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. and shocks or sentimental whining. Such It was Palestrina who discovered the disturbing elements contradict the very na... proper way out of this chaos. His poly­ ture of divine worship. phonic music is entireJy in rapport with the chant; it subordinates itself to the religious thought of which it is the ex­ pression, and effaces itself before the The Rt. Rev. Msgr. Joseph F. Barbiant text \vithout which it is never heard. Director of the Catholic Schools of It is entirely vocal, unaccompanied, Milwaukeet died November first. modal in tonality, diatonic in character, Msgr. Barbian promoted the study of and legato in style. Like the chant, its music in the Parochial Schoolst and melodic intervals are smalL not 8X088d­ did much to encourage the introduction ing a sixth, and no augmented, dimin­ of Gregorian Chant during his years ishedt or altered skips are included. as Superintendent of the Milwaukee It contains no startling changes in Schools. speed or dynamics and no modulations 494 THE CAECILIA

News Items LORAIN, OHIO. CALIFORNIA The SSt Cyril and Methodius 50,000 Catholic honored Christ choir presented a Sacred Concert in the The King, on October 25 at the Kezar Stad,., church on Sunday evening November 15th. ium. The Most Rev. Archbishop John J. Miss Mayme Perusek directed the choir and Mitty, presided at Solemn Benediction. The Mr. Frank Missnas, organist at St. Vitus congregation sang the 0 Salutaris and T'an.­ Church, Cleveland, was at the console. tum Ergo, while 6000 school children direct­ Rev. Msgr. Vitus Hribar of St. Mary's ed by Father Boyle, sang the music during Church, Cleveland, delivered a sermon in the Procession. conjunction with the concert. The Schola Cantorum of St. Teresa's CHICAGO, ILL. School which recently sang before a capacity St. Augustine's Church (Fran~ audience at the Veterans AUditorium, sang ciscan) observed its 50th Anniversary, on High Mass on All Saints Day, and Requiem November 15th. Rev. Frederick Beck, High Mass, on All Souls Day. Mr. Edwin O.F.M., officiated at Solemn High Mass., Hutchings, conducted. and the music was conducted by Mr. AI. Tushaus. OKLAHOMA The Glee Club and Orchestra of BALTIMORE, Mu. St. Francis School, Tulsa, presented a Recit­ The Cadoa Glee Club, directed al at Guthrie recently for the students of the by Miss Mary Finnessey, 1S conducting Catholic College there. The music of St. weekly rehearsals in preparation for the an... Francis School is under the direction of Sis­ nual Christmas Carol prOQram, promoted by ter M. Scholastica, O.S.B. the Catholic Daughters of America. OHIO SCRANTON ,PA. Sacred Heart Church, Wads.­ St. Peter's Cathedral Choir, di... worth, founded 50 years ago, received the rected by Mr. Frank J. Daniel, A.A. G. 0., Apostolic Benediction from His Holiness made up of 23 men and 28 boys gave a pro,., Pope Pius XI. Most Rev. James A. Mc.­ gram of Sacred Music from the Scranton Fadden, D.O., Auxiliary Bishop of Cleve.­ Times Radio Station WQAN Friday even"" land, attended the Anniversary. Miss Elea.­ ing November 13. This is the first time that nor Hendrickson directea the music program. the choir has presented a Radio program, The Paulist Choir of Chicago directed by in spite of its long record of fine music at the Father O'Malley, C.S.P. gave a concert at Cathedral. Orchestra Hall, Cleveland, on Nov. 6th, NEW LONDON, CONN. followed by a special lecture.-,concert at the Dr. M. Mauro... Cottone, famed Holy Redeemer Parish, on Nov. 7. New York organist, brought to New London by Rev. Edward Brennan, Pastor, through -e- the interest of Rev. Raymond O'Callaghan, Assistant Pastor, is giving a series of Sun,., SACRED CONC'ERT day Vesper Recitals. Large congregations AT ST. ANDREWS, CHICAGO from all parts of Connecticut have been at,., tracted to St. Mary's Church. Jessica Dra-gonette, Guest Artist VERMONT A special Sacred Concert, held the evening The Vermont K. of C. Council of November 22, the Feast of St. Cecilia, No. 2628, is sponsoring a Catholic Hour. attracted wide notice in Chicago. monthly through Radio StationWNBX. It was held at St. Andrews Church, where The Rev. F. B. Vannolme, S. S. E., is giving the Most Rev. Bishop Sheil, is Pastor. a series of addresses, and music is being fur.­ Mario Salvador, served as Guest Organ.­ nished by the choir of the parish of the Ma"" ist, and the choir was under the direction of ternity of the Blessed Virgin Mary. Greg,., Mrs. Richard Gavin. Miss Jessica Dragon.­ orian is rendered exclusively by this choir, ette, well known radio singer was the guest under the direction of Father McDonough. artist. THE CAECILIA 495

