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Caecilia V63n11 1936 Founded A"O. 1874 by John Singenberger Merry Christmas and Happy New Year DECEMBER 1936 ORATE FRATRES A ReYiew Devoted to the Liturgical Apostolate TS first purpose is to foster an intelligent and whole-hearted participation in I the liturgical life of the Church, which Pius X has called "the primary and indispensable source of the true Christian spirit." Secondarily it also considers the liturgy in its literary, artistic, musical, social, educational and historical aspects. From (J, Letter Signed By His Eminence Cardinal Gasparri "The Holy Father is greatly pleased that St. John's Abbey is continuing the glorious tradition, and that there is emanating from this abbey an inspiration that tends to elevate the piety of the faithful by leading them back to the pure fouuta,in of the sacred liturgy." Published every four weeks, beginning with Advent, twelve issues the year. Forty-eight pages. Two dollars the year in the United States. \Vrite for sample copy and descriptive leaflet. THE LITURGICAL PRESS Collegeville Minnesota DOM DESROaUETTES writes: "So few books-good books containing the Solesmes teaching, I mean--exist now in English. that I should like to see your book spread everywhere in English...speaking countries." in acknowledging The Gregorian Chant Manual of THE CATHOLIC MUSIC HOUR by The Most Rev. Joseph Schrembs Dam Grego,ly Huegle Sister Alice Marie If your problem is first to teach chant to average school children, and not primarily to picked choir groups, so that they will love it and eagerly take part in congregational singing. you will join hundreds of teachers in enthusias... tically endorsing the results from the use of this series. THE CATHOLIC MUSIC HOUR is the only series which offers a coordinated program of both chant and modern music through teaching procedures that accord with the best educational thought. The complete series now available: 5 books for pupils. grades 1... 8: kin... dergarten and first grade book for the teacher; THE GREGORIAN CHANT MANUAL which covers the entire series. Send for Complete Descriptive Literature Silver Burdett Company NEW YORK NEWARK BOSTON CHICAGO SAN FRANCISCO Entered as second class mat.. ter, October 20, 1931, at the Post Office at Boston, Mass.• under the Act of March 3, 1879. Formerly published in St. Francis. Wisconsin. Now issued monthly, except in July. Monthly Magazine of Catholic Church and School Music Subscription: $3 per year, pay­ able in advance. Single copies 50c. Vol. 63 December 1936 No. 11 EDITOR V. REV. GREGORY HUGLE, D.S.B. Prior, Conception Abbey Conception, Mo. BUSINESS MANAGER W M. ARTHUR REILLY IN THIS ISSUE 100 Boylston Street Boston. Mass. CONSULTING EDITORS AND EDITORIAL • 492 CONTRIBUTORS OTTO A. SINGENBERGER St. Mary of Lake Seminary THE CHARM OF CHRISTMAS CAROLS Mundelein, TIL Rev. F. Joseph Kelly, Mus. D. DOM ADELARD BOUVILLIERS, D.S.B. 495 Belmont, N. C. SISTER M. CHERUBIM, D.S.F. CHUROH MUSIC IN ENGLAND. 499 Milwaukee, Wise. REV. F. T. WALTER St. Francis Seminary CESAR FRANCK Wisconsin Dom Adelard Bouvilliers, O.S.B. SISTER M. GISEI,A, S.S.N.D. 501 Milwaukee, Wise. REV. H. GRUENDER, SJ. DOM JOSEPH POTHIER • 505 St. Louis, University, Mo. REV. LEO ROWLANDS, O.S.F.C. Providence, R. I. OUR MUSIC THIS MONTH, 506 REv. JEAN RIBEYRON St. Mary's College QUESTION AND ANSWER Box California REV. J. G. O'DONOHOE Dom Gregory Hiigle, O.S.B. 519 Sherman, Texas REV. L. A. DOBBELSTEIN NEWS FROM NEWARK O. Praem 525 Luxemburg, Wise. REV. G. V. PREDMORE NEWS FROM PITTSBURGH. Spencerport, N. Y. 526 REV. C. 1\1. DREISOERNER Kirkwood, Mo. NEWS FROM ST. LOUIS. 527 SISTER M. DOROTHY, O.S.B. Duluth, Minn. NEWS .FROM BOSTON. SISTER M. RAFAEL, B.V.M. 498 Chicago, Ill. RICHARD KEYS BIGGS REVIEWS Hollywood, Calif. 530 M. MAURO-COTTONE New York, N. Y. DOM MOCQUEREAU AND ACHILLE BRAGERS I--IE N OlVIBRE M USIOAL New York, N. Y. 531 JOSEPH J. MCGRATH Syracuse, N. Y. LITURGICAL ASPECTS OF ARTHUR C. BECKER Chicago, Ill. THE LATE HUEY LONG. 522 FREDERICK T. SRORT Brooklyn, N. Y. Contents of each issue, Copyright. 