcini
in 1673.- There is no reason against keeping to the use of the syllable ut in
Gregorian chant, provided that the vowel u is pronounced as 00 in English.

SI — This syllable was admitted rather late into the scale. It was chosen in
preference to others because it was borrowed like the other syllables from the
hymn of St. John. It was formed by the two initial letters of the two last words
of the verse quoted above : Sancte loannes.^

135. The position of the notes on the scale. — In the following table are

2 Cf. H. RiEMANN. Dictionnaire de Musique, art. do.

* Cf. H. RiEMANN. Dictionnaire dc Musique, a.rt. bobisation.

GREGORIAN RHYTHM.

shown, along with the names of the notes, all the places which they occupy in
the Gregorian scale:

1234567

12 13 14 15

FUr.L

GENERAL

SCALE.

To avoid too
many leger lines
below the stave
the FA-Clef is
raised to the
third line :

r A B C D E F G a b c d e f g aa, etc

SOL LA SI DO R^ Ml FA SOL la sl do rc ml fa sol la

, ■

, ■ ■

-*-

SOL

LA SI DO RE MI FA SOL

la si do re

It is raisc-i to
the fourth
for the same
reason & for
the purpose
transposing

;.i to r

line tB

ame ) ^

or]-

SOL LA SI DO RE MI FA SOL Li sl

Too manj' le-
ger lines abovj
the stave are
avoided by low-
ering the 1)0-
Clef to the third
line :

or to the sec-
ond line, spe-
cially for trans-
position.

DO RE MI FA SOL la s! do f^ mi fa sol la

MI FA SOL la si do re mi fa sol la

Fig. iig

136. The steps 2 and 9 — which are steps of si — occurring in the course of
a melody may be lowered half a tone. Hence, an absolutely full scale actually
comprises si twice in each octave. The sign of this lowering of the pitch is
the B-flat.

8 9» 9^ 10

_ ta ■ b ■ '

■ -

...G a b tl c

Fig. 120

We speak of the scale actually in use because the ancient theorists did not
admit the lower .st-flat in principle; they preferred to transpose. Hence, instead
of writing

Sa- cerdo- tes

Fig. 121

THEY WROTE

— ^T^

Sa-cerdo- tes
Fig. 122

68 CHURCH MUSIC.

Observation. — The effect of the B-flat (I5) is done away with by the occur-
rence of the B-natural (bl), w^hich makes the si revert to its natural pitch.

In modern editions it is the accepted practice that the effect of the [3 should
cease at the end of the word in which it occurs or as soon as a bar of division
follows ; but the comma is not enough to neutralize its effect.

137. In a Gregorian melody the two si cannot follow consecutively, either
ascending or descending; this is the meaning of that axiom of our forbears:
"Utrumque lab in eandem neumam non jungas." (Gerb. Script. II. Gui, pp. 8-9).

iv. Rhythmical Signs on the Stave.

138. On the stave the following signs will also be found; all of them have
to do with rhythm except the Guide :

A. Rhythmical Signs Affecting the Notes.

139. 1st. The dot after a note fairly doubles its length.

■ ' ^' ♦* Mif. 133

The dotted note is transcribed into modern notation by a crotchet (I, 38).

140. 2d. The horizontal episema over a note j slightly lengthens it.

141. 3d. The perpendicular episema * is used to mark the rhythmical ictus.

142. 4th. The Guide (Fig. 124) is put at the end of lines; it shows the first
note of the next stave.

Fzg. 124
B. Rhythmical Signs of Division.

^234 5

F/i;. 125

143. ist. The Comma is only the sign of a breathing taken from the value
of the preceding note.

144. 2d. The Quarter-Bar (divisio minima) marks the sections (incisa) or
smaller phrases. Often this sign merely indicates a rhythmical division without
any breathing.

145. 3d. The Half-Bar (divisio minor) marks off the phrases properly so
called, which are made up of one or two incisa. Here a breathing is usually
necessary ; the time for it is taken from the value of the preceding note.

146. 4th. The Full Bar (divisio major) ends periods. Here a breathing is
necessary.

147. 5th. The Double Bar (duplex linea) ends the melody or one of the
principal parts of it.

GREGORIAN RHYTHM. 69

Exercise VIII.

148. Reading the Notes. — Before passing on to the Rhythmical Vocal Ex-
ercises the teacher should point out selected passages of Gregorian chant taken
from the Gradual or Antiphonary and get the student to read the notes. The
following order should be observed:

C-Clef : Fourth line: Cf. Kyrie Pons bonitatis, etc.

C-Clef : Third line : Cf . Credo III ; Vidi aquam, etc.

C-Clef : Second line: Cf. Asperges me (Seventh Mode) ; Offertory, In vir-
tute, etc.

F-Clef: Third line: Cf. Agnus Dei X, Gloria in excelsis XI, Sanctus XI,
etc. (Vatican Edition).

F-Clef : Fourth line: Cf. Offertory, Veritas mea, etc.

In singing through the exercises on the intervals which will be given here-
after, exercises in simple reading should often be repeated so as to familiarize the
student with the names of the notes.

To this exercise for the sake of repetition preceding reading exercises should
be added, i. e. the names of groups and of the forms of the notes.

II. THE INTERVALS. RHYTHMICAL SOLFEGGIO.

i. Definition of the Interval.

149. The name Interval is given in music to the difference or distance be-
tween two sounds, one high and the other low.*

The interval is called into existence by the fact of the voice having to trav-
erse different steps in the musical scale either in ascending or descending.

150. The general musical scale of the Gregorian chant has already been ex-
plained (II, 130). It may have been noticed that the series of notes is repeated
two or three times. A knowledge of how to sing a series of seven or eight notes
in succession is enough to enable one to execute the full scale. The long series
of fifteen to nineteen sounds (see Fig. iii) is not found in its whole extent in
every melody. The notes of which it is composed can be used to form eight
scales or modes, which will require fuller study farther on.

For the first lessons and practices on intervals the first of these Gregorian
scales only should be used. It is to be preferred to the modern scale, because it
will accustom the ear from the outset to the progressions and final cadences of
the liturgical music.

It comprises eight notes, and runs from r^ (D) to r^ (d). It admits of a
supplementary note in ascending, the mi, and of a supplementary note in de-
scending, the do; its final note is re (D).

* " Intervallum est soni acuti gravisque distinctio." Boetius.
Cf. H. RiEMANN, op. cit., at the word " Intervalle."

70 CHURCH MUSIC.

^ TONE \i, TONt

(-»-)

(do) re mi fa sol la si do re (mi)
Fij. 126

% TONE '^ TONE K TONB

S— r"^r-^,-=—

LA SI SI DO
Fig. 137

151. There are several kinds of intervals: e. g., the second, the third, the
fourth, the fifth, the sixth, and the octave.

ii. Interval of a Second.

152. When notes regularly succeed one another without leaping over a single
step in the scale, i. e., when they proceed by adjoining degrees, the relations of
pitch by which they are connected are called Seconds.

This interval is called a Second because it comprises two successive degrees
in the scale.

153. In the Gregorian chant there are two kinds of seconds: the major
second, consisting of a full tone, and the minor second, consisting of half a tone.^

In the scale already given above the half-tones occur between mi and fa, and
si and do. Between the other notes there is the interval of a full tone.

When the si is flattened, the semi-tone falls between la and si ^, and there
is a full tone between ji-flat (B j^) and do.

154. How to Use the Exercises. — The following exercises should be executed
in three ways or in three degrees:

(a) Rhythmical Reading. — This consists in a precise analysis of each rhythm
represented by the wavy chironomic line above the stave. The pupil should read
the notes zvithout singing them, accurately reproducing the rhythmical movements
with his hands (see 156 below)."

(b) Solfeggio. — The solfeggio should follow the rhythmical reading. To
sol-fa is to name each note — do, re, mi, fa, etc., singing each note with exact
trueness of pitch and of rhythmical value — both as to duration and intensity —
shown in the notation.

(c) Vocalisation. — To vocalise is to substitute a vowel-sound for the name
of the note. In order to pass from the Solfeggio to Vocalisation the same mel-
odic exercises should be used, omitting the consonant from the syllabic name of

^ Modern music has also the augmented second : do — re tt made up of a tone and half-
tone; and the diminished second: do ti — re (7, of which the sounds, according to tempera-
ment, are identical.

•> "Hanc (aequitas canendi, r}^hmus seu numerus) magistri scholarum studiose inculcare
discentibus debent, et ah initio infantes eadem aequalitatis sive numerositatis disciplina in-
formare, inter cantajiduvi aliqua pedum mamiumve, vet qualibet alia percussione numerum
instruere; . . ." Geebeet. Script. I. p. 228.

GREGORIAN RHYTHM. 7 1

the notes : e. g., instead of singing do, re, mi, fa, sol, la, si, sing 0, e, i, a, 0, a, i.
Then the singing of each vowel should be practiced separately: a being taken
first as being the vowel most convenient for the execution of sounds. Then the
other vowels should be taken in succession : o, ^ as o in say, e as ^ in met, i as
in machine, 6, o^ u as 00; and lastly, each note should be sung to a particular
vowel. ''

The utterance of the vowels should be made in accordance with the pro-
nunciation of them in the Italian style, as shown hereafter in Part III.

Next, consonants may be prefixed to each vowel, forming such syllables as :
La, le. It, . . . ma, me, mi, . . . pa, pe, pi, . . . etc.

155. Intensity in the Exercises. — Great care must be taken as to the increase
or diminution of intensity. It is this which is the life of melodies.

General Rule : Intensity increases with a rising melody ; it diminishes with a
falling melodic movement. This is the natural progression.

This rule applies particularly to sections and phrases. Some of the follow-
ing exercises which are merely composed of a few brief incisa have too little dis-
tinctive character to demand a special type of intensity; they are susceptible of
taking several different kinds. This absence of rigidity may be taken advantage
of to sing them with various forms of intensity. Take, for instance, the first ex-
ercise of No. 157.

(a) Diminishing dynamic
movement.

F2]i{. 128

(b) Increasing dynamic
movement.

a - e

Fig. 129

a-e-i, a-e-i;

H^. 130

'' This step is suggested with some reserve ; in teaching vocalisation every teacher must
follow the system he finds the best according to experience. I have often observed that very
different methods lead to excellent results when they are intelligently used.

72 CHURCH MUSIC.

(d) Varied mixture of all these dynamic movements.

Thus, for the same exercise the following dynamic progression should be
practised :

a e

f^i^- '3^

It consists in uniting two of its elementary rhythms into an incisum by
means of a single dynamic movement, first crescendo and then diminuendo, the
climax of the intensity culminating on the arsis of the final rhythm.

In short, the teacher has to contrive to make the student master the handling
of intensity, thus teaching him to phrase even when he is beginning with the
simplest melodies.

156. Chironomy or rhythmical Gestures.

(a) Simple or elementary Rhythms. — The gesture must be exactly like the
figured line, showing the elan and the repos.

(b) Compound rhythms: Incisa and Sections. — From the beginning, rhyth-
mical gestures of compound beats (I, 180) may be employed. Then the hand
describes linked curves, the binding knots of which will correspond with each
rhythmical ictus (I, 180, Fig. 112).

(c) When this manner of marking the rhythm has been learned thoroughly,
rhythmical chironomy for incisa or sections may be proceeded with, as being an
advance upon the foregoing.

Remember the fundamental principle : the hand has to reproduce by gesture
the melodic and rhythmical curves of the music: an elan in the melody and in-
tensity will be exactly represented by an arsic movement of the hand ; a melodic
and dynamic fall by a thetic or falling movement of the hand.

The application of these rules will be found in the exercises. There are
some doubtful passages where the arsis or the thesis may be used with indififer-
ence : they will be noted as they occur. The chironomy will only be shown in
its entirety in the transcriptions into modern music.

Herewith are only to be found two or three exercises for each interval : but
to complete the instruction the "Gregorian Solfeggio," which is to be a sequel
to this course, must be used. Therein both examples and rhythms will be multi-
plied in all the Modes.

ODES TO ORGANISTS.

ii\lijVLA.T a strange thing it is," remarks the (London) Musical Times (De-
VV cember, 1907), "that no one seems to have written an ode to an
organist. There are odes to music-makers of all sorts — nightingales, skylarks,
and even organ-grinders:

ODES TO ORGANISTS. 73

Grinder who serenely grindest
At my door the hundredth psalm,

as Calverly sings, but not a single ode to an organist. Organists are among the
best known, and sometimes the best beloved, of the purveyors of music to the
community. Why should they be overlooked? The subject seems a fascinating
one. Might not the ' Ode to an Organist ' open in this manner:

O thou ! who, perched upon thine oaken seat,
Dost trample mighty Bach beneath thy feet " —

and further deponent sayeth not.

But is the Musical Times serious or sarcastic ? There seems to be a vein of
levity running through the last line of the suggested opening of the Ode; and
the sudden closing of the couplet leaves a suspended nominative (together with a
clause in apposition) without a verb, reminding one of the suspended limericks
that go about in the newspapers to-day offering a prize for the last line that shall
appropriately complete both the stanza and the nonsensical content thereof. I am
reminded also of a certain professor of English who was no poet, but who ad-
mired poetry and endeavored to cultivate a sense of rhyme in his students. He
would therefore write the first two lines of a quatrain on the blackboard, and
look to his pupils for the rhymes and the completed sentence. Here is one of his
exercises (he went to nature for his subjects!) :

A cloud is in the sky,
A fly is on the pane —

a couplet which one of the boys completed thus :

The sun came out and looked about
And said : " We'll have some rain."

The youth who excogitated the ending lines of the quatrain informed me
afterwards that his professor appeared to be displeased at the ingenious supple-
ment offered. Alas! who can foretell the mind of a professor?

But I am strongly tempted to meet the wishes of the writer who desiderates
in our English literature an Ode to the Organist, and to write such an ode. In-
deed, I will write two odes — one serious and one satiric — and I will ask him (and
any reader who may honor my muse by a perusal of my verses) to choose which-
ever one may please him.

It is permitted to a poet to preface his verses with prolegomena, and to
accompany them with annotations. My only further prolegomenon shall be this:
that while the couplet suggested as an opener to the Ode is in approved penta-
meter Popeian verse, something — a subtle instinct more powerful than I, perhaps
some disembodied Hudibras — has led me into iambic tetrameters. Prosit omen!

74 CHURCH MUSIC.

I. THE IDEAL CHURCH ORGANIST.

A goodly theme I shall essay —

The organist who plays to pray!

Who, ere he seek the organ-loft,

Hath worldly recollections doffed;

In whose clear mind and generous heart

No room is found for tawdry art ;

Who would upon the altar lay

A gift unsoiled by human clay —

Soft harmonies that but aspire

To echo here the heavenly choir

And build, for earth-borne souls of men,

A stair of song to heaven again.

No vanity in him hath part :

His art is to conceal his art.