The Charm of Christmas Carols BY REV. F. JOSEPH KELLY, Mus. D.

LMOST two thousand years ago, the of a light.er vein, which were found accept... AWisEi Men followed the Star, and year able; and thus the carol had its origin. by year ever sInce there has been woven Christmas was primarily the great festival round the festival all manner of fascinating of kings from the crowning of Charlemagne folklore. Our heritage is the culmination of in 800 A. D. to the coronation of William centuries, and ours the enjoyment of stories the Conqueror in 1066 A. D. on Christmas and song age...old. Carol singing and Christ... Day. At this time there were two distinct mas have become synonymous from long as... types of carols; the religious, usually sung sociation. The original meanIng· of the word by chorus boys, and festive carols, sung at Hcarol" seems to have been both song and feasts and crownings of kings. The majority dance for the angels of the early Italian were purely devotional, founded on the masters are portrayed as dancing while they beautiful story of the Hbirth of Christ in sing, and there is a custom in York Minster Bethlehem town." to accompany the singing of Carols at In the fifteenth century the Lowlands had Christmas time by dancing. their carols similar to the English. There is a The word Hcarol" has given a bit of story on record of a plague in Goldsberg, in trouble to the philologists. Many suggestions 1553, which carried off two thousand five as to the derivation of the word have been hundred persons, leaving not more than offered, but few have been given credence. twenty... five alive in the place. The plague It is now believed to have come from the having abated, one of the few survivors prolific and common root Hchor", which is went out on Christmas eve ana sang a carol associated with the old song and dance or according to an old custom. He was gradu... both. In its present form the word seems to ally joined by others, to excire each other to have reached us from the medieval Hca... thanksgiving, and thence rose a custom for roula." the people to assemble in large numbers on St. Francis of Assisi is claimed to have Christmas morning to sing carols beginning been the originator of the carol and of the with, HUnto us this day is born". custom of placing a model of the Holy Fam... The term Hcarol" appears originally to ily in the stable in church at Christmas time. have signified a song joined with a dance, Yet it cannot be denied that the first Christ... a union frequently used in early religious mas carol of which we liave knowledge is ceremonies. It was however applied to joy... the mighty HGloria in excelsis", sung by the ous singing and thus to festive songs; and as angels to the shepherds on the night of the these become more frequent at Christmas it Nativity of our Blessed Lord. In the second has for a long tim,e past designated those century, the Christians celebratedpublicwor,., sung at this feast. As the customs of pagan... ship on the night of the Nativity and then ism and most Christmas observances are a solemnly sang the angel's hymn. In the mixture of both song and dance, so the fourth century the chant was introduced into early carols are strange jumbles of theologr religious ceremonies. In the twelfth century and conviviality. In one of the old manu... the monks celebrated Christmas with the re,., scripts there are two carols to be sung to citing of legends and verses and the singing the one tune, the first one called. "The Angel of Christmas hymns. Gabriel" and the second HBring us in good It was in the Middle Ages principally that ale". There are also touch~s of humor in carols and caroling came into general use. some of the carols, due perhaps to the in... They were the material and formed the fluence of the Mystery Plays, during the themes of trained choruses in the churches performance of which they were often sung. and at the courts. KinH John in 1201 9ave in the story of Dives and Lazarus, the poor 25 shillings to the clerks who chanted man at his death is guided to heaven by good HChristus vincif' before him on Christmas; spirits with the prospect of "sitting on an and these spiritual songs were gradually in... an'geI's knee," but Dives at his death is troduced into palace and private homes, to... guided by evil spirits to hell, where he will getherwith others for the same purpose, but have to IIsit upon a serpent's knee". 496 THE CAECILIA