1936 Copyright 1931f)t by McLAUGHLIN & REILLY CO., 100 Boylston St., Boston, Mass. 492 THE CAECILIA EDHTORIAL PAGE HIGH MASS -A SAORIFIOE Time was when High Mass no longer was looked upon as a "Sacrifice," but as a "slacred show." This was during the time of the so-called "merry church music.,) There were then three separate groups in church: the clergy in the Sanc­ tuary, the people in the nave, and the choir in the gallery. When the Mass was a "big one," the celebrant had to ·wait twenty minutes for the Gloria, and half an hour for the Credo to be finished. The R'eaders of C1aecilia Are R,emembered Daily people in the nave were the hopeless vic­ At These Altars ~f tims of the musical fashiont and the poor Conception Abbey Church fasting priest found no mercy; he simply had to wait and wait. Ooncerted music "Oh, I know nothing about music; I was the dictator. -A Lord Oardinal al­ did not pay attention at all; I said my most broke down after the Elevation; he prayers and read in a spiritual book. leaned upon the ~ltar to support himself You know, I never pay attention to the in his great fatigue. At dinner a priest music; if I do, I ,get off my prayers." spoke up and said: "Your Eminence, Why has the art of music been ad­ why don't you stop that music ~" "Oh mitted into the church ~ Most certainly, my dear Father," the Oardinal replied, to be a help in prayer. This help in "no one can stop it." - This happened prayer is twofold. First of all it is a in 1861. - The man to stop it came in light for the understanding. Holy 1903. Ohurch proposes sacred words, to which The Oatholic World owes an immense we should listen. These sacred words, debt of gratitude to the man whose beati­ which are taken from Holy Bible (as a. fication is fairly under way. Like a giant rule), are rendered in such a manner he set out to kill the hydra whose name that every syllable is carried to the far­ is "worldly music." The whole Oatholic thest corner of the church. This is ac­ World knows to-day that Holy Mass is a complished by means of a unison music, "Sacrifice", ~nd instead of three groups . called Ecclesiastical or Gregorian chant. in church, there is but one, most inti­ There is a secret about the diatonic in­ mately united with the sacrificing priest. tervals; they possess a carrying power Without blushing the priest may say a­ which cannot be equaled. gain: "Orate fratre,s Brethren, pray In the second place, these sacred that my sacrifice and yours may be ac­ words act like sparks of fire; they pro­ ceptable to God the Father a,lmighty." duce a spiritual jOyt a holy fervor; they increase the desire for heaven, and ac­ "I NEVER PAY ATTENTION cordingly, urge the faithful on 'to a holy TO MUSIC" life. "You were at High Mass: weren't To ignore sacred music is a decided you ~ How did you like the music?" loss; it is a fatal disregard of a help THE CAECILIA 493 which Christians need in their daily war­ in the modern sense of the term; what fare. The ancient adage says: ".A sing­ might be classed as modulations are ing army cannot be vanqu~s,. h,ed" . purely melodic and their duration so short as hardly to effect a change of key. POLYPHONY and PALESTRINA Polyphony differs from plainchant in that it is composed of many voices or It seems incredible that early in the melodies, each possessing its own rhy­ 16th century part-singing had over­ thm and dynamics, equal in importance stepped sound limits 'to such a degree to all the others. These melodies sung that in St. Marcus Dome in Venice, simultaneously, produce a 4J.atonic har­ Italy; music was performed which. ag­ mony, which, while remaining serene and gregated a grand total of 48 VOIces. impersonaJ, add to the whole structure From different galleries diffe:rent choirs a brilliance in effective contrast to the sang their polyphonic parts; some choirs classical simplicity of the unisonous came in as echoes; some represented the chant. heavenly hierarchy, while others in more There is no confusion with regard to robust setting voiced the praises of Holy the sacred text; the words are well un­ Church on earth. The effect was over­ derstood, and the music always sounds whelming - but the singers could make like a prayer. no headway: the apparatus was too big. Ventures such as these were naturally BEWARE OF CHROMATICS short lived. ALL THROUGH THE HISTORY OF Another venture was polyphony up to CHURCH MUSIC chromaticism has been 16 parts, in which sometimes all 'the consistently rejected, but just as regularly it vowels were sounded simult~neously, so insinuated itself again. Overuse of chroma­ that the effect was that of a big hennery, tics disturbs the manly character of music. with all the hens cackling and all ·the A limited use of chroma is not contrary to roosters crowing. The Fathers of the devotional expressiont provided it be used Council of Trent l'eriously considered to to emphasize important melodic designs or forbid part-music altogether, since the to transfer the diatonic style into other ton... sacred words could no longer be under­ alities. The arbitrary use of chromatics re... stood. At the critical time, however, a suIts in meaningless modulations t surprises man came to the rescue of polyphony.
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