Nor let the worshipers below

Surmise how much their prayer doth owe

Of warmth and glow and pious cheer

To the forgotten player here.

And constantly the healing balm
Of holy chant or solemn psalm
Falls on the wounded souls of earth
And quickens them to holier birth.
No mimicry of opera-nights
His deeply reverent heart delights,
Nor will he tempt the yielding keys
To mangle earthly symphonies.
Nor will he mingle with his hymn
Earth-echoes howso faint or dim :
The melodies his heart have stirred
Alone in God's own House are heard.

A Priest of Art, his song is prayer :
So — let us leave him praying there !

From grave to gay — from serious to satiric — my next theme in verse shall
be no such rara avis as my weak muse has tried to sing. But the satire is meant
to be serious, and the gayety cannot disguise the gravity of the fact.

II. THE REAL CHURCH ORGANIST.

But when you go to church, I fear,
The real organist you'll hear.

His name is legion. First of all,
He tries to make a concert-hall

ODES TO ORGANISTS. 75

(Twice every Sunday) of the church
On whose front wall he's paid to perch.
So, when the troubled spirit flies
To church as to a Paradise
Where earth at last for one brief hour
Yields unto heaven its constant power,
Where pilgrims would at Jacob's Well
Rest wearied for a breathing-spell —
'Tis then and there that, from without,
Earth rushes in with clamorous shout
And tries with opera-motifs
To heal an earth-galled spirit's griefs.

The opened portals seemed to say :
" Enter, thou sickened heart, and pray !"
'Twas but a piece of humor rare;
For, from his coign of vantage there,
The organist cries out:

" To-day,
Just step inside and hear me play !"

He doesn't speak; but his intent

Is plain without experiment ;

And in his playing you can hear

His monologue, in accents clear :

" Preludes? Pve got enough to swamp a

Ship: the Overture to Zampa

On ordinary feasts goes well ;

On great ones, that from William Tell.

Processionals? Well, if you need a

Strong one, I can give Aida;

But you will find it hard to mate a

Huguenots or ZauberRoete.

Interludes? Why, bless your eyes,

I nearly always improvise:

I've got a knack that way, you know.

Prepare my themes beforehand ? Oh,

I just sit dreaming on my seat

And weave the harmonies with feet

And hands ; and if at times a chord

Goes wrong, there's here no pedant-board

Of critics; or if the progression

Would stand condemned in any session

Of boys at the Conservatory,

I let it go. Who'll tell the story ?

76 CHURCH MUSIC.

" Sometimes I drop my melody
To play from notes or memory ;
And if the music gets too dry
I break into the Trauemerei
Or some such stand-by, or a strain
Or two from that sweet Once again
Of Arthur Sullivan's, or get
A theme from Mozart's Minuet.

" Thus — be the movement grave or gay —

I'm playing always, I may say.

I never let a moment plod

Silent in the House of God,

For I dislike a Service dull ;

And so I fill up every lull

With melodies and harmonies

Devised as quickly as you please."

Thus cries the organist from his perch.
The open portals of the church
Had promised moments all too rare.
Of praise to God and peaceful prayer —
A quiet nook, a garden-spot.
Where earthly things might be forgot
And men might glimpse beyond the skies
The far-off heavenly paradise.

The hour designed for prayer is spent —
And man must forth to banishment.
Still unrefreshed; for the drear world
Even here its arms hath round him curled.
He looks aloft, nor shakes his fist
(What patience!) at the organist,
Who, with redoubled clamor loud,
Paeans his triumph o'er the crowd.

Yes, perched high on his oaken seat,
The pedals rumble 'neath his feet.
While his two shuttle-weaving hands
Make noise enough for two brass bands:
No linked sweetness long drawn out,
But blaring sound of battle-shout.
The stops fly out, the stops fly in —
But never stops the frightful din
Until the last stray worshiper.
In shabby shawl or costly fur.
Has gained at length the sunlit street
Where Sabbath silence reigns complete !

H. T. Henry.

THE ART OF ACCOMPANYING PLAIN CHANT.

By Max Springer,

Organist of the Royal Abbey of Emaus, Prague.

Translated from the German by the Benedictine Fathers, Conception, Mo.

(Continued.)

From this standpoint the tonic accent (in syllabic chants the tonic accent
coincides with the word accent and in melismatic chants with the group accent)
is not as important as the oratorical (logical, word accent), or as the pathetic
(intensified oratorical) accent.

In melismatic chants simple text no longer suffices to indicate the relative
value of the various tone groups, the oratorical and the pathetic accent gen-
erally serve to support and to interpret correctly the rich forms into which
the melodic stream is crystallized. Thus it often happens that a completely
developed melodic theme is required to give expression to one single syllable.
In such cases the neums must be divided into principal and secondary groups.
The group corresponding to an emphasized syllable must be distinguished by
its stronger accent from the less important groups. Also the groups follow-
ing a breathing-place, since with it the melody sets in afresh, requires more
emphasis than the remaining groups of the division. The same holds good of
the last group, since it serves to link the elements of the text together and is
generally characterized by a stronger word-accent.

This leads us to a practical conclusion for the organist : In order that
the inner connection of the neums be reflected also in the accompaniment, it
is often better to give the entire passage a common harmonic basis than to
introduce a change of chords on every tonic accent.

52. We must, at least briefly, make mention here of organ-point, one of
the most serviceable forms of accompaniment. Organ-point arises by sustain-
ing the bass upon one tone, while the other parts are allowed to continue their
harmonic movement without regard to the sustained tone. In this sort of
accompaniment even the lightest tone of a group can bear a distinct chord,
as the steady, ponderous stream of tone in the bass form a sufficient counter-
poise to the bright and sparkling flow of the upper parts. How to make
effective use of the organ-point in the accompaniment of Choral is a question
which will occupy us later.

Prolonged Tones.

53. It remains for us to show how the so-called prolonged tones should
be harmonically treated. These may feasibly be divided into two classes :
Combined tones and ritardando tones. Combined tones arise from two or
more successive tones occurring on the same interval. This may take place in
two ways according as the notes concerned do or do not belong to different
neums. In the first case, the combined tone results from the last note of the
preceding neum and the first of the following {Pressns). In the other case
the single note is simply repeated, either one (bisfropha) or twice (tristropha).
Ritardando tones arise with the slower movement that sets in with the last

CHURCH MUSIC.

accented syllable or with the last note-group. Another possible place for a
prolonged tone is the last note before a Quilisma. It is true we have no
definite knowledge as to how the Quilisma is to be rendered. It seems prob-
able, however, that it was sung with the vibrato. If this be the case, and if in
order to obtain the vibrato effect it be necessary to prolong the note pre-
ceding the Quilisma. no objection can be raised against providing this note
with harmonic accentuation.

Also in syllabic chants it will often happen that melodic tones lying on
the same interval may be considered by the organist as one prolonged tone.
The following rules may be laid down for the harmonization of prolonged tones :

1. Every prolonged tone is a convenient point for introducing a new

chord.

2. The harmony zvith which we introduce the prolonged tone should he

retained to the end, unless by a judicious change we can heighten
the general elegance or effectiveness of the harmonization.

73.

a) Et in u-num D6-mi-num Je-sum Christum, Fi-li-um De-i u-ni-

:|^-1^

SJ~J^j"fet

•

■

m m

•

=3=

—J—

- turn.

J 1

b) u -

1 — y

ge - ni -

=9 — i—

turn.

jg^JL-

T
-J-

=J=

— *^=l

«-#-

-•-
1

— ^

lEt

-f-

---r^

\ '

-^ r

^- — — u

The above example needs no explanation. The slight harmonic modi-
fication occurring on the syllable "ni" is due to the effect which the ritardando
exerts upon each single tone of the final cadence. A still better effect may in
many instances be obtained if the second tone be emphasized by an entirely
new chord (b).

THE ART OF ACCOMPANYING PLAIN CHANT.

As the following example shows, a change of harmony {b, c, d, e) often
results in a bright and lively accompaniment, whereas the retention of one and
the same chord would leave it dull and ineffective.
74.

In vir - tu -te tu-a.

s*5i:

:J=r.^:

jozjaE

M. • -

r — r r r r

^=g^^

^ "cr f

-r

Example 74 speaks for itself. Still greater care in the accompaniment is
required when the series of notes on the same interval becomes more numerous
or is interrupted by only one tone.

CHURCH MUSIC.

Such a series of tones occurs in the Psalm verse of almost every Introit.
76.

Be-a-ti im-ma-cu-la-ti in vi-a, qui am-bulant in le-ge Do-mini.

=ca^

-J.

^N=s=p^

3l^

-J-

Quam di - le - eta ta-ber-na-cu - la tu - a Do -mi - ne vir-

rni

f — r
j ii

-tr— t-

r — ^r~f

.P !

fj 3 ■■■■■■■■■

M ri

iM'

tu - tum!

Con - cu - pi-

scit

de - fi-cit a - ni-ma

=i. ■

24'-

=^-f-

PP h

-p 1'-

-n-^Rr-^

me - a in a - tri - a Do - mi - ni.

fe^-J_L-J^^

1=^^=53=1:

^.^^

J J J

r-T

THE ART OF ACCOMPANYING PLAIN CHANT.

We will give more definite instruction on accompanying the psalms and
other recitative portions of the liturgy.

There is one case, however, where two notes of the same pitch cannot be
treated as a prolonged tone. This occurs whenever the second tone carries the
tonic accent. The reason for this is evident, since such a treatment would be
directly opposed to our fundamental rule. The accompaniment in Ex. 77, b.
is at least tolerable, since the tonic accent on the syllable "se" is given sufficient
prominence by the simultaneous entrance of the harmony. As has been already
observed (Ex. 73) each single tone in a final cadence is to be provided with a
distinct harmony.

77.

Qui se-des ad de-xte-ram Pa - tris.

a) bad

b) tolerable

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CHURCH MUSIC.

In regard to final cadences in which the obhgatory ritardando and the con-
sequent prolongation of tones demand a change of chords over each note, another
remark must be added. This rule of giving a distinct chord holds good, not only
of the accented note, but especially of the last syllable of the text. Thus the
accompaniment in Ex. 79 is not commendable ; it afifects us like an imperfect
cadence, like a final cadence setting in on the fourth beat of common time and
closing on the first beat, a very unsatisfactory and ineffective form of cadence.

79. Not good

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mi - ni.

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Ex. 79 under an improved form, will appear as follows:
80.

in ex - eel - sis.

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THE ART OF ACCOMPANYING PLAIN CHANT.

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CHURCH MUSIC.

A careful study of Ex. 80 will teach us, more clearly than words can, how
to overcome the deficiencies of the accompaniment in Ex. 79. We see what good
effect can be produced by suspensions, passing notes, change of chords, etc.

We have yet to show how in the accompaniment of neums adequate ex-
pression may be given to the delicate rhythm that characterizes these figures.

CHAPTER XVII.
Rhjrthmic Harmonization of Note Groups.
A. Harmonic Means of Accompaniment.

54. In groups of two notes the tonic accent rests on the first note, to which
in consequence the second note is subordinated. Various means are at the dis-
posal of the organist for giving expression to this subordination.

The second note, considered in its relation to the common bass, may be :

1. A skip to another interval of the same chord. Such tones are known
as bye-tones.

81.

i=3=^

^^=LA

The notes marked by an asterisk are bye-tones.

2. A connecting link between its own chord and the one immediately fol-
lozving, if it occur on the same interval in both.

82.

3. The sixth of a chord of the sixth, when it proceeds conjunctly from the
fifth of a triad.

83.

:^^

THE ART OF ACCOMPANYING PLAIN CHANT.

4. The fifth of a triad, when it proceeds conjunctly from the sixth of a
chord of the sixth.

84.

(No. 4 is an inversion of No. 3.)

5. A seventh, major or minor, descending conjunctly from the octave. The
dominant seventh, being too soft, should be exckuled, or at least
be employed but seldom.

85.

:i=-^

to be avoided

6. The sixth of the first inversion of a collateral seventh-chord.

a) * I b) not good ^

In order that all the intervals of the inverted seventh-chord may appear, the
third of the first chord should be doubled. Ex. 86, b sounds badly
because the fifth is wanting, and the third is doubled. It will not
happen very often that the second note can be treated in this man-
ner.

7. A skip to the minor seventh of a collateral seventh-chord. Here too the
dominant-seventh is to be avoided. The skip to a major seventh
should be made use of but seldom, and then with great caution.

87.

CHURCH MUSIC.

B. Non-Harmonic Means of Accompaniment.

55. In the modes of accompaniment so far mentioned each group has a
common bass, common tenor and common alto. When, however, it seems de-
sirable to render the progression of parts more rich and lively, and the danger
of overloading the unaccented note can be avoided, it will be advisable to allow
either the bass or one of the middle parts to progress with the melody.

Another characteristic of the modes of accompaniment mentioned above is,
that each group-tone is always an element of a distinct chord. This does not
hold good of the two following modes.

Suspensions and anticipations though dissonances, do not yet contribute to
form a dissonant chord and are, in fact, elements of no chord whatsoever. They
play an important role in Choral accompaniment, particularly in the middle
parts, since they enable the organist to imitate the unity, vivacity and ornament
of the text. They deserve, therefore, somewhat more attentive consideration
and more extensive treatment.

Suspensions.

56. A suspension, as is well known, is a note which, having formed an
essential part of a chord upon an unaccented beat, is sustained or repeated over
a second chord which occurs upon an accented beat, of which second chord the
suspended note forms no part whatever.'

In making use of suspensions the following rules should be observed:

A suspension must be prepared in the same part ;

It resolves upon an unaccented heat by descending one degree {or,

rarely, by ascendifig one degree).
The note which forms the resolution should not be present in any other
part except the bass.
4. Parallels in the octave do not become permissible even when delayed

by a suspension.
Suspensions may occur before the third and the octave in all the parts.
They should, however, be employed but seldom in the soprano or in the bass,
since in the first case, it is too liable to disturb the singer ; in the second it gives
too dissonant a character to the entire chord.

Suspension before the octave.

Mansfield, The Student's Harmony, p. 135.

{To he continued.)

Missa

in honorem Sancti Augustini.

Kyrie. max HOHNERLEIN, Op.40h

Moderato

TREBLES.
TENOR.

BARITONEJ

(Bass.)

SUPPLEMENT TO "CHURCH MUSIC"

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IHE BOSTON DIOCESAN MUSIC COMMISSION. 87

THE BOSTON DIOCESAN MUSIC COMMISSION.

ADDRESS BY ARCHBISHOP O'CONNELL.

THIS first meeting of the Commission of Church Music of the Diocese of
Boston is an act of (tardy) obedience to the injunction of the Supreme
Authority of the CathoHc Church. More than three years ago the Sovereign
Pontiff, the Supreme Head of the Church, by solemn letters, promulgated in the
most solemn form, having the force of lav^^, decreed " by the fulness of apostolic
authority," that henceforth certain well-defined regulations dravv^n up and clearly
set forth by himself should be strictly observed regarding the music which con-
stitutes an important part of the solemn acts of worship of the Church.