The real mission of the old carols was to gram the old Catholic custom of singing a furnish dance tunes. This was the case espe... number of the old carols at Christmas time. cially in France and England. In Chaucer's They hav.e not only devotion, but furnish the time it meant dancing interspersed with proper atmosphere. singing. To us, however, it means nothing In the earlier times, mUSIC, both instru... but song, and really our acceptance of the mental and vocal, was introduced into reli... word is more fitting. There IS little doubt gious ceremonies and was a necessary ac... but that the singing of carols grew out of the companiment to all the religious games and medieval Mystery Plays. In the twelfth cen... feasts. In the record of the Greeks, Romans, tury, to entertain and instruct the people, the Egyptians and other great nations of anti... Church gave all manner of Mystery and quity, we find descriptions'which show the Miracle Plays. The priests used to place a close connexion of music and festivals. The crib containing a bambino at the side of the Druids, the Anglo...Saxons and the Gothic altar. The custom you may witness to.... day nations made great use of hymns in their in our churches. Around the crib was erected public worship. One of the earliest of the a miniature stable with all the realistic acces.... Hebrew songs on' record is the song of Mer... sories. In the Coventry Mysteries there is a iam and her companions on the overthrow charming carol concerning these representa.... of the Egyptians. No doubt here we have tions of the Nativity. the origin of the religious and festive charac... The directions given by Coussemaker in ter of the carol. The curious blending of the his Drame Liturgique call for a procession secular in -carol singing is greatly due to the of men in shepherd attire to enter the church, fact that the time of the year which the reverently approach the artificial manger, Church eventually selectedforthe commemo... and, as they draw near, the priests thus ad.... ration of the Birth of our Blessed Lord hap... dress them: H Quem queritis in praesepio1" pened to coincide with a heathen feast of The shepherds respond antiphonally: uSal.... great antiquity, handed down from time im... vatorem Dominum Christum." Then women memorial through the Druid's winter feast, dressed as mid.... wives withdraw the curtain the Roman Saturnalia, and the Scandina... and show to the shepherds the Babe, HIying vian feast of the Yule. in a manger." At the present time ,carol singing forms a The Christmas Mystery Plays always prominent part of the Christmas service in reach a climax with "Gloria in excelsis Deo". all churches, non.... Catholic as well as Cath... From these plays it is probably that our olic. There is an attempt to revive the beau... Christmas carols were evolved in the form tiful custom of carol singing on the steps of we have them to.... day. First, they were secu.... chur!ch and temple, a notable return to an lar, and then sacred. From the church they effective ana impressive celebration. Prob... were carried to the home, and thus formed ably the most suno carol in America to.... day the basis of the extensive carol literature of is the familiar exaltation accredited to J. Germany, France, England, and Austria. In Reading in 1692, "Come All Ye Faithful", the early parts of the seventeenth.... century Carol singinq has a firm root in the hearts carols in Britain, noels in Prance, and. the of the human race, and as an expression of Weihnachtss:fesange in Germany and Aus.... the greatest event in all history, the birth of tria were in their zenith. the King of Kings, it has also a perennial Some of the old English carols are still in ,charm as poetry and song. It has becom,e use, such as "Christ was born on Christmas an almost universal custom throughout Day", HGood King Wenceslaus", "God rest Christendom. ye", "Good ~hristian Men", and of course In France the custom of carol singing was the universal"Adeste Fideles·~ or HOh Come of very early date, and there are many col... All Ye Faitlifur'. The subject of Christmas lections of them. They are called "Noels", carol is an extensive and interesting one. All these early carols were ,crude, and some Fortunately many specimens have been pre.... of them sound almost grotesque to us of to... served, so t'hat it is possible to trace almost day. But these have been replaced by mod... to their origin many of the old tunes and ern carols and anthems that express more poems. Christmas without Ule old carols is thoroughly the spirit of the joyous season like Hamlet with Hamlet left out. Every of Christmastide. But the custom is a gra... choir should include in its Christmas pro.... cious and a pleasing one and well worthy of THE CAECJLIA 497 the widest usage. It must be said of these Within that province far away later carols that they are carols in the strict Went plodding home a weary boor; sense of the word. A :carol without a A streak of light before him lay, strongly expressed belief in the Incarnation' Fallen through a half--shut stable door is no carol at all. A carol must relate in one way or the other to that most solemn event Across his path. He paused, for naught in all history, the Birth of Christ at Bethle... Told what. was going on within; hem. How keen the stars his only thought, One of the most famous of the old English The air, how ,calm, and cold and thin, carols is: In the solemn midnight, Centuries ago.

God rest you, merry gentlemen, It is the calm and silent night. Let nothing you dismay. A thousand bells ring out and throw For Jesus Christ, our Saviour, Their joyous peals abroad, and smite Was born upon this day. The darkness -- charmed and holy To save us from Satan's power, now. When we were gone astray. The night that erst no name had worn -­ Oh tidings of comfort and joy, To it a happy name is given; For Jesus Christ, our Saviour, For in that stable lay, new,..,born, Was born on Christmas day. The peaceful Prince of earth and heaven, In the solemn midnight, Another more modern English carol by Centuries ago. Alfred Domett breathes a deeply religious Christmas spirit: (Ecclesiastical Review).

It was the calm and silent night. Seven hundred years and fifty...three Had Rome been growing up to might, And now was queen of land and sea. No sound was heard of clashing wars, Peace brooded o'er 'the hushed domain; AppolIo, Pallas, Jove, and Mars, Held undisturbed their ancient reign In the solemn midnight, Genturies ago.

4Twas in the calm and silent night, The senator of haus:}hty Rome, Impatient urged his chariot's flight F rom lordly revel rolling home; Triumphal arches, ~leaming, swell His breast with thoughts of boundless sway; What r,ecked the Roman what befell A paltry province far away, In the solemn midnight, Centuries ago. REV. F. JOSEPH KELLY 498 THE CAECILIA

t BOSTON, MASS. Ah well she s played the organ's partt And all its chordst with magic artt TESTIMONIAL DINNER TO Have wound thems.elves about our heart. MRS. SARAH J. SHEEHAN, ORGANIST Our Jennie. An observance of the 45th Anniversary of Her marches and her preludes seem Mrs. Sarah J. Sheehan as Organist of The Like language uttered in a dream,--- Most Precious Blood Churcht Hyde Parkt A charm for us, ,....- what e'er the theme. was conducted on Sunday October 25th. Our Jennie. The clergy and parishioners gathered in the evening at the K. of C. Halt where a In days gone by she had her fling At Mozart's HTwelfth " and how they'd sing testimonial dinner was held. During the H t course of the evening many valuable gifts A Haydn's HGloria with a bing For Jennie. were presented to Mrs. Sheehant among which was a solid gold WrIst watcht the Another generation knew her daYt gift from the Pastor ano Curates. And saw her walk her pleasant way; The program was printed in humorous But we thank God she's here today. stylet as seen in the following Menu; and Our Jennie. poem read at the banquet: Menu :iJn G Clef PORTER HEAPS GIVES RECITAL ON THE HAMMOND ORGAN Prelude of Fruit Cup Processionale of Celery ang. Olives At Symphony Halt Bostont before a ca... Poco Crescendo pacity audiencet on October 23rdt Porter Roast Turkey Maestosot Giblet Sauce Lente Heaps the eminent Cli-lcago organist ren... Gavotte of Mashed Potatoes dered a program on the Hammond Organ. Boiled Squash A Tempo Compositions of various types and styles Banana Fritters Obligatot Raspberry Sauce were played with expression from the skill... Scherzo ful hands of this artist. A short talk was , Rhapsody of Tea RoUst Butter Pianissimo given explaining the fundamentals of the Symphony of Assorted Cake Organt and in this talk, Mr. Heaps demon... Dolce Espressivo strated that he had a most pleasing person... Assorted Ice Cream .Risoluto ality as well as a great muslcaI talent. Harlequin SherbetRitardo Compositions by ancient and modern Frozen Pudding Fortissim.o ' composers were programmed~andthey em... Coffee Cantabile Ad Lib braced pieces of slow moving majestyt pieces of delicate softnesst pieces of rapid nre nn... OUR JENNIE gering t and ~imple hymn tunes. Whether on Who is it we salute today? fugue or ,choralet Mr. Heaps was equally Whom do we crown with honors gaYt at homet and the Hammond Organ certainlyH What else the answer than to say opened the eyes of many Hdoubters at this Our Jennie. concert. The audience ,embraced church musicians The forty~flfth year will soon be pastt and music lovers in generaL and those who Since first she gave those pipes a blast. didntt attend were sorry after they heard We pray and hope that she will last. how entertaining yet edifying the program Our Jennie. had been.

Her spirits have a brighter glow; We see her daily dearer growt Mother Georgia Stevens, R. S. C. J. lec... And so we join and saYt HLees golH tured at Newtont Mass., on Novemher 14th, To Jennie. speaking on liturgical music before an aud... ience of school teachers. His Eminence HLees golH les only five years more William Cardinal O'ConnelL addressed the To make the fiftieth your score group, extolling the work of Mother Stevens And multiply your heavenly store. ..,. and urging interest in the work she has Oh Jennie. sponsored so earnestly. 'fHB CABCILIA 499

~hureh Musie in England Impressions Received During My Vacation Days A. KRUMSCHEID, Berlin Translated from Music Sacra By Dom Gregory Hugle O.S.B.

, 'Religion of England is part of good­ and congregation the latter being well breeding. The Anglican church is represented. In fact there was a remark­ marked by the grace and good sense of able response in singing and alertness in its formst by the manly grace of its rising, sitting, and kneeling on the part clergy. The gospel it preaches, is, "By of the congregation. taste are ye saved." It spends a world All Saints Church had been especially of money in music and in building." recommended on account of the good These 0 bservations made in the sixties musical programs. As mentioned above, by Ralph Waldo Emerson in his "Eng­ the church professes to be Anglo-Catho­ lish Traits" may even to-day be en­ lic, a denomena which, according to dorsed by any foreigner coming to Lon­ German ideas, can be compared to the don. At all events it had been my good old-catholic movement, for they are sep­ fortune during ,my summer-stay in Eng­ arated from Rome their priests are land, as far as my special obligation (ex­ allowed to marry, and the Divine W or­ ch:ange of p1tpils) permitted, to become ship is ca.rried on exclusively in English. acquainted with church music conditions The ecclesiastical rendering of a lesson, in leading quarters. the intonation of Gloria and Credo or For this purpose I visited the churches the melody of the Preface to non-Latin of three denominations: 1. Westminster words, sounds strang~ to the unaccus­ Cathedral: Roman Catholic, (not to be tomed ear. There I heard in English confused with Westiminster Abbey: High translation Masses by Nicholson, Mo­ Church); 2. All Saints Church: Anglo­ zart, Gounod, and Dvorak, the Kyrie catholic in Margaret street; 3. Saint alone being left in its Greek wording. Paul's Cathedral: An g lie a n High Motets of Gray, Harwood, W ~lford Church. Davies, Battison Haynes; Walmesley, J. Possibly the interpretation of the Gre­ S. Bach and Handel were sung. All these gorian melodies in WestminsterCathe­ works were performed without direction. dral is familiar to some of the readers In reality it could hardly be done other­ of Musica Sacra owing to the records wise, for in all large churches the sing­ announced in 1930. Pronunciation ex­ ers are seated to the right and left of cepted, they are identical with the rhyth­ the altar in the choir stalls; there also mic interpretation known to us from the (hidden ,a,wa.y) is the organ and the con­ Solesmes records. The technical inter­ sole. Even though the singers were pro­ pretation of a Palestrina Mass betrayed fessionals, the performance surpassed highest excellence; most delicate and all expectations, since the difficult well shaded in vocalization, in striking Soprano and Alto-parts were ren­ contrast to the techniqueo£ ours and dered by boys! In this church as well as especially of Italian choirs. The Mass in others the singers entered procession­ responses were sung in