From that moment no Catholic was free to discuss the matter. To so solemn
an utterance or injunction from him whose ofifice it is " to provide for the sanc-
tity and dignity of the temple in which are offered the most holy mysteries " the
Catholic had but to listen and obey.

"Among the cares," thus reads the letter, "of the Pastoral office a leading
one is without question that of maintaining and promoting the decorum of the
House of God." The Church is a perfect society, its object is the sanctification
of men. Among the chief means to this end is the Holy Sacrifice of the Mass
and the solemn acts of religious worship offered up in the temples of the true
God. Everything which pertains to that worship comes under the sacred author-
ity of those placed by God's Providence to rule and govern His Church. Every
stone in the altar, every movement of the priest and the assisting clerics, the very
form of the edifice itself must be in accord with those regulations by which the
decorum of God's House, the beauty of His service, the dignity of His worship
are scrupulously regulated. Nothing which forms a part either of the edifice or
much less of the sacred liturgy can evade this watchfulness, or can claim inde-
pendence of this vigilance. The Church is the Palace of the King of Kings.
The liturgy is the solemn ceremonial which governs that Court. The tabernacle
is His Throne and the celebration of the Sacred Mysteries is an act of public
homage in His divine presence.

All this is the simple enunciation of Catholic belief. Since the chant is an
important part of this ceremony of homage it naturally partakes of the sacred
character of the liturgy which it voices. As the form of the temple differs from
that of the theatre and the concert-hall, so, too, must the form of church music
differ radically from that of all other- music, however beautiful it may otherwise
be. It partakes of the solemnity, the majesty, the holiness, the spirituality of the
Sacred Mysteries, and must, therefore, have a character apart from all other kinds
of music — something which stamps it at once as sacred both in form and rendi-
tion. The words must conform to the office celebrated and the music itself must
harmonize with the sacred text. It is not a thing apart — it is a part of the liturgy.
To see that this becoming unity and dignity of sacred ceremonial is rigidly ob-
served is one of the stringent duties of the Church's rulers — and when they fail,
then the Supreme Ruler of the Church must in duty warn them and direct them.
This by the Motu Proprio of 1904 is precisely what happened.

ECCLESIASTICAL MUSIC MUST AID DEVOTION.

No one now doubts that in the matter of ecclesiastical music the gravest

88 CHURCH MUSIC.

abuses existed when at last Pius X spoke. How these abuses crept in is a matter
of history. The Holy Father himself alludes to it when he says in the letter that
the very nature of the art of music, fluctuating as it is, the succeeding changes in
taste and habits in the course of time, the fatal influence exercised on sacred art
by profane and theatrical art, the pleasure which music produces, not easily con-
tained within just limits, and lastly, the prejudice begotten by false taste and
ignorance of the true canons of art — all these causes created a general tendency
to deviate from the right rule, by which art has a place in public worship. Art
is not an essential — it is a help. If admitted into the sacred precincts of God's
House it must be pure and elevating. These are the conditions. When observed,
art assists worship. When ignored or debased, then better banish it. Worship
is the essential. Nothing must interfere with that — nothing must enter or have
place in the sacred temple which may disturb or diminish the piety and the devo-
tion of the faithful. Better far no music during the sacred offices than that which
profanes the House of God, because either it belongs to mere profane pleasure
or is not music at all.

Again and again, those set over the Church to guard its sacred ceremonies
have raised their voices against growing abuses. As far back as the Council of
Trent we hear the cry of disapproval of music unfit for the Church. Alexander
VH in 1657, Innocent XII in 1692, Benedict XIV in 1749 kept up the protest.
By solemn decrees the Sacred Congregation of Rites resounded the warning,
through letters to individual bishops and by general instructions to the whole
Church. But the wave had grown to such proportions that nearly the whole
world of composers and directors had been engulfed. Almost had the memory
of the great masters of ecclesiastical music passed. A few loyal souls, whom the
false atmosphere could not pervert, kept alive the sacred fire. Nearly all had
succumbed to what the Pope calls the fatal influence of profane music in the
Church. The choir-master, or better with us, the organist, ruled supreme in a
matter which really was no more subject to him than the candles on the altar.
The priest at one end in the chancel, the organist at the other in the choir — these
two separated, if not divided, heads in what should have been preserved as a
sacred unit went each his separate way — the music and the liturgy were rent in
twain and between them the solemn dignity of God's worship all but perished.

Then arose the voice of Pius. The time had come when abuse had become
audacious. And nothing could be clearer proof of this than the spirit in which
in some places his sacred mandate was received. The music, once a part of the
sacred liturgy, had been permitted to grow away from it. What more natural,
then, than the conceit that it was not subject but equal to it? The ceremonies of
the altar were, of course, to be governed by ecclesiastical legislation. But the
music — that was no longer a part of the service. It had a law to itself — long
toleration had given this position not only strength but stubbornness. It cavilled
at the Motu Proprio ; it sought plausible pretexts for exception ; it diminished its
importance — in a word, it did all that a rebel caught in the ranks usually does —
revile and even defy. I repeat, nothing more conclusive than this spirit of irrev-
erence, not to say disobedience, to a papal decree could possibly be adduced to
prove that which the Pope asserted: that the music tolerated in the churches
against the Church's laws had produced fatal results.

LETTERS TO THE EDITOR. 89

The Holy Father, unmoved by stubbornness, as by excusing pretexts, only
repeated his solemn instructions. He had proclaimed no new law. He had only
reiterated the many repeated injunctions of his predecessors. In a word, he had
voiced the sentiments of the canons of the Church, and at the same time and as
well the canons of true art. Both are changeless, and so the Motu Proprio will
not change — the music must. You are constituted to enforce that law : first of
all, by your own example ; and then by study of conditions, of music, of the
competency of organists and directors, little by little to see to it that the spirit
of the Church is observed in this important part of her service. Your work is a
sacred one — the dignity of God's worship. Set yourselves seriously to the task.
Prompt, glad, and entire obedience to the command of Christ's Vicar will bring
its reward to the diocese and to yourselves.

Jletttrs to tlic iSliitor. <

I . Ajije^ijt^^r^jn nja i

THE PRESENT STATUS OF PLAINCHANT IN EUROPE-
THEORY AND PRACTICE AT APPULDURCOMBE.

To THE Editor of Church Music.

In obedience to your request, I shall give my impressions of musical condi-
tions as I found them during my recent European trip. I think that my obser-
vations should carry some weight inasmuch as I tried to make the investigation
thorough and complete, and visited most of the cathedrals, monasteries, and
musical schools of Europe which have made a name for themselves among
church musicians.

In this first letter I shall limit myself to the consideration of plain chant.
As I had been sent to Europe principally for the study of the traditional chant,
reestablished by the now famous legislation of Pope Pius X, I naturally expected
to find an even greater zeal and concern about it in Europe than in America,
which is still counted among the missionary countries. But bitter and keen was
my disappointment — everywhere, but particularly in Germany, Austria, and
Switzerland. It seemed to me that on all sides I encountered either positive
apathy or at least manifest lack of sympathy with the reformed chant! If they
did not declare in so many words, they certainly said indirectly and covertly,
though always respectfully : " We have sung plain chant from the Medicean edi-
tion, and sung it well, until the Motu proprio of Pope Pius X fell upon us un-
awares like a bombshell and blasted all our ambition, all our love and interest in
the chant." Instead of rejoicing over the revival of the Gregorian chant, they
seem to smart and sulk under the action of the Pope. It is a sad state of affairs.

For thirty years Germany has been leading, and successfully too, the move-
ment for the reform of church music. And now at the very moment when the
common father of Christendom adopted their reform ideas for the whole Church
and took the banner of reform from their hands to lead in person the reform
forces to certain victory, Germany balked and failed to follow the leader whom

CHURCH MUSIC.

it did not choose; and it may chance that by its restiveness it will jeopardize
the success of the whole movement. Of course, in the abbeys of the Beuron
Congregation and in a very few of the cathedrals (notably in that of Strassburg)
the traditional chant is cultivated with zest and love ; but these are green places
in the desert. The reform has not spread — and will probably not spread — to the
country in general, owing to the inaction and indifference of the German Csecilien-
verein. In justice to the Kirchenmusikschule of Regensburg (directed by Dr. F.
R. Haberl) I will state that the traditional chant has received a good share of
favorable comment from the professors of the school, particularly Dr. Enderle,
Dr. Weinmann, and Dr. Bauerle. It must also be added that the Benedictines of
Beuron, under the leadership of two very able men, P. Gregory Molitor and P.
Dom. Johner, have recently started a two years' course in church music, with
plain chant as a special feature. But no reform movement will get a hold on the
masses unless it be organized — and well organized — in every town and hamlet.
And as long as the Csecilienverein, with its splendid organization, stands aloof
and practically boycotts the reform by its method of passive resistance, the re-
form will not succeed, at least not in Germany or wherever the Verein is a
potent factor.

There is still another source of grief for the American student of plain
chant in Europe: the reform forces themselves are divided into a Solesmes and
an anti-Solesmes faction. Whatever good these scattered reform forces might
have accomplished, and did accomplish without the aid of the organization of
the Caecilienverein, has been almost completely destroyed — ramparts, bulwarks,
and all — by quarrels and quibbles in the reform camps.

The most remarkable thing in this connexion is that some of the men whose
names have resounded from one end of the world to the other in the controversy
against Solesmes have accomplished nothing in the practical reform of the chant.
If, in visiting the abodes of some of these standard-bearers of the anti-Solesmes
forces, you expected to hear well-drilled choirs which would give you model
performances and show you how the thing is done, you were doomed to disap-
pointment. But, then, it has always been easier to censure than to " do the
thing," and the crop of critics has always been more plentiful than that of quiet,
steady, practical workers.

It has been a practical source of wonderment to me how little known, od
rather, how absolutely unknown, is the practical manner of singing, as employed
by the Solesmes Fathers. The' fame of their PaUographie Musicale has spread
everywhere ; their books are found everywhere ; their ideas on rhythm are read
everywhere. But the manner in which these theories are translated into practice
by the Solesmes people is almost entirely unknown. And yet it is almost as true
in our days as it was in the days of Charlemagne that plain chant can be taught
only by oral demonstration, based on theoretical instruction, and not by theory
alone. Books are aids, not teachers. The Solesmes system of rhythm can as
little be learned from the PaUographie Musicale, and other publications of Soles-
mes, as dentistry, surgery, the art of elocution or voice culture can be learned
from books alone. As the students of painting and sculpture flock to Rome, the
pianists to Leschetizky in Vienna, the violinists to Sevcik in Prague, the organists
to Guilmant in Paris, the students of composition to the Meisterschule in Berlin,

LETTERS TO THE EDITOR. 91

SO the students of Gregorian music — and their name should be legion, to judge
from the controversies in the papers — ought to go to Appuldurcombe.^ It is
ridiculous to sit in judgment over these past-masters of the Gregorian art with-
out giving them a fair hearing; to condemn the Solesmes method of singing
without studying it there where it is sung, at Appuldurcombe, on the Isle of
Wight. It is as ridiculous as it would be to judge and condemn a Richard
Strauss without hearing him, and hearing him repeatedly. For prejudices of long
standing are not generally overcome by one single hearing. What do the
critics of Strauss condenm? Is it really Strauss, or is it not rather their own
preconceived idea of him? They measure him by their own limited size; they
weigh him by their own standard ; they judge him by their own rules, by their
own personal conception of beauty. They have a law, and by that law he must
die. Exactly so it is with the foes of Solesmes. They call the singing of the
Solesmes monks monotonous, efifeminate, void of strength and character. But
how many of these belligerent critics have heard them repeatedly, and sine ira et
studio/ Whilst I was studying at Appuldurcombe a certain German, an ardent
adherent of the Caecilienverein, appeared at one office and was ready with the
verdict : " I cannot see any beauty in that singing." And I should not be sur-
prised if that German visitor of one day would, at the next convention of the
Caecilienverein, condemn with the air of an expert — expertus potest dicer e — the
whole system of the poor men of Solesmes who have made plain chant their life-
study and who, with the ardor of enthusiasts, strain their whole energy and
attention upon that one task, the opus Dei — that is, the service of the Most High
by means of the sacred liturgy and the revived chant of the ages of faith — who
possess now the accumulated learning of all the great intellects of Solesmes,
from Dom Gueranger down to Dom Mocquereau.

What characterizes the singing of the Solesmes monks is the sweetness of it
all. It is warm and devotional, yet not sentimental and emotional ; expressive
of the text, yet not dramatic ; virile, yet not rude ; noble, but not proud ; refined,
but not fastidious ; modest, but not faint-hearted ; delicate, but not sickly ; poetical,
but not vague ; attractive and pleasing to the ear, but not absorbing the attention.
The shading and delineation are clear and marked, but never excessive and ob-
trusive ; the rhythm is free and natural, like that of a well-rounded Ciceronian
period of speech, or the ocean waves — in a word, their singing is both musical
and religious, the soft undulations of sound filling the air as with frankincense.

The work of these monks has not merely been the unearthing of an anti-
quated, soulless form of art and placing it in the sanctuary, as you would place

1 Students are sent from one end of the world to the other to hear the lectures of
this or that famous professor of biology, history, or higher criticism. But how many
institutions of ecclesiastical learning think it worth while to send students to Appuldur-
combe Abbey, made so notable among the schools of Gregorian Chant by the presence
of that famous author of the Paleographie Musicale and undisputed authority on all
matters concerning Gregorian chant, Dom Mocquereau, and his associates? Religious
orders send their talented young men to all universities and art schools to study Sanskrit,
paleontology, astronomy, heraldry, and the masters of the Umbrian school. But how
many are sent to the one High School of the liturgical chant? Is. then, the study of the
chant of the Church less important for religious communities than the study of secular
branches ?

CHURCH MUSIC.

there a statue from Herculaneum or Pompeii ; but they have called the dead form
to life again and breathed a soul into its body. The chant of antiquity which
they resurrected is not a dead language to them, but lives with them. You may
dispute with them as to the rendition of certain passages or neums, just as the
great conductors will ever disagree as to the execution of certain passages in
the musical classics. These conductors could not agree, even if they would ; and
if they could they would not be artists, but automatata.

There is a subjective element in plain chant, as in every art. It allows many
dififerent shadings of interpretation, and they may all be correct. For this reason,
there may be dififerent schools of plain chant, as there are dififerent ways of in-
terpreting Palestrina. Palestrina is differently rendered by the Cappella Sistina
under Perosi, by the Domchor in Regenburg, by the imperial Domchor in Berlin,
by the Schola Cantorum in Paris, and by the Westminster Cathedral choir, and
yet every rendition has its own charm, is its own justification. For every dififer-
ent rendition brings out and accentuates dififerent charms of the composition,
just as varied illumination will bring out dififerent colors in a painting. Wein-
gartner and Nikisch interpret dififerently Beethoven's Ninth, and it is this very
(lifiference of interpretation which makes the rendition more interesting and
attractive and saves it from being leveled to a mere automatic orchestrelle per-
formance. Henry Irving and Edwin Booth gave dififerent shadings of accen-
tuation to Shakespeare's line " To be or not to be," and neither of them thought
of monopolizing the right of interpretation to himself. A Frenchman and a Ger-
man and an Italian will never sing plain chant exactly the same way, because they
bring to the task a dififerent temperament, and hence a dififerent mode of ex-
pression.

When I came to Appuldurcombe I expected to find strong partisans of the
so-called Solesmes school, but I found very broad-minded men — men willing to
listen and make concessions as long as you left the principle intact. They freely
admitted that you might group certain neums in this way or that, as you chose ;
that you might place the ictus here or there, as you preferred ; they extolled the
merits of Dom Pothier and spoke highly of the Vatican edition, saying that it
was the best existing, even though not the best possible edition. They did not
commit themselves to any particular accompaniment of the chant, and left the
whole question to the decision of professional musicians, as long as the melodic
flow was not impeded and the rhythm not destroyed. As to rhythmical signs,
whilst they maintain the necessity of some rhythmical subdivision — for what is
music without rhythm? — they do not pin their faith to that one form of rhyth-
mical sign which they have adopted. We were given general principles in the
school, showing how to subdivide the notes and neums ; but in the application of
these principles we were allowed the greatest freedom.

I claim, then, that the men of Solesmes are little understood, or rather, are
grossly misunderstood ; that their system, as laid down in the Paleographie, i?
more talked about than studied ; and that their practical method of singing is
almost entirely unknown, and is bound to be misunderstood by those who de-
pend for their knowledge solely on Solesmes books, not on Solesmes teachers.

In my next letter I shall endeavor to describe the condition of polyphonic
church music in Europe. Dom. Wadenschwiler, O. S. B.

Mount Angel, Oregon.

LETTERS TO THE EDITOR. 93

THE PAULIST CHORISTER SOCIETY OF CHICAGO.

To THE Editor of Church Music.
Sir:

I am sending you a program and some press comments on the oratorio con-
cert sung by our society on Dec. lOth. It seemed to be the unanimous opinion
that the choristers proved eloquently the usefulness of boys in oratorio. The
arias were all difficult, and were given an interpretation by the boy-soloists that
would reflect credit upon artists of reputation.

The boy-choir movement seems to be growing more popular, and we feel
confident that in a few years Chicago will recognize the full truth of the claims
our society makes in favor of the boys vs. women as interpreters of sacred music.

W. J. Finn, C. S. P.

Chicago, III.

[Church Music is rejoiced to find Father Finn continuing in Chicago the
splendid work of teaching by object-lessons, such as he had previously inaugu-
rated with great success in Washington. There is still in Catholic musical circles
much misapprehension as to the capabilities and musical quality of boys' voices.
Public concerts by chorister boys are the most interesting demonstration possible
of the claims put forth for boys as substitutes for women in our choirs. The
program of the concert is printed in the " Notes " of this issue. — Editor.]

THE "LAUS TIBI CHRISTE " AFTER THE GOSPEL.

To THE Editor of Church Music.
Sir:
I think I have read somewhere in Church Music that the Laus tibi, Christe
occurring after the Gospel should not be sung by the choir. I have heard an
opposite view expressed. Will you kindly inform me as to the correct practice?
I enclose a program of music for Christmas. It is but a step in the right
direction, but we hope to do better later on.

D. C. Young, Director.
Port Jervis, N. Y.

Ansiver. — Laus tibi, Christe should not be sung by the choir. It has been
a custom in some places to have the choir respond thus ; and indeed, in an old
edition of the Baltimore Ceremonial (1865, p. 525), the words are placed to a
monotone in plain chant notation immediately after the notation of the Gospel.
How general this practice is or was we do not know. It has no support in the
rubrics of Solemn Mass ; the various manuals of Gregorian Chant make no men-
tion of it, and provide no notation, therefore, for it; the liturgists do not speak
of it — and their silence condemns it ; the recently issued Toni communes Missae
of the Vatican edition provide no chant for it and make no mention of it, as they
would do if it were to be sung by the choir. All this is conclusive proof that the
practice of singing it has no proper authentication and should be discontinued.

CHURCH MUSIC.

Monsignor Wallis, Master of Ceremonies for the Diocese of Westminster, Eng-
land, contributes to Mr. Terry's volume on Catholic Church Music the sections
relating to ceremonial in Book IV, and there we read (p. 124) that the choir is
to "(8) Make the responses before the Gospel. (9) After the Priest has in-
toned the words Credo in unum Deum, continue from Patrem." Mention is made
here of the responses before the Gospel, while nothing is said of any responses
after the Gospel.

What is said above of the Laus tibi, Christ e applies also to the Deo gratias
after the Epistle. This response is not to be sung.

Church Music felicitates the Director on the " step in the right direction "
manifested by the Christmas program of music, which comprises a full liturgical
musical service for Mass : the introit, graduale, offertorium, communio, are taken
from Dr. Tozer's " Proper ;" the music of the ordinary of the Mass is by J.
Cubing; the Asperges, by Father Bonvin; the Deo gratias after the Ite missa est
is Gregorian; and there is a Processional and a Recessional hymn (the latter
being the Laetentur coeli).

SINGENBERGER'S HARMONIZATION OF GREGORIAN
REQUIEM.

To THE Editor of Church Music.
Sir:

I notice with pleasure that Prof. J. Singenberger, in his last harmonization
of the Gregorian Requiem, has fallen somewhat in line with Benedictine inter-
pretation.

The accompaniment is light enough not to interfere with the fluent move-
ment of these beautiful traditional melodies.

However, it is to be regretted that Prof. Singenberger does not accept as
yet the entire Benedictine system of rhythm. Unfortunately, he has until re-
cently followed the Ratisbon School so persistently that we now find traces of
both systems in his harmonization, which to me seems a rather unhappy confusion.

As we know, the Benedictine System gives preference in the harmonization
of melodies always to the musical accent, not to the tonic (word's) accent,
whereas the Ratisbon system gives preference to the latter (tonic), disregarding
the former. Hence we cannot understand why Prof. Singenberger, in his pres-
ent harmonization, selects apparently at random, now from this, now from that
School.

A few examples will prove our assertion: (i) In "dona eis " (Introitus)
he gives the chord to "is," while in the passage " caro veniet " he emphasizes the
tonic accent. (2) In " Dies ilia " (Sequence) he gives the strength of the chord
to "il," thereby unbalancing the binary rhythm of the melody rather surprisingly,
since the last note of the musical phrase is left without the required calmness or
rest. Compare what Rev. Leo Manzetti says in his preface to the Vespers of
the Blessed Virgin:

" In our opinion a feminine cadence grates upon the musical feeling, and
may be well compared to a man who steps short in his march, still holding one
foot in the air. Feminine cadences are scarcely ever found in classical music.
To find full repose an artistic ear demands a chord on the last note of the melody.
In plain chant this last note falls generally on the last syllable of the sentence.

LETTERS TO THE EDITOR. 95

Now, if this syllable happens to be short, would it be just to blame the musician
or his theory on that account ?"

(3) At (Psalm) " in Sion " the tonic accent of Sion is disregarded and the
force of the chord is given to "in" a monosyllable, and in this case a weak
syllable.

(4) We would like to have Prof. Singenberger explain the contradictions he
falls into throughout the harmonization of the " Dies Irae," where at times he
cares for the tonic accent only, then again favors the musical accent. In stanzas
5, 6, 9, 10, 17 (on weak syllables) he betrays a striking resemblance to the har-
monization of Father Manzetti, unquestionably universally pronounced the best
exponent of the Benedictine rhythm.

Prof. Singenberger 's transcription is arranged, as he himself asserts, for
" Children's Voices." He is to be congratulated for his solicitude regarding chil-
dren, by lowering the Gregorian melodies to such a range that even a bass could
conveniently sing it. Yet we think that children's voices, when well trained, even
in America (as experience of late has shown) can easily reach the ordinary key.
Such a low transcription as Prof. Singenberger intends for children is certainly
to the detriment of the beauty of good rendition.

The Graduale and Tract are not harmonized, but instead a simple reci-
tation is given. The Chants for Burials are also added, and for the sake of
variety a four-voice setting of the " De profundis " is added, which may very
well take the place of the " Nearer, My God, to Thee," or the like, zuhich some
organists still seem to prefer!

While I would be glad to have the above questions solved by Prof. Singen-
berger, I am pleased by his fltient harmonization, which may do good service by
replacing the old so-called pound-note system. Al. Rhode.

St. Louis, Mo.

[The Rev. Ludwig Bonvin, S. J., writes to the Voix de St. Gall (Oct. -Nov.
number, p. 182) in similar strain: "J. Singenberger, lui aussi, a passe au camp
de Solesmes, mais a moitie seulement. Dans son ' Requiem ' et ses ' Vepres tie
la Ste. Vierge ' il suit une voie moyenne, cherchant a concilier la maniere de
comprendre le rhythme a Solesmes avec les exigences de la musique et du texte.
Dans r 'Ave maris stella ' (Vepres de Beata) cette pierre de touche du Soles-
mien pur sang, il marque par exemple assez souvent du point ictique les notes de
la melodic, mais il n'en tient plus compte dans I'accompagnement. Le resultat
musical en est sans doute plus satisfaisant : mais alors, se dit-on, a quoi bon indi-
quer une maniere de concevoir le rhythme qu'on n'observe pas et qu'on desap-
prouve dans la pratique?" — Editor.]

"VERBOTENE QUINTEN. '

(A Criticism.)
To THE Editor of Church Music.
Sir:
In the Autumn number (Vol. II, No. 6) of Church Music I find a
" De Beata" Vespers by Ignace Mueller. 1, the undersigned, have studied

96 CHURCH MUSIC.

Piel's Hartnonielehre and am laboring under the impression that the organ ac-
companiment presents some grave mistakes. For instance, in the 2nd and 3rd bar
of the "Dixit Dominus" I find what Piel terms "verbotene Quinten" and brands
a grave mistake: f ^ — c Jf (equals fifth) proceeds to e — b (equals fifth). Kindly
answer how this procedure in harmonization may be defended, and oblige

Yours truly, " Quem nosti."

THEY MIGHT "HARM THE PIANO" IF PLAYED TOO
STRONGLY.

(A Reply.)

To THE Editor of Church Music.
Sir:

After reading over the above letter, which you kindly had forwarded to me,
there came to my mind a remark (which its author placed as a footnote) ap-
pearing in a musical composition and referring to a progression similar to the
one pointed out by your correspondent " Quem Nosti." However, before quot-
ing, and by way of explanation, I wish to say that the composer to whom I refer
taught the Course in Harmony and Counterpoint in a Musikschule and naturally
was often required to explain to his primary class the seriousness of an offense
such as the writing of covered fifths, etc. What was then more natural for this
professor to do, after having indulged in a bit of writing, than to point out a
series of " quinten " and thus avoid being placed in the humiliating position of
being questioned, of having his real ability doubted by his junior class, of having
their confidence in their Maestro doubted? The professor's right to let the prog-
ression stand was never doubted; still, it was thought advisable to mark the
fifths as " done intentionally." The remark read very well in German ; but
thanks to a newly arrived editor's assistant (also musical) who put it into Eng-
lish, with the aid of some text-book, it gained somewhat by translation, and so,
while it failed to convey the professor's explanation, it now answers my own
purpose well.

It reads as follows: " These consecutive fifths will not harm the piano "( !)
(Italics are mine).

Reverting to my own affair, I may say that this curious translation will apply
in the present case ; and that, according to the rules of harmony given somewhere
in the first seventy-five pages in the very first book of " Harmony," I might be
considered quite guilty; but has " Q. N." never read further, or consulted other
works, or reasoned for himself?

Naturally, if one is self-taught, he lacks the guiding hand and advice of the
master ; and such a question is quite pardonable. To some musicians, it might
prove annoying because of its trivial nature. It is said that in the musical Hall
of Fame, that niche in the department for critics which is dedicated to " Quin-
tenjaeger," boasts of a big waiting-list. Will the long line ever be accom-
modated ?

Harmony is based on the laws of Nature. For a composer — one worthy of
that name — it is essential to be conversant with all the rules as laid down ; but
the right of freedom can, nevertheless, never be denied to him.

CHRONICLE AND COMMENT. 97

The progression alluded to, and appearing between inner voices in the 3rd
bar of the " Dixit Dominus," was inserted with my full knowledge, and I have no
apology to make for it. Provided " Q. N." does not choose to select just the
" verbotene Quinten," playing them with some force (which, by the way, might
be apt to " harm the piano " or organ if kept up for a long time), I do not think
that his sensitive ear would be offended with the effect resulting from the play-
ing of the accompaniment just as written. What more, then, is wanted?

New York, N. Y. Ignace Mueller.

arijronirle anti (ffommriit.

CONCERNING HYMNS.

IT was estimated, some twenty years ago, that there were then upwards of 400,-
000 hymns in the world. It seems a surprisingly large quantity, even allow-
ing for the diversities of tongues and dialects. But when we reflect that fools
rush in where angels fear to tread, it may not be such a surprisingly large hym-
nodal output ; for it is very difficult to write a good hymn — and it is precisely the
difficult thing that tempts the foolish man to effort.

The many hymn-books in existence illustrate the temptation; the many re-
visions thereof, and the general discontent with the existing hymn-books, illus-
trate the difficulty met in providing good hymns. Our separated brethren of the
various denominations repeat almost verbatim of their own hymns the criticisms
we Catholics are wont to make of our hymns. The subject divides itself
readily into two matters for consideration : first, the texts ; second, the musical
settings. The question of the texts will naturally be subdivided, and the com-
piler will face the twofold problem of translation from the Latin and original
compositions in the vernacular. So, too, the musical setting comprises the sub-
questions of the character of the melody for unison singing, and the character of
the accompaniment. Church Music would like to hear from its readers some
expression of opinion on these topics.

Then, with respect to original hymns in the vernacular, there is (quite apart
from the theological or moral content) the simple question of style, of phrase-
ology (simple or ornate), of imagery, of symbolism, of metres, of rhyme. What
should be thought of the criticism launched against certain hymns by the Rev.
Charles Graves, at the twenty-third annual session of the Unitarian Conference
in Philadelphia (15 Nov., 1907)? In the report of ' the meeting the Public
Ledger says:

Present day hymnology and the pretensions of church choirs were vigorously criticised
yesterday at the 23d annual sessional of the Unitarian Conference in the First Unitarian
Church.

"Let us rid ourselves of a phraseology that does not express the things we believe
in," Charles Graves, of Passaic, declared. " For instance, we hear of the ' white wings
of the Holy Ghost.' Heaven is not a feathery kingdom. The soul, after leaving the
body, is not a monstrosity, with wings upon its shoulders. We are not birds, either in

CHURCH MUSIC.

this world or in the world to come. Then ' white-robed harpers casting down their
harps by the sea.' We do not believe in harps, harpers or sea. Let us rid ourselves of
the word 'king' in our hymns. We live in a democratic age, when kings are unpopular
on earth."

Here Mr. Graves's audience laughed heartily.

" We must get away from ' Jordan's banks ' and ' Galilee's shore,' he said. These
expressions are out of place in the 20th century. Let us have hymns that ring true to
our understanding."

Choirs and organists were put on the rack by the Rev. Alson H. Robinson, of New-
burgh, N. Y. He said that every hymn is a prayer, and that church music must fulfil
two requirements — those of art and worship.

" The choir presents a serious problem in many churches," he said. '' Those persons
in choirs frequently refuse to recognize the spiritual character of their surroundings- and
fail to realize that psalms are prayers, instead of being intended to exploit their skill as
vocalists." Children's choirs were advocated as being in harmony with the Unitarian order
of service.

The report did not err in associating the subject of hymns with that of
choirs — and a new element for discussion is suggested. How should the hymns
be sung — in harmony, if possible (as in some, e. g., Episcopalian churches), or
in unison? Or, as between choir and congregation in our extra-liturgical ser-
vices, alternately in harmony (by the choir) and in unison (by the congregation) ?
What experience can any of our choirmasters offer as to the preferable method?

Humor lurks near any discussion of hymns ; and we are not surprised that
the report of the Unitarian Conference in the Ledger notes the fact that Mr.
Graves' "audience laughed heartily." Laughter is akin to tears, however; and
the Aus der musikalischen Welt, commenting on the most recent of our Catholic
hymn-books, seems more inclined to weep than to laugh (15 October, 1907, p. 17).

We are now deluged with Catholic hymn-books. Their name is Legion.
And we think that some reflecting Catholics would like to see them run headlong
into the sea — as the legion did on a former occasion.

Time was, not long since, when we had but few hymns. Then it was that
Father Faber (in giving whom to the Church, England lost a poet, as Words-
worth remarked ) bethought him of composing some. He tells us about the
matter thus :

It was natural then that an English son of St. Philip should feel the want of a collection
of English Catholic hymns fitted for singing. The few in the Garden of the Soul were
all that were at hand, and of course they were not numerous enough to furnish the
requisite variety. As to translations, they do not express Saxon thought and feelings,
and consequently the poor do not take to them. The domestic wants of the Oratory, too,
keep alive the feeling that something of the sort was needed : though at the same time
the Author's ignorance of music appeared in some measure to disqualify him for the
work of supplying the defect.

In spite of the fact that certain of the hymns he wrote contained " very glaring
literary defects, such as careless grammar and slipshod metre, people were
anxious to have Catholic hymns of any sort," he modestly declares, for there
were " numerous applications to the printer for them." His criticism of his own
hymns deserves attention. Literary defects should be patiently removed by a
conscientious file. In the vast output of Catholic hymns to-day, who uses the file?

CHRONICLE AND COMMENT. 99

CONGREGATIONAL SINGING.

I. How SiiouLU It Ek Staktkd?

EDUCATIONISTS propound the principle that the best work is done in a
class where the teacher says least and the children do all the talking — or
nearly all. A similar thought is expressed by a writer in the London Catholic
Weekly, apropos of congregational singing:

People no longer talk as if the ultimate aim of church music reform was to get the
choir to sing elaborate ancient music instead of elaborate modern music. Every one is
Ijcginning to see that, on the whole, and as a general rule, the less the choir sings the
better. (Those who are kind enough to sing in choirs must please not be offended at
the somewhat brusque way of putting an undoubted truth.)

But practical educationists also find it something of a problem to get the
children started a-talking — that is to say, to get them started a-talking on the
right subjects and in the right way. Children love to talk, it is true ; but they are
terribly self-conscious before their elders who have authority over them :

For most things in the world an excuse of some sort may be invented, but for the
absence of congregational singing there can never be any shadow of excuse whatever.
If singing were a difficult or irksome duty, there might be some reason for leaving it to,
a specially trained choir. But the case is quite otherwise. All people who can sing,
and most of those that can't, are really in their heart of hearts quite anxious to use
their voices as much as possible. They thoroughly enjoy it and are only prevented by
a lack of coniidence or by sheer bashfulness; they only need some one to give them a
start. Those who say that to ask the congregation to sing is to thrust on them an
unwelcome and onerous burden are talking nonsense. All people enjoy singing when once
they start ; but they want starting.

Writing on " Congregational Singing" in Church Music (December, 1905).
Mr. H. B. Gibbs, who has had much experience in " starting " congregational
singing, declares a contrary view :

At the outset I would ask the reader to face two very ugly facts. First, from a
musical point of view a common public worship is non-existent. Second, few people really
desire to sing. To remedy the first, the correction of the second must be at once effected.
The desire to sing must be created, and this must be no passing fancy.

Yes, the real difficulty is in getting the congregation " started." Mr. Gibbs.
in the article alluded to, hints how this should be done. We sympathize thor-
oughly with the point of view of the writer in the Catholic Weekly; but the
great question is, How?

II. One Practical Illustration.

The writer in the Catholic Weekly prefaced his paper with the remark that
the reform movement was really progressing, however slowly. The assertion is
simply true; for the leaven is working, and ultimately it will, we may hope,
leaven the whole lump. It is impossible to compile statistics, however ; often will
a polite request for information be ignored in that very quarter which has been
officially designated as the bureau of the reform movement. One of our corres-

lOO CHURCH MUSIC.

pendents volunteers the information that the Music Commission was informed
that it should quietly beat time and smile in its sleeve at any excited pother from
reformers. While it may be true that some diocesan commissions have been con-
stituted ad fucum faciendum, and while in some quarters the hope may be enter-
tained that the " whole thing will blow over " if no move for reform is made, it
is comforting to realize, as Church Music does realize, that the leaven is un-
doubtedly working, and that the reform is gaining ground sufely, surely — how-
ever slowly.

A great step was taken for reform in the Philadelphia Diocese when the
ladies were excluded from the liturgical choir. This alone guarantees many
things : correction is automatically made of certain things forbidden by the Motu
Proprio. The rule is, moreover, obeyed in the diocese. As one illustration of
how the leaven is working, the following extract from the Catholic Standard and
Times of Philadelphia (7 Dec, 1907) will serve:

Beginning Sunday, St. James' congregation will sing the responses at the High Mass,
the other portions of the Mass to continue to be sung by the choir.

For several years past the Benediction hymns and other vocal parts of services, with
the exception of the Vespers and High Mass, have been sung in chorus by the congre-
gation, which has also rendered the " Stabat Mater " at the Stations of the Cross through-
out Lent. The rector, Rev. James C. Monahan, LL. D., has found little difficulty in having
his people learn these and the usual hymns. Standing in the pulpit, he directs the singing,
sometimes with organ accompaniment and sometimes without. With new hymns he goes
over the first verse with them and finds that by the second they have learned the air. The
singing is marked by excellent time. Cards containing the hymns, numbered, are placed
in the pews and the number and name of the hymn is announced.

On a recent visit to Ireland Father Monahan heard -a congregation recite, at a Low
Mass, in unison, the Apostles' Creed and other parts of the Mass in English, while the
priest used the Latin " Credo," etc., as required by the rubrics. Something similar to this
was done at a recent Mass which the St. Joseph's College Alumni Sodality attended, but
Father Monahan's plan is to have the responses sung in Latin, as, for instance, when the
priest chants " Dominus vobiscum " ("The Lord be with you"), the congregation will
respond, " Et cum spiritu tuo" ("And with thy spirit").

It is a beginning of liturgical congregational singing, and we doubt not has
already had precedents in many other places in America.

i^otes.

Father Bonvin, S. J., of Canisius College, Buffalo, N. Y., contributes to the
Voix de St. Gall (Oct.-Nov., pp. 180-186) a long review of the status of the
reform movement in the United States. He notes the fact that we possess only
two magazines devoted to sacred music, the Caecilia (in German) and Church
Music; that the brave efforts made by the veteran composer and professor, J.
Singenberger, to float an English musical magazine resulted in the appearance,
many years since, of the Echo, and recently of the Review of Church Music, and
that both reviews were compelled to suspend publication because of lack of sup-

NOTES. lOI

port on the part of English-speaking organists and choirs. Under the heading,
" Organization," he writes :

Called to the United States on the recommendation of Dr. Franz Witt, J. B. Singen-
berger (born 25 May, 1848, in the Swiss canton of St. Gall) founded in 1873 the Association
of St. Cecilia for the purpose (like the society in Germany) of imparting instruction and
practice in true church music conformably to the wishes and laws of the Church. But
this Society was not organized amongst us in that practical way which assured its suc-
cess in Germany; it lacked a body of directors and diocesan and parochial branches placed
under clear and wisely conceived statutes.

The Association is found in many cities and towns, especially in the West. Down
to the year 1903, an annual reunion was held, as far as possible, in some place designated
by the president, and concerts of sacred music were given by various united choirs who
had conscientiously prepared themselves for the work. But unfortunately the Associa-
tion was unable to strike root save in German parishes; and for some years past it has
been declining and leading a more or less languishing existence, until finally, about the
beginning of 1903, it ceased to give any sign of life — the reason whereof is as follows:
Some months before the appearance of the Motu Proprio of 22 November, 1903, a general
reunion was to take place at St. Louis, Mo. ; the excellent choir of the church of the
Mother of God, Covington, Ky., which, under the direction of the Rev. H. Tappert, culti-
vates with special care the classical music of the i6th century, had taken charge of the
musical portion of the reunion, and everything was ready. But, then it was recalled
that Pius X in his Motu Proprio had excluded women from the choirs, and the Covington
choir comprised the voices of women and of men. With others, the president feared
that the Holy Father might be offended by musical performances of such a nature.
Certainly, there was no good reason for the fear, since the Holy Father could not expect
the Motu Proprio to work a miracle in having choirs spring suddenly out of the ground
all armed with new forces. Thenceforward, the silence of the grave has lain on the
.American Caecilienverein.

Further on in his paper Father Bonvin thinks that, while much good effort
and enthusiasm have been expended on the reform movement, little has been
accomplished, because the essential matter — that of chasing from our churches
the unchurchly kind of modern sacred music heard therein — has been lost sight
of in a multitude of minor considerations. He adverts to the fact that in certain
dioceses catalogues of permissible music have been issued and made obligatory,
but that in practice they are a dead letter — a conclusion he arrives at partly from
personal observation and partly from the reports of those who have had occasion
to travel in various dioceses.

Time has been lost, he thinks, in discussing the necessity of " sanctuary
choirs " and of the exclusion of female voices, this latter question being compli-
cated by the uncertainty as to what exactly constitutes the " liturgical choir."
May not women sing in the " gallery choir ?" An authoritative decision would
at least settle this disputed question, and choirmasters would know just how
matters stand. He next adverts to the difficulties surrounding a male choir;
for if only adults sing, the music is restricted in scope and in abundance, while if
boys take the place of women, there is the added difficulty of maintaining disci-
pline— an art which few of our directors have acquired. In addition to all this,
in many places the organist is a woman, who also acts as choirmaster, and this

CHURCH MUSIC.

not by choice but by necessity. He gives many reasons why men of sufficient
abihty will not act as choirmasters of Catholic churches. Finally, he defends the
system of " musical rhythm " for Gregorian chant, and wishes to see the chants
thus printed in modern notation.

The Cardinal Archbishop of Paris, in some recent legislation, has absolutely
interdicted, in funerals, the use of any other liturgical music than the Gregorian
Chant, and allows no other instrument but organ in the case of marriages. Com-
menting on these rules, M. Gastoue remarks, in a " Causerie musicale " which
he contributes to a French monthly magazine: "And so we shall hear no more
the Meditation of Thais played in the guise of a prelude at the Nuptial Benedic-
tion, or the Intermezzo of Cavalleria Rusticana (which street-organs love to grind
out) during Communion. At least, ye readers who listen to me, use your influ-
ence with those about you not to ask the organist of their church to play, in any
ceremony of this kind, the minuet from I'Arlesienne, the transcription of the
cradle-song of Jocelyn, or (don't laugh, please, at what I am next going to tell,
for it came to pass lately in a church in Paris), the Ange pur, ange radieux, sung
in Faust by the repentant Marguerite, which a mother had executed at the mar-
riage of her young daughter ! ! !"

It is to laugh, surely ; but facilis descensus Averni. From the church music
of Beethoven — solemn and severe, but hardly suitable — we come to Gounod —
sweet, but humanly emotional ; thence we descend to the third estate, fairly repre-
sented by the text-jumble of Poniatowski's Mass in F; thence we come to "the
Fourth Estate" (if we may borrow the title of one of Valdes's novels), whose
name is legion and whose work lacks religious feeling and musical inspiration,
but manages to omit, insert, and transpose the words of the sacred text; thence
to the Fifth Estate of secular songs " adapted " to sacred words. From this it is
not far to descend to the ludicrous choice of the fond mother — a song of the re-
pentant Marguerite — for the marriage of her innocent daughter.

Apropos of funerals and marriages, and the music appropriate therefor.
Archbishop Messmer legislates for the diocese of Milwaukee: "All music, vocal
and instrumental, at a Catholic wedding must be appropriate — that is, truly re-
ligious in character. Any profane, theatrical or otherwise worldly pieces are pro-
hibited. Solos and duets are also strictly prohibited. Music of this kind may be
rendered at the wedding feast or banquet, but not at the sacred function of the
sacrament." For' funerals : "No other music, vocal or instrumental, is allowed,
be it before, during or after the service, except such as is in strict accordance
with the laws of the diocese. There is no sense, much less religion, in a funeral
march played on the organ."

With respect to the " School Mass " of the children in the parish school,
Archbishop Messmer also remarks :

By a proper selection of prayers and hymns a most delightful variety and change can

NOTES. 103

easily be arranged which will inspire the children no less than grown people with a love
for the house of God. All the children, boys and girls, ought to be taught to sing as
well as to pray aloud in church. It is a great mistake to let the girls along sing; still
more so, to have only a select few of them to do all the praying and singing. What
an endless variety of devotions in prayers and chants is offered in the different seasons
and feasts of the ecclesiastical year and how easily can children thus be led gradually
to an understanding of the Church's calendar and liturgy.

The singing of worthy hymns could thus be made a lesson in the varying
character of the seasons of the liturgical year. The hymns ordinarily chosen for
school-singing will scarcely do this ; for while the praises of Our Lady, of St.
Joseph, and, of the Guardian Angel are extremely appropriate for children's sing-
ing, they will not of themselves suffice for that training in the sense of the litur-
gical seasons of the year which is now so great a desideratum. Again, in the
training of the children, much attention should be given to the correct produc-
tion of voice as well as to rote memorizing of hymns ; and the elements of nota-
tion and sight-reading should not be overlooked. Possibly legislation, if it seeks
to accomplish anything definite, should itself be definite as to the amount of time,
and the character of the instruction, and the kind of hymns to be sung in the
school. So it seems, apparently, to Cardinal Mercier.

Cardinal Mercier has recently ordained that plain chant be taught to the
children, boys and girls, in the primary schools, says the XXe Siccle of Brussels.
In order to bring this rule into practice and to insure its regular execution, an
hour and a half every week is prescribed (instead of one hour) from the begin-
ning of the school-year. The Italian pronunciation of Latin is also to be taught.

In his Handbook for Catholic Parishioners of the Archdiocese of Milwaukee,
Archbishop Messmer offers a suggestive set of rules to be observed by members
of a large choir :

V. Where there is a large choir in a parish, it is very advisable to have a set of
rules to be observed by the members of the choir. This will help to preserve order as
well as harmony among the singers and to uphold the necessary authority of the organist
or director.

This set of rules might contain short directions on the following and similar points:

1. The public ecclesiastical and religious office of the church choir; the honor of being
a member.

2. The qualifications required to become a member of the choir. Faults and mis-
demeanors that will bring on expulsion.

3. The Christian motive, devotional and religious character in the execution of the
chanter's work. Use the voice for the honor of God, not for one's own. Hence the
good intention at the rehearsals and in church. Let the chanter's song be his prayer.

4. Endeavor to understand the meaning and object of the liturgical functions and
chants. This will help to understand the reasons of the laws regarding church music and
inspire the chanters with the right spirit and sentiments when chanting the sacred songs.

5. Punctuality in attending the rehearsals and the sacred functions in church.

6. The personal conduct of the members : (a) pious and Christian behavior in the
house of God; hence avoid unnecessary talk and moving about, in fact, anything to
interfere with proper attention and devotion; (b) reverence for the priest, be he rector
or assistant: (c) respectful obedience to and indulgent patience with the director or leader

104 CHURCH MUSIC.

of the choir; (d) kindness and considerate regard toward the other members; no jealousy;
(e) patient perseverance in the practice of difficult parts; (f) humble submission of private
judgment regarding the selection of the music to be sung or the parts to be taken.

7. Days and hours for rehearsals and for sacred services, forenoon, afternoon, evening.
Turn or change of members for certain functions, if advisable to insure attendance of a
sufficient number.

8. Social features or functions of the choir, if any at all.

It will be an easy matter to impress children or a children's choir with the reasons
and practical importance of the above rules. Adult members of a Catholic church choir
will also, as a rule, gladly allow themselves to be led into the true spirit and the beauties
of the secred liturgy and services of the Church, if the priest will devote but a little of his
time to some occasional instructions, by way of simple and familiar conversations with
his choir, on this subject always so attractive to the Christian soul.

In the " Causerie musicale " referred to above, M. Gastoue announces that
in the Schola cantorum of Paris {cf. Church Music for July, pp. 283-287, giv-
ing some interesting reminiscences of its foundation, growth, and character, by a
former pupil, Mile. Duchamp), " whose importance increases from year to year "
(says M. Gastoue), two new classes have been added — a course in higher mus-
ical theory and solfaing, and a course for interpreting piano-music; both of these
courses are advanced in character.

Further on he narrates an incident which was recalled to mind apropos of
the distinction he makes between music written properly for the church and that
which is written for secular ends :

" I recall a cruel but just answer made recently by one of our zealous con-
freres, the choirmaster of a basilica frequented by pilgrimages, in answer to an
objection against the uninspiring character of the music performed under his
direction. His music, it seems, did not ' excite the nerves enough ' — in other
words, it was too religious for church-music. He replied :

" ' Well, my dear sir, when one wishes his nerves excited he does not go to
church.' "

Truly, as the writer remarks, " what we seek in church is help to sustain
us, assuagement of our sorrows, sweet balm for soul and spirit, gentleness and
strength for coming battles. To such ends ought music lend itself; and of old
in the basilicas of Rome the highest praise accorded to the singers was that their
melodies flowed forth ' as sweet as honey.' " The comparison is good ; but Ten-
nyson presented a more restful image in the lines :

Music that gentlier on the spirit lies
Than tir'd eyelids upon tir'd eyes.

Official Announcement from the Pittsburg Diocese.

Parish Schools.

At a meeting of the Diocesan School Board, held November 7, 1907, the
following resolutions were adopted and referred to the Rt. Rev. Bishop for
his approval:

NOTES. 105

Resolved, That the Cheve system of sight reading in music, and the Rialp
method of voice culture be selected for use in the parish schools of the diocese.

Resolved also. That the following selection of hymns and patriotic and home
songs be taught in all parish schools :

HYMNS FROM ROMAN HYMNAL.

Advent — No. 117, Creator Alme Siderum ; No. 118, O Come, O Come,
Emmanuel.

Christmas — No. 122, See! Amid the Winter's Snow; No. 127, Adeste,
Fideles.

Lent — No. 136, O Come and Mourn; No. , Stabat Mater.

Easter — No. 151, Christ, the Lord, is Risen To-day; No. 152, Christ is
Risen from the Dead.

Blessed Sacrament — No. 8, Jesus, my Lord, my God, my All ; No. 10, O
Bread of Heaven; No. 29, O Salutaris Hostia; No. 32, Tantum Ergo; No. 35,
Tantum Ergo.

Sacred Heart — No. 45, To Jesus' Heart all Burning; No. 47, To Christ, the
King of Peace; No. 51, Sweet Heart of Jesus.

Blessed Virgin — No. 69, Salve Regina; No. 167, Hail Virgin! Dearest
Mary; No. 170, Maiden Mother.

St. Joseph — No. 109, Hail! Holy Joseph! Hail; No. 112, Joy of the Saints.

Guardian Angel — No. 106, The Holy Angels.

General — No. 6, Holy God, We Praise Thy Name.

Patriotic Songs — America; Flag of the Free; Salute the Flag; The Star
Spangled Banner.

Home Songs — Home, Sweet Home ; The Old Folks at Home ; Cradle Song,
by C. T. Steele ; Lullaby, by C. T. Steele.

C. M. Hegerich, Sec'y.

Approved November 15, 1907.

•f" Regis Canevin,
Bishop of Pittsburgh.

The Superintendent of the schools has been instructed to see that each
teacher is provided with a copy of the course of study recently adopted for the
diocese ; that the course is faithfully followed and the text-books selected by the
School Board are used in all the schools. q M. Hegerich, Sec'y.

Pittsburgh, November 25, 1907.

Commenting on the oratorio concert given in Chicago, 10 December, by the
Paulist Chorister Society, under the leadership of Father Finn, the (Chicago)
Daily Nezvs says :

A fine audience approved the concert of the Paulist Chorister Society last evening in
Orchestra Hall under the auspices of well-known patronesses. The choir consisted of one
hundred boys in surplice and cassock, adding a picturesque value of color to the attractive
stage picture; while Father William J. Finn, the director, was the graceful and dominant
figure in the foreground. There was a basic background of heavier male voices ; a string
orchestra with harp, re-enforced by the organ. This Chorister Society made its first appear-
ance last season and has made decided advance during that interim, as Father Finn is not

I06 CHURCH MUSIC.

only an earnest and able director but understands that strange and evanescent gift — the voice
of a boy — and secures therefrom a reliable, responsive value free from overtones. Father
Finn swings a fine, free baton and secures precision in a way that modifies youthful enthu-
siasm and obtains an interpretative value full of meaning; there is nothing rushed in the
procedure, and the discreet avoidance of forced climax was grateful. The boy soloists
gave a good account of themselves individually, in trios and in quartets.

The following program was rendered :

PART I.

1. Organ Solo, " Suite Gothique " Bocllman.

(a) Introduction— Chorale.

(&) Minuet Gothique. , ,, ^

(d) Toccata.

2. "Ave Verum Corpus " Theodore Dubois.

Master Doody,

wiih the Paulist Chorister Society of Chicago.

3. "The Lord is Mindful of His Own" — Contralto Aria from "St. Fau.1" ... .Mendelssohn.

Master Huyck.

4. (a) " The Birth of Morn " Lconi.

(fc) " Garden Romance " Grant-Schaefcr.

Mr. Brewster.

5. " The Lark's Carol " Newton.

Master Doody.

6. " Rolling in Foamy Billows " — Bass Aria from " The Creation " .' Haydn.

Mr. Holmquist.

7. " O Loving Father " Riego.

Master Sommers.
Accompanist — Mr. Grant-Schaefer.

PART II.

8. Descriptive Address — " The Holy City " Rev. William L. Sullivan, Paulist.

9. " The Holy City " Alfred R. Caul.

The Paulist Chorister Society, of Chicago.
Father Finn, Conductor.

SOLOISTS.

Soprano, Master Will Doody. Mezzo Soprano, Master Ralph Sommers.

Alto, Master Ernest Huyck. Tenor, George Brewster.

Bass, Gustav Holmquist. Organist, Arthur Dunham.

At the twelfth Diocesan Synod of New York, held on 26 November, 1907,
Archbishop Farley touched on the subject of music reform. We quote from the
(New York) Catholic News (30 Nov.) :

Speaking on the subject of church music. His Grace said he was pleased to find that
much progress had been made in carrying out the instructions of the Sovereign Pontiff. A
recent census of the parish churches in the diocese taken by the Commission on Church
Music informs us that fifty-five churches now have male choirs and twenty other churches
are preparing and hope soon to be in the same position. The Proprium of the Mass is being

NOTES.

107

rendered regularly in a large number of churches in musical notation or modo recitativo,
whereas previous to the Motu Proprio it was practically omitted or forgotten by all church
choirs, with very few exceptions. The custom is gradually being introduced of singing at
funerals the whole or greater part of the Requiem Mass in plain chant by male voices, fre-
quently by boys alone. The result of inquiry has brought out the additional information
that organists, as a rule, exclude all music contrary in spirit or character to the requirements
of the Motu Proprio of Pius X. The Diocesan Commission on Church Music will shortly
be able to issue a list of Masses and other musical compositions suited to divine service.

From this it will be seen that about one-fourth of the churches in the
diocese of New York have either installed, or are preparing to install, male choirs.
The gradual introduction of the rubrical prescription concerning the Proper of
the Mass is also a noteworthy fact. The expediency of issuing a catalogue of
permissible music may, however, be doubted. It is not a necessity ; and if, when
issued, it be universally disregarded, it will be provocative of derision and harm-
ful ; for every law openly disregarded becomes a menace to all law-giving power
and authority.

Father Bonvin asserts in the Voix de St. Gall that such catalogues are not
lived up to in this country. And — as a parallel illustration of liturgical laws
openly disregarded in New York City itself — we may quote the following para-
graph from the New York Times (18 Dec, 1907) :

A mass for night workers will be celebrated at 3 o'clock on Christmas morning by the
Rev. Father Evers, of St. Andrew's Church, Duane Street and City Hall Place.

A quartet consisting of Miss Emma L. Ostrander, soprano; Mrs. Helen O'Donnell,
alto; Emmet Lennon, tenor, and Arthur S. Somers, baritone, will sing Haydn's sixteenth
mass. Bernard O'Donnell will play the organ. This is the rest of the program :

Prelude, " Stille Nacht, Heilige Nacht."

Kyrie ( No. 16) Haydn.

Gloria in Excelsis (No. 16) Haydn.

Credo (No. 16) Haydn.

Offertory, " Pastores Erant Vigilantes " Lambillotte.

Sanctus (No. 16) Haydn.

Agnus Dei (No. 16) Haydn.

Postlude, "Adeste Fideles " Haydn.

Admission to the service will be by ticket only.

This extract from the Times was sent to us by a correspondent who wrote :
"A specimen of what is still being done in N. Y. in spite of all reports to the
contrary." Therein lies the danger : the scandal of an openly published program
violating liturgical laws (possibly, indeed, with permission of the Ordinary, but
not stating that fact) and violating a certain kind of religious modesty in the
publication of the names of the soloists. This program, giving the " numbers "
and the names of the artists, is followed by the statement that admission to the
" service " will be by ticket only. It reads like the announcement of a theatrical
performance — although doubtless the provision requiring tickets is a necessity
for keeping night-roisterers out of the church. But why print a program ?

Referring to the address of Archbishop O'Connell to the newly consti-

lo8 CHURCH MUSIC.

tuted diocesan musical commission of Boston, the Pilot (21 Dec.) remarks
editorially :

One thing is certain: the reform of church music will be prosecuted vigorously throughout
the Archdiocese of Boston. All music unworthy of the house of God will be banished there-
from. As to the composition of the choirs, details will be announced as soon as they are
perfected. The work is in good hands; and the Archbishop himself is a master of the
Divine Art.

In the same issue of the Pilot a correspondent who signs himself "A Choir
Member " writes that " the Archbishop's action in reserving to himself the presi-
dency of the music commission " shows that His Grace, like the Holy Father,
considers " the question of music in the /churches of capital importance." Re-
peating the words of the Pope: "Among the cares of the pastoral office ... a
leading one is that of maintaining and promoting proper order in the House of
God," the correspondent asks :

Is it to be inferred from those words that disorders reigned or were tolerated in the
Catholic churches of Boston? The question can be answered only one way: So far as
music is concerned, the gravest relaxation, not to say disorder, reigned and was hitherto
tolerated, with the exception of the Cathedral only, in all the leading or minor Catholic
churches of this city — a relaxation solely traceable, of course, to a complete disregard of, or
perhaps a more culpable lack of compliance with, the rubrics and the liturgy, as set forth
and prescribed by the Church for every day of the year.

In this respect, the unfortunate negligence of pastors and the ignorance of choir-directors
led to all sorts of abuses in the past. For instance, the proper offertories of the Masses
were never observed; Introits and Graduals were entirely left out; words were frequently
mutilated, and musical compositions used at services exhibited most atrocious license with
respect to the text; often, in the latter, words or entire sentences were carelessly omitted
by the composer, or if not actually omitted, so shamefully cut up by staccato marks and
other liberties as to be unrecognizable.

Other faults were more outrageous still; for instance, the undue and ridiculous repe-
tition of words, often of those whose significance is of such grave import that the slightest
tampering with them seems almost a sacrilege; the tiresome and interminable fugues at the
close of three out of five numbers; a loud and altogether too profuse playing of the organ;
an utter disregard on the part of the singers and of the organist, whose concerted efforts
seemed, so to speak, to conspire to keep the poor priest waiting on an empty stomach as long
as possible at the altar; lastly, the character of the music itself, more suitable for the concert-
hall or the theatre than the house of God.

To these deficiencies should also be added the proud and, of course, legitimate desire of
the soloists to "show off" their skill by means of long, nay, very often endless, solos; the
soprano, with her trills and other fiorituras, suggestive of the Marchesi vocalises; the con-
tralto, with her low, serene and aesthetically penetrating vocal gifts; the tenor, with a
touching and easy-flowing falsetto, when not with a ravishing and eminently artistic flight
or pause along those exalted regions accessible only to him and to the Tamagnos or the
Carusos; at last the basso, with his sombre or roaring vibrato, when not with a prolonged
and restful sojourn along Pluto's and Proserpina's domain.

All these achievements may be very beautiful, and possibly very effective, but they do
not glorify God; they glorify only the singers and the man at the organ, and such is no
doubt the opinion of the church officials, judging from the most welcome announcement,
which is to usher in an era of reform in the sacred music, such as Boston has never
dreamed of before.

One subject of great solace arising from the relaxed conditions just described is that
Boston was not alone guilty of exceeding, in the province of music, those bounds of mod-
eration beyond which the church gallery assumes the appearance of a concert-hall, if not
of a theatre; other cities, large and small, in this Union were, and still are, as refractory
as Boston.

NOTES. 109

It is a heart-searching arraignment of the conditions that have prevailed in
that most flourishing diocese of Boston — CathoUc, cultured, wealthy, progressive.
In its disregard of the pathetic iniplorings and commands of the Holy Father
some publicists read a scandal to the land. Thus the Canadian Month (Dec,
1905) remarked (p. 403) under the heading of " Boston Disloyalty:" " It will be
remembered that we printed some time ago part of a ' program ' of music per-
formed in real theatrical style at ... . Church, Boston. These good .... still
keep telling people that they are as strong as ever in their opposition to the Pope."
Truly, it did look like advertising to the faithful the scant respect which those
vowed to obedience could nevertheless exhibit to the command of the Holy
Father. The Month follows on with further comment in the same vein, and
then prints the programs published in the Calendar of that church for Christmas,
which include the names of the soloists — men and women — and the various com-
positions rendered from Mozart, Rossini, Mercadante, the "Recital on the Grand
Organ at 7 p. m.," etc. The Month concludes :

The Pope's pleading does not seem to have touched these Boston hearts; and, of course, it
could not be expected that Mgr. Falconio would produce any effect. " Let a heart free from
sin ... be our gift to the Christ-Child on Christmas Day," says the writer of the article
on Advent [in the Calendar of that church] ; as if the fourth commandment were for poor
persecuted lay people only.

Even the Sacred Heart Review has lately given way by referring to some liturgical
music, although it has so far not made any allusion to the Motu Propria, and so leads Bos-
ton in keeping up the boycott of the Pope.

"As if," indignantly writes the editor, " as if the fourth commandment were
for poor, persecuted lay people only." The editor who wrote thus was, we think,
a priest. We shall not pass on the moral case, as to whether or not the " poor,
persecuted lay people " have any moral justification for censuring the apparent
(to their minds the obvious) disobedience shown by their spiritual guides to the
higher spiritual guides of all, both clergy and laity. But it is easy to see that
the doctrine of obedience to spiritual authority can hardly be preached with grace
by those who even seem to disregard flagrantly any command given by their own
spiritual superiors when that command does not chime in happily with traditions
and prepossessions of the preachers. " He only is fit to command," declares the
author of the Following of Christ, " who has himself learned to obey."

> publications Hebiebeb. S

L'EsTHETiQUE DE Jean-Sebastien Bach. Par Andre Pirro. Paris: Librairie
Fischbacher (Societe Anonyme), 1907 (538 pages, paper binding).
The author was singularly well qualified, from the standpoint of the his-
torian of music, from that of the practical musician, and from that of a spirit
sensitive to all the delicate beauties of music, to investigate the spirit of J. S. Bach.
The results of this inquiry he presents to us — a veritable monument of the his-

no CHURCH MUSIC.

tory of musical art. In popular appreciation, Bach stands in the story of music
like an Alp — commanding, remote, aloof, with its summit lost in the clouds of
heaven. Our author shows, nevertheless, that however magnificent was his attain-
ment, that attainment was not an abrupt departure from the past, but that Bach
knew and consciously profited by those elementary conceptions of the language
of music which composers in every age have shared. Music must express emo-
tion and intellectuality. Bach is wonderfully intellectual in hisf music, but he is
not therefore " dry " or merely " scholastic," but palpitating with life and with
a desire to express his soul to his hearers with energetic precision in musical
language.

The author is a great admirer of Bach; but he does not allow that admira-
tion to exhaust itself in brilliantly-worded appreciations of the master-worker,
whom he wishes to make known to us in his most intimate spirit. The volume
before us is a patient comparative study of the_ immense field covered by the
Cantor of Leipzig. The processes of that study are not only elaborate but minute.
First of all, one must learn the musical alphabet used by Bach, who followed the
spirit of his age in giving to human words (which are the signs of human ideas)
a more or less definite musical expression in such wise that, hearing the musical
word, we shall immediately recognize a clear idea expressed by it. He gives many
illustrations out of the immense number at hand, of this musical language, as
employed by the predecessors of Bach and by Bach himself (pp. 21-40), in re-
spect of the ideas suggested by the ascending or descending direction of musical
motifs. Then, in the second chapter, the motifs are examined and analyzed in
respect of their content — repeated notes, arpeggios, fragments of scales, chro-
matic or diatonic characteristics, etc., and in the third .chapter with respect to
their varying rhythms. Thus far the author examines the symbolism of isolated
themes; he next considers them as combined — as acting and acted upon in the
complex of parts in a complete composition : " It is easily understood that, in a
composition of several parts, the successive evolutions of the voices, their meet-
ings and separations, their harmonies and discords, can beget a multitude of
images, in which, thanks to the subtle resources of musical language, there are
reflected some lineaments of the ideas expressed by the words." The next two
chapters are devoted to the exposition of Bach's devices in instrumental accom-
paniment and in orchestration. Of special interest to composers of music for
church services will be the following chapter (VII) on the musical translation
of the text. Many church-composers of unquestioned ability and musical taste
have nevertheless erred in their musical exposition of the sentiment of the text.
The question becomes concrete when we consider such a phrase as " resurrec-
tionem mortuorum " in the Nicene Creed. The thought of the phrase is unde-
niably a triumphant, joyous one; and yet some composers have forgotten- this
fact in their addiction to mere musical word-painting, and have given to morttt-
ornm a sudden grave tempo and a melancholy motif utterly at variance with the
meaning of the word as it occurs in the cited phrase. How does Bach fare
when subjected to this test of appropriateness between, not merely the textual
word and the musical translation, but the textual thought and its musical exposi-
tion? It is said that Coleridge was so great an admirer of Shakespeare that he
could find practically nothing to criticise in his idol. Our author is more tern-

PUBLICATIONS REIIEIVED. Ill

perate in his admiration for Bach. On the present point he remarks (p. 248) :
" It happens very often that Bach allows himself to be troubled by the images
which the isolated word suggests to him, so as to forget the idea presented by
the complete text. Certain words are so strictly bound up, in his mind, with
precise and definite musical motifs, that sometimes he abandons himself without
reflection to the impulse going out from the word. There are abundant exam-
ples of this. In the first recitative of the alto in the Weihnachts-Oratorium we
find over the words " cease weeping " a clearly-marked motif of sorrow accom-
panied by chords of the diminished seventh. ..." Other illustrations are given
of this over-minute word-painting which is really destructive of the sense of the
textual passage. The next chapter deals with the different forms (the recitative,
the aria with da capo, the arioso, the lyric fugue, etc.) employed by Bach in his
vocal music. The following chapter will prove of much interest to the^ church-
musician. Not infrequently Bach used for his sacred compositions certain adap-
tations of previous compositions written for secular purposes. This is one of
the things forbidden by the Motti propria — a thing we are accustomed to asso-
ciate with the names of Mozart, Weber, Mercadante, and a thing of very com-
mon practice on the part of choirmasters, who will, without reflecting on the
grave inappropriateness involved in the transaction, adapt operatic and other
secular melodies to an Ave Maria, an O Salutaris, etc. But how does Bach suc-
ceed? Our author shows that the operation is not attended with any conflict
between the sacred words and the adapted secular composition; that the German
words of the original composition give place to the Latin words of similar im-
port either in strict literal meaning or in general sentiment. The author gives
ample illustration of this fact — a fact creditable both to the musical genius and
the deep spirit of reverence of Bach. The chapter is very interesting. The
author next considers the instrumental music of Bach and its power and method
of expression, and in the closing two chapters deals with the Italian and French
masters, whose works offer a fruitful field of investigation when we attempt
to study the formation of the musically expressive language of Bach ; and with
the personal character of Bach — his religion, his moral and mental characteristics,
and his relation to the musical taste of his day.

The volume contains an alphabetical table of proper names (eleven col-
umns), an alphabetical list of the vocal compositions of Bach cited in the volume
(five pages), a catalogue of the works of Bach, and a general and a musical bib-
liography (both together comprising eight pages). The author is to be cordially
congratulated on the exhaustive character of this permanent contribution to
Bach literature, and the publishers are to be felicitated on the elegant typo-
graphical style in which the volume has been issued.

Voice Production in Singing and Speaking, Based on Scientific Prin-
ciples. By Wesley Mills, M. A., M. D., F. R. S. C, Professor of Physi-
ology in McGill University and Lecturer on Vocal Physiology and Hygiene
in the McGill University Conservatorium of Music, Montreal, Canada.
Philadelphia : J. B. Lippincott Company. 1906. Price, $2.00 net.

This volume will prove of much service to all who have to use the voice in

112 CHURCH MUSIC.

public speaking or singing, although it is of special interest to singers. The
author was a student and assistant of the late Sir Morell Mackenzie, the famous
laryngologist, and states in this volume the convictions supplied by a personal
study of the subject of voice production, extending over twenty years. He is
well equipped for such a task both from the practical and the theoretical side,
and fulfils in himself very largely the conditions he lays down, page 152:

It is not too much to say that the ideal investigator of the registers should have a practical
knowledge of general anatomy and physiology, together with a detailed and exact knowl-
edge of the vocal organs ; be versed in the laws of sound ; have an adequate knowledge
of music; be capable of examining himself with the laryngoscope (auto-laryngoscopy) ;
possess an acute ear for the pitch and quality of tones; be himself able to use his voice
at least fairly well in singing and speaking; be provided with the all-important ballast
of common sense, and an impartial mind longing above all things to learn the truth.

In the two chapters (X and XI) devoted to the subject of the registers, the
author happily illustrates the above-mentioned requisites. It is a tanglewood for
the inquisitive student; but in showing the student the way out, the author is an
interesting as well as a competent guide. There is a natural prejudice amongst
teachers of singing against the " medical man " and his scientific apparatus.
"Laryngoscopy will never teach you how to sing," they object; and their re-
mark is wholly correct. On the other hand, many voices have been ruined by in-
competent teaching; and that teaching must be thought incompetent which grad-
uates a student able to sing well enough for a brief career, but unable to conserve
the voice, by scientific training in its proper management, for a career which
ought to cover many years. The purpose of this volume is not to supersede, but
to assist, the laborious art of the teacher and the long seasons of practice of the
pupil. Such volumes are apt to prove " heavy " reading and to frighten away
the prospective learner. Dr. Mills writes very interestingly, however, and will
stimulate, rather than deaden, the student's enthusiasm. The book is ^ crown
octavo, 282 pages, and has 63 illustrations. The type is large and clear, and the
illustrations excellent.

The Office of Compline. In Latin and English, according to the Roman Rite,
with full Gregorian Notation. Roine, Tournai : Desclee & Co. 1907. Pp. 50.
The office of Compline is one particularly suited for smaller churches, as it
is much easier than Vespers. With very slight exceptions it remains the same
all through the year, and all the Psalms are sung to the one tone, the eighth. It
is, moreover, a very nice office. No doubt it wants the splendor given to the
Vespers by the five Psalms with their varying antiphons and the fine Canticle
Magnificat with its antiphon of special grandeur. But it has all the essential
forms of Vespers : antiphonal singing of psalms and Canticle, Capitulum, Hymn,
Versicle, and prayer ; and, in addition, it has some special features of interest,
such as the Lectio Brevis, the Confession, and the pretty form of the Respon-
soriiim breve.

The present edition, as stated in the preface, is intended primarily to enable
the congregation to follow the service with understanding, and for this purpose
an English translation of all the texts has been added. But it is also meant for

PUBLICATIONS REVIEWED. II3

choir-singers or congregations that join in the singing, and hence all the melodies
are printed in full, the songs being pointed in the usual fashion of the Solesmes
books.

The preface gives, also, useful information about the choir ceremonies at
Compline. We must, however, take exception to one of the directions given. It
is said there: "In the ferial office, when the Preces are to be said, one kneels
from Kyrie eleison and during all the verses till the end of the office, except on
Saturdays and Sundays, when the Preces are recited standing." The last clause
is superfluous and illogical, because on Saturday and Sunday evenings the office is
not ferial. But, moreover, we believe the choir is to kneel at the Preces not on
all ferias, but only during Advent and Lent and on Ember-days. The point is
not important, however, as Compline will rarely be sung on ferias.

The book is divided into two parts. In the first part Compline as sung
throughout the year is given. The second part supplies the varying hymn tunes
for the different seasons and feasts of saints, together with the special directions
for the last three days of Holy Week and for Easter wttk..

The booklet, therefore, is quite complete and arranged very conveniently.
Size and type are those of the Liber Usualis. We hope it will be used widely for
an intelligent and prayerful rendering of Compline. H. B.

BiBL, RuD. — Praeludien-Album, enthaltend 100 Praeludien in alien Tonarten,
fuer orgel oder harmonium. Universal-Edition, No. 244. Actiengesellschaft
in Wien. (35 oblong pages.)

An idea of the average length may be obtained by the fact of 100 pieces
being contained in 35 oblong pages. The collection is interesting and well-
arranged — the keys being regularly arranged ; illustrations in the minor key fol-
low those in the major. As the signatures are constantly being altered in view
of this, beginners would be helped by having a page of index supplied ; and it
would also be helpful for them to know that some of the illustrations are not
really in any one of our modern tonalities, but {e. g. Nos. 29, 30, 53, 54, 74) are
in the old church-modes. It might have been well to remit all such to an appen-
dix headed appropriately. Thus the student would not be misled into associa-
ting the ancient modes with our modern tonalities. It would have been desirable,
for instance, to have noted that No. 29, by Girolamo Frescobaldi, is in the first
mode (and not, as it is placed, among illustrations in D-minor), and has for
canto fcrmo the Ite viissa est of Dom. infra annum. P. T.

Casimiri, Presb. Raphael, Op. 22: Cantus varii in Quadragesima et in Hebdo-
mada Sancta. Edizione Marcello Capra, N. 1128-1134.

The seven numbers are issued separately as follows: No. 1128 (containing
the Gradual and Tract of Spy Wednesday, for A., T. I., T. II., B) ; No. 1129
(the O Redemptor for the consecration of the Holy Oils on Holy Thursday, for
A., T., B.) ; No. 1130 (the Canticle Benedictus at the end of lauds for Thurs-
day, Friday, Saturday — the Triduum of Holy Week, or Tenebrae, sung on
Wednesday, Thursday, Friday afternoons — in falsobordone for A., T., B., alter-
nating with the Gregorian Psalmtone of the First Tone); No. 1131 (the hymn

11^ CHURCH MUSIC.

ycxilla regis prodeunt for A, T. I., T. II., B.) ; No. 1132 (the Psalm Miserere
at the end of lauds in the triduum, in falsobordone, alternating between two
choruses, A., T. I., T. II., B., and A. T.) ; No. 1133 (the Turba part of the
*' Passion " for Palm Sunday—/, e., according to St. Matthew— for A., T. I., T.
II., B.) ; No. 1 134 (the Pange lingua and Tantum ergo for A., T. I., T. II., B.).
The collection is very serviceable, especially for choirs in which the voices of
boys who have not been trained to read with ease need not be distributed between
treble and alto, but can be concentrated on the learning and the rendition of a
single part.

Complete Vespers for the Feasts of the B. V. M. (Solesmes Version). Ed-
ited, and organ accompaniment transcribed, by Ignace JMueller. Fischer's
Edition, No. 2988. Organ accompaniment, 60c.; voice part, 15c.

Chant Requiem and Libera (Vatican Version), with Antiphons, Canticle and
Psalm for the Final Absolution, translated into modern notation and har-
monized by Ignace Mueller. Fischer's Edition, No. 3075. Price, 60c. ;
vocal part, loc.

Vocal Part of the above. Fischer's Edition, 3075a. Price, loc.

For an appreciation of the " Complete Vespers," see Church Music for
September, " Comment on the Musical Supplement," page 348. It was a good
thought of the editor to furnish two melodies for the Ave Maris- Stella. It should
also be noted that the four Anthems B. V. M. are also given, together with the
simplified version of the Salve Regina. In the " Chant Requiem and Libera,"
etc., the transcription into modern notation comprises all the Gregorian melo-
dies of the Vatican Edition. This is unquestionably preferable to the method
adopted in one of the recent modern transcriptions of the Requiem, of giving
the Graduale only in recitation. The responses to the celebrant are also written
out in full, with appropriate organ harmonization, and the Benedictus Canticle is
printed in full, in its proper place. Provided with this work, a choir will simply
have to turn page after page, and find itself au courant with the Mass and the
Absolution at every point. The Vocal Part, published separately, is handy in
form, and like all the other issues of the Fischer Edition, very neat and clear in
typography, and printed on stout paper.

Cantate Domino, Sammlung von Hymnen und ]\Totetten componiert von P. J.
Jos. Vranken. Wed Van Rossum : Utrecht.

Most, if not all, of the twelve items contained in this collection are built oni
Gregorian themes, and the name of the composer is sufficient guarantee that the
little works which he created from them are not only pregnant with the spirit of
devotion and adoration to the Blessed Sacrament, but also model examples of the
refined and inexhaustible influence of Plain Chant on pure vocal church music.
Every style, from the simple homophonic to the more elaborate of the school of
Palestrina, is represented; number twelve might even have been written by an
old master himself. We cannot but strongly recommend these hymns and motets
to choirs who wish to prepare themselves for an adequate rendering of the
works of the writers of the sixteenth and seventeenth centuries.

PUBLICATIONS REVIEWED. II5

Thirteen Motets for One, Two, and Three Voices, arranged by J. Cubing.

Fischer.

Considering that such composers as Father Bonvin, Witt, Koshe, Korn-
mueller, and Hanisch are represented by one or more items in this collection, it
may be confidently recommended, especially as the arrangement makes it possible
to omit {ad lib.) the alto and baritone part.

QuiNQUE Hymni DE SS. Sacramento composuit Adolph Gessner. Schwann.

These hymns are dignified in character and well suited for processional per-
formances. The setting of the Trombone parts (whether considered as an
accompaniment to the voices or as independent phrases, forming short little pre-
and postludes) is very effective. Especially would out-door processions gain
greatly in pomp and impressiveness if hymns like the present ones were rendered
by a full choir.

Feestmis " Haec Dies " voor viyfstemmig gemengd Koor gecomponeerd door
P. J. Jos. Vranken. Wed Van Rossum.

To write a five-part mass in strict double counterpoint is one of the hardest
tasks a composer might select for himself. Vranken is a master in contrapuntal
writing, and his missa " Haec Dies " is a work of pure vocal art, such as we
find only very seldom nowadays. He has very successfully embodied the beau-
tiful Cradual of the Dominica Resurrectionis into the various parts of his mass;
from the opening strain at the Kyrie (being only a strictly rhythmical version
of the "haec dies " phrase) to the last dona nobis, we cannot help feeling that it
is the true Cregorian spirit which dominates and makes each page so interesting.
The organ is sparingly, and therefore most judiciously, used ; it is silenced when
the rich harmonies do not require a further support and where the " reine vocal-
satz " would lose in its purity and effectiveness if it was overshadowed by an
instrumental accompaniment.

Missa " O Quam Cloriosum est Regnum," by P. J. Jos. Vranken. Op. 20b.
Wed Van Rossum.

This mass is a masterpiece, built upon and woven out of the strains of the
Antiphon to the Magnificat in the H Vespers of the feast of All Saints. It is
shorter and easier than the mass " Haec Dies " and, although written for three
voices . only, is full of characteristic and scholarly passages. We confidently
recommend it to the attention of choirs where only a few voices, sopranos and
men, are at the disposal of the organist, and where the range of voices has not
as yet fully developed. The compass of the soprano never exceeds D and the
tenors have only solitary high F to contend with.

Unison Mass in E Flat, by J. H. Cornell. Fischer.

Organists who wish to advance congregational singing will certainly applaud
E. J. Biedermann's efforts to popularize Cornell's little work. It is rubrical, de-

Il6 CHURCH MUSIC.

votional, and simple in its melodic progressions. Yet it is efifective. The ca-
dences never tire; on the contrary, they assist the singers to proper phrasing, a
matter of the greatest importance when a body of voices sing in unison. Besides,
a full and representative choir is sometimes an utter impossibility (ex. gr. when
holy days fall on week days, or one or the other of the leaders is absent, or school
children are called upon to sing during a high mass). On all such occasions the
whole (or portions) of a mass like the present one would be most welcome to
singers who have not as yet mastered the more difficult settings of the Gregorian
Chant.

FuNFZiG Thematische Tonstucke FiJR DIE ORGEL componicrt von Max

Springer. Pawelek: Regensburg.

In this collection the composer has given a very interesting addition to our
organ literature. As the title already explains, the fugato, or free imitation,
style is predominant in all the larger numbers, and even in the shorter items the
thematic element was not lost sight of. The gradation of difficulties is quite per-
ceptible in each successive number and well calculated to assist students to grad-
ually overcome and master the more advanced technicalities of organ-playing.
If we are not mistaken, the composer endeavored to combine modern tonality,
or the chromatic element, with the severer and more diatonic style of the older
school of Catholic organ-playing, and his labor has not been in vain; only some-
times he makes us too conscious of his intention and leads us to combinations
and progressions which come as a surprise. Still they are interesting and show
that the writer is well conversant with the intricacies of counterpoint and of an
expert extraneous modulation and modern harmonization.

Hymnus " Veni Creator Spiritus." Auctore P. J. Jos. Vranken. Wed Van
Rossum.

On reading through Vranken's " Veni Creator Spiritus " one thought and
wish was continually and forcibly present within us, viz., " if we only had more
of such inspired and imposing tone pictures !" The whole setting appears to us
as a rich flower, ever varying in its quaint and sometimes strong, sometimes soft,
colors, a flower which budded up out of the opening strains of the Gregorian
hymn, and whose original leaves, in the form of the well-known triplet figure,
spread and spread in ever-growing intensity around the prayer to the Holy Ghost.
It is a masterly production, full of spirit, full of devotion in the vocal parts,
and combining originality with richness in the free style of the organ accom-
paniment.

MissA IN Honorem S. Ignatii de Loyola, III vocibus aequalibus concinenda,
auctore P. Griesbacher. Pawelek.

A beautiful work of moderate difficulty, thematic and almost diatonic in
character, and inspired by true devotion and a consciousness of the sublime text.
If properly rendered by a well-balanced choir of female or boys' voices it cannot
fail to create and leave a great impression.

^be proper of the flDass for
Sunba^s anb IboUbaijs

Set to simple music b\? H. JEbmonbs xro3ei*

Dolume 11. propilum t>e tempore.

IDolume 1I1I. Commune Sanctorum /ICjissae Dotivae Iproprium

Sanctorum. . . Bound in cloth. Price per volume, $i oo

This arrangement of the /Vtf/riw/w Missae for Sundays and Holidays is
intended for those choirs who find the plainchant from the Graduale beyond
tlieir powers of execnlion ; and, secondarily, that those who regularly sing
the prescribed melodies, but who may not be able to master everything set
down for any particular Mass, may have something at hand which is easily
learnt, and of greater musical interest than a mere recitation of the words on
a monotone, or even to a Psalm-tone. It is of obligation to sing the proper
IiUroit, Gradual, Offertory and Coinmnnion at every High Mass or Missa Can-
tata. It is better, then, to do well some such simple settings as these, than
to laljof indiffeienlly through plainchant which is often very difficult.

CatbOliC (IbUrCb IfDpmnal. For Unison or Mixed Voices
for Sanctuary, Choir, Congregational or Home use. Edited

by a. l£t)mon&s Il05er.

Contains 238 Hymns. Bound in clotli.

Approved for use by llie Most Rev. Archbishops of New Yoik and
of Westminster, England.

Edition with Music, $1.00; Words only, cloth, .35 ; Words only, paper, .20

From R. R. Terry's CatboUC CbUVCb /IDUSiC :

"It is safe lo say tliat until the publication of Dr. A. Edmonds Tozer's
Catholic Hymns in 189S, there was not a Catholic hymn book existing in
England which a nuisicinii coiiKI lake seiiously."

Tozer's CatbOliC dbUrcb "ffj^jmnal published in 1905 is a revised
and enlarged edition of the above-mentioned book.

Chant Publications

Kyrlale. Vatican- Fischer Echiioii. Gregorian notation 50.25

Kyi'illle. Vatican-Fischer Edilion. Modfiii notation Cloth, .25; I'aper, .20

Organ Accompaniment to the Kyriale sive Ordinarium Mis-
sae. Ilarnioiiized by Rev. L. Maiizeili 2.00

Requiem and Ijil)era {SoUsmes w;i/t)//), harnionlzeu by Rev. L. Manzetli 50

Requiem and Libera (Solesmcs version), with Antiphon?, Canticle and I'salm for
final ab^oUition. Edited and organ accompaniment transcribed by Ignace Mijller

.60 ; Vocal part, .10

Vespers in honor of tlie Blessed Virgin Mary. (Complete with Ami-

plions) So/esnics version. Edited and organ accompaiiinient transcrii)ed bv Ignace
Miiller 60; Vocal part, .15

Vespers in honor of the Blessed Virgin Mary. (Complete with Anti-

phons) SoLsiiies nersion. Eiiited and organ accompaniment transcribed by Rev. L.

Manzetli 75

Missa de Angelis, Asperges me, and Vidi Aquam ; from the Vatican

eiiitioii of the "Kyriale" (modern nolation) 05

Publishers: J. FISCHER (Q. BRO.

7 Ca. 11 DIBLt: HOUSE ^? li* »? NE"W YORK

Lectures on Church Music

At Beuron iHohenzollern, Germany)

yearly frm 15 Oct.

July

AN opportunity is herdby given to
churcli-organists and choirmasters
of acquiring a thorough theoretical and
practical l<nowledge in Catholic
Church music, as well as in the vari-
ous subjects herewith connected, es-
pecially Plain Chant and Liturgy.
The lectures are to be given by men
from among the laity, well versed in
their respective subjects, and by some
of the Benedictines.

Boarding and lodging may be had at
St. Gregory's House. The choice of
single rooms or of rooms in common
is left at the disposal of each. For
further particulars apply to

P. Leo Sattler, O.S.B.

Beuron, Hohenzollern, Germany.

IN ITS NINETEENTH YEAR

Paleographie Musicale

A Quarterly Review containing
Phototypic Facsimiles of the

PRINCIPAL MANISCRIPTS OF THE CHANT

Gregorian, Ambrosian, Mozarabic, Gallican

UNDER THE DIRECTION OF

DOM ANDRE MOCQUEREAU
Prior of Solesmes.

Subscription : 35 francs a year
(France 20 francs)

All business communications to be ad-
dressed to the Messrs. Desclee, Lefebvre
and Co., Tournai, Belgium, or to the
Messrs. Alphonse Picard and Son, 82 rue
Bonaparte, Paris, VI, France.

Editorial communications to be addressed
to the R. P. Dom Andr6 Mocquereau, Ap-
puldurcombe, Wroxall P. O., Isle of Wight
England.

Just published by G. SCHIRMER, New York
Greg'orian CHant

For i0 We Teacner A* ^e Choir i» and t?e School
By EDMUND G. HURLEY

Organist and Choir Master of the Church of " St. Paul the Apostle," New York Citj^
75 Pa^es. ClotK, Net $1.00. Liberal R-eatiction on Quantities.

There is here sufficient material in copious exercires and examples to
train a choir without placing other books in the hand= {T the singers.

TABI.£ OF CONTENTS

I. On Musical Sounds. Pitch and the Staff.

II. The Modern Major Scale; First step in Choir-training; X'oice-training.

III. Second Step: The Clefs; Voice-Training.

IV. Third Step: Completing the Scale; Bars; the Guide; Changes of Clef.

V. Fourth Step: Singing words to the Chant; Pronunciation; One. two. or more Notes to

one Syllable; Fourth Step: Voice-training.
VI. Fifth Step: On the use of the Flat; the Natural; Exercises and Examples; Changes of

Clef; more difficult examples of Chant.
VII. The Voice; Registers of the Voice; Choir-training Exercises.
VIIl. On the Gregorian Modes; Authentic and Plagal; Diagram of first eight Modes.
IX. On the Characteristics of the Gregorian Modes.
X. On the Six Transposed Modes.
XI. On Psalmody; Psalm-tone (Intonation. First Reciting-note. Mediation. Second Reciting-

note. Termination) ; Festival and Ferial Tones.
XII. On the Rendition of Chant; Neums; Chant-Dialects.

XIII. On the Accentuation of the Neums; their Growth and Deri\ation.

XIV. The Accentuation of the Modes.

X\'. Notation of the Vatican Edition of the Liturgical Chant Book.

WILL BE SEMT FOR EXJiMINATION TO RESPONSIBLE PJiRTIES

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