parts, the con­ allyt vested in cassock and surplice, and gregation heartily joining in; Credo was after services they departed to the sound sung in chant, alternately between choir of the organ in solemnly measured steps, 500 THE CAECILIA a Church and Parish Paper not only an­ The Chorals, (i. e. church hymns, and nounced the exact order of the musicaJ Psalm) are contained in the celebrated numbers for weeks ahead, but also gave Book of Common Prayer, without notes, their complete·text. How much stress is but partly with dynamic indications. We laid upon the musical part of Divine Ser­ can hardly imagine the size of a volume vices may be seen from the following containing 800 hymns in musical setting; notice in the Church Paper: in its present form the book is handy; "Provisions have been made to form it was given out to the church goer, to a volunteer choir also this year for the be returned after services. Evensong Sundays of August and September, was concluded by a homily. All the music when the regular choir is on vacation. was in unison, with alternation between The singing will be under the manage­ men's and boys' voices; the congrega­ ment of two leaders, and it is hoped that tion taking part in psalmody. The phras­ a sufficient number of men and women ing of the words and the cadences of the will lend their hearty cooperation. The Psalm tones were indicated by special success of the music during the vacation lines, as the following verses will illus­ Sundays will depend completely on the trate: painstaking interest of the parishion­ ers. Last year it was a very great suc­ 1. Rejoice in the Lord / 0 ye cess, and it is hoped that the present year will not fall short." righteous: for it becometh well the The collection on the first Sunday of just to / be / thankfuJ.. July was for the ,choir school, the one on 2.. Praise the / Lord / with / harp; the fourth Sunday, for the organ-and sing praises unto Him with the Lute * choir fund (!!) Friends of ,liturgy may be interested to learn that the money and instru- / mentof / ten / strings. contributions were put in small leather 3. Sing unto the Lord a / new song': bags which, after the collection had heen sing praises lustily unto Him taken up the by 15-20 men, were carried with a / good / courage. to the altar by those same men who formed something like an Offertory-Pro­ cession. A minister received the gifts The service was very sober and quite into a large silver bowl. puritanic. Church music programs of On the sixth Sunday after Penteeost many other churches form a strong con­ I attended Evensong and Sermon at St. trast and by no means testify to the Paul's Cathedral. Here also the sQlemn notion that the English are unmusical. procession of choristers with clergy in Thus in St. George's Chapel, in Windsor the rear. Every visitor received a copy Castle, at the daily services works of the of Psalms and Hymns, free of charge. following authors are performed: J 0­ Services began with the Psalm "Exsul­ seph Haydn, C. H. H. Pa.rry, M. Greene, tate justi", followed by a lesson from J. Weldon, H. Purcell, E. C. Bairstow, the Old Testament. This was followed O. Gibbons, W. Mundy, F. A. G. Onseley, by the Magnificat and a lesson from the Ch. Wood, Th. Tallis, G. F. Handel. At New Testament. After the canticle almost every church I found announce­ "Nunc dimittis", fo,llo'wed the Collect ments of organ recitals (apart from and in conclusion a hymn: Chu,rch Services) ; the old' German clas­ ,'Thou art the Way; by Thee alone sics are given preference; there are no From sin and death we flee." charges. THE CAECILIA 5~1

~esar Auguste Franek By DOM ADELARD BOUVILLIERS,

O.S.B.t M.A.t Mus. Doc. (Continued from last month) ~antabi~e dates from 1878. It covers five pages and the key IS !3 ~aJor, a key very often employed by Franck. This Canta?de IS a m.asterpiece, suggestive in its exquisitely refined mel.odles of the Insatiable desires of the soul, the inner suppli~ catton of the saint, the incessant trustful REV. ADELARD BOUVILLIERS, O.S.B. appeal to Divine Mercy. In it, thewonder~ their banks. Nor does one feel the gentle fully curved melodic arch moves in clarified breeze which makes the trees murmur atmosphere of divine tranquility. dreamily, nor hear the birds chirp, and be... This Cantabile is one of the Three Pieces hold g~d Pan, from a majestic flood of light expressly written for the organ that was to protecttng shepherds and their flocks. be inaugurated in the colossal auditorium of Franck's Pastoval does not purport to th.e Trocadero (Paris) during the exhibition portray the shepherds and shepherdess sur... of the year 1878. (The Trocadero Monu~ veying their flocks in the curlew and the ment has been torn down last year). The sedge, their ~onfidingly attractive and dap~ ~antabile. was to display the warm, expres~ SIV~ perly romantic dresses, their mutual and quahty of the then we Clarinet Stop, imitative engaging hints, prancing skips, whIch had been discovered by Cavaille~Coll. emotional nods and becks, their midly This composition is a mixture of mysticism wreathed smiles, pleasing teases and placid and poesy, of naivete and depth. Here noth~ or perky frowns, drawling~ and rushings. ~ng is banal, neither the thought, nor the etc ... Neither does it recall some of the..en... Image, nor the expression itself. These few disced Pastorals of the best authors: such as pages are very remarkable in vigor and elan the langourous evocation in Debussy's hy~ as well as in the elevation of the thought. pothecal "Little Shepherd": soft as silk and The introduction, one line only, lovely in smooth as velvet ,.- its accompaniment ~ its contour, as is the border of a lake, flows tone chastely proportioned to the gentler with the same placidity as calm waters in chaste flute; or again, such as the imitative, their quiet meanderings along its banks. one, Ravel's HOp..of..my..Thumb", so real.. At Molto Sostenuto, a restrain.ed but not istic, as the tale of Mother Goose would austere sentiment is expressed. It embodies have it. It has something of Liszt's (1811 ... a beautiful inspiration in Canon form. It is 86) HPastoral" and "Eclogue" in the First not surprising that by reason of this vivid "Annees de Pelerinage" (Switzerland) how.. individuality expressed by Franck in his ever, as it recalls the tone... poems of pastora.1 works, his fugal and melodic speculations character. Franck in its fragmentary phrases so of.ten betray a meditative lllood, perhaps depicts the conversational or antiphonal less Intellectual and less devoid of effect manner of the shepherds playing on their than we find in the works of those composers tt pipes. Liszt in his HEclogue portrays the who confuse the laws with the art of limita.­ peace of woodland dells contrasted with the tion, or canonic form with those of a science. buoyant mood of dancing sprn.es on wind,.., Cantabile sells for $0.75. ~lown mountain pastures. In this composi,.., PASTORALE in E major covers 10 pages. It was written between the years 1860... 62. tIon I sense in the opening measures. and The Pastorale is dedicated to Aristide Ca~ also in the coda. faint sounds. like the bells vaille~Coll (1811 ... 99), the great French Or,.. of some far mountain chapeL The use of ~. oq:yan..paints" (open fifths) is pastoral. just gan builder. Pastorale costs $1.25. Though this composition has Pastoral vein as the plan of loud and softt pictures echoes it does not remind one of Longus' original of the piping. Greek PastoraL But in these finest traceries But the romantic representation of a Pas... of sound and color one does not look for toral flock of sheep grazing near a swelling shepherds and shepherdesses dancing a reli.. torrent which makes a mill..wheel revolve, Of gious dance to some Grecian field or green sometimes threatens to engulf a diminutive pastures where the rippling brooklets splash boat. is not intended in Franck's work. The 502 THE CAECILIA

Pastoral under consideration is but an evo... This composition was at flrst written for \ cation' and its depiction is musically impres... organ but Franck himself had it definitely sive. What it depicts is the coming of the ,established and published for harmonium shepherds to the Stable at Bethlehem and and piano (1873). ther.e adoring the New Born and giving an This delightful composition forms part of aubade to the Little King on their flutes and the SIX PIEcES for Organ. It is dedicated pipes. Listen and you will perceive in this to Camille Saint...Saens (1834... 1921). As its work the piping of the sliepherds and their title suggests, this work consists of a prelude ardent prayer underlying the variegated flg ... in B minor, modulating to th~ key. of the urations which Franck erects. In this tapes... dominant: follows a fugal development in B try of lovely sounds, the delicate traceries, minor preceded by a short i~troductory pas... superbly woven,. adumbrate the pastoral sage constructed on the fIrst three notes of vein, surely, and become richly gilded the subject. Lastly, a, return of the Prelude, scrolls. Though it is registrated for Oboe accompanied by a contrapuntal treatment. and Flute, yet in it one should not look for At the occurence of the modulation to the the 'lemon flavor of the said oboe savoring dominant key at the outset, the composer the marshmallow sweetness of the flute. merely returns to the original tonality by Franck's PASTORAL is a delicate illustra... the same method of transposition. tion of a style to which has been attached The Prelude and the VariJation form a trio this particular name. for obo,e, flute or bourbon 8' and a dulcet This composition comprises three parts bass. The Fuque, itself, as also its introduc... clearly deflned: (1), the exposition in E rna... tory section, is in four voices for fundamen... jor, invested with a melodic subject and tal stops. To be remarked, the stretto pas... Choral answer (or antecedent); (2), a mid... sage, in three voices, develops into a com... dIe movement in A minor, in the style of a pletecaltlon: moving simultaneously at the Scherzo, but containing four sections separ... interval of the flfth and ninth. This entire ated by episodes, the first of which con... composition has been transcribed for har... sists of a development passage in the domin... monium and piano. , . ant key, the s,econd, a fugal exposition, the As to the theme in the Prelude, it is the third, an imitation section of the same ex... same which is found in the Variation section. position, and lastly, comes the fourth episode It is built on an 'extensive phrase', which completing the r.e ... appearance of the flrst requires special emphasis the flrst time this theme by a newly... developed portion of the short p.eriod is played, and again, still more fugal exposition. After the recapitulation of stress laid on it at its re... occurence after the the principal theme, the subject and choral space of a measure. This serves as a relie.f answer, heard at the outset, combine in a phrase to what follows, for the four notes of clever and felicitous juxtaposition. The the two succeeding measures should, in re... juxtaposition makes the third part of this turn be given forte the flrst time, and pianlO "- 1l1asterpiece. in the following measur,e. Then will the in... terpreter and the listener have the impres... PRELUDE, FUGUE et VARIATION sian of that radiating Faith which Franck's covers 5 pages. The key is B minor and the theme is generating. tempo is Andantino (60) Alfred Cortot In the Variation I still hear that ecstatic observed that Hthe Christian sentiment, and and recollected voice, so consoling in spirit... the religious certitude, which inspired the uality and as an infinite gesture so prayerful beauty of Bach's art may also be found as and convincing. intensely expressed in Franck's. His religion Prelude, Fugue & Variation sells for $1.50 was not the same but in this case dogma is per copy. unimportant. If their ideals appear to differ PRIERE in C sharp minor. This is the most slightly in the beginning, they merge, never... extended of Tone",Prayers I have ever found, theless, in their artistic expre·ssion. "(Cours both in its style and length, for it covers d'interpretation,tt Cortot, Vol. I., Paris. 1934, fully 16 pages. This Prayer, dating also p. 33) . Here Cortot was referring to from 1862, recalls the style' of C ...V. Alkan. Franck's compositions in general but espe... It is dedicated to Camille Benoist, Franck's cially to his Prelwde, Fugue and Variation', old friend. Camille Benoist, is not to be con... in the edition which Harold Bauer has made fused with the other organists: Peter Benoist, for pianoforte. or Fran~ois Benoist, the latter being THE CAECILIA 503

Franck's old organ teacher. The Priere in The portion of this Sonata, here trans....

C sharp minor sells for $1.50. cribed for organ,' the Allegrettot is the first This composition is far too lengthy to be of the four movements comprising this work. performed during any portion of a service; It is interesting to note that the entire work although it has its mystical charm. But any is, once more, modelled on the lines of ·eye.... serious organist would be amply repaid for lie form'; that is, the employment of the its careful study and rendition. same themes in successive movements, by Beginners often hold a certain aloofness reason of the melodies being naturally de.... regarding Franck's style, on account of its rived from one fundamental idea, the AIle... apparent austerity, its pertinent use of ex... grettot then, is developed from one basic tended harmonies, etc., but above all, for its idea, here, in this case, the 'rising and falling continuous modulating, and, thereby, its al... inflection of a ~torculus/ most continual use of chromaticism. But all This Allegretto in its transcription is an this lacked assurance, and the following outburst of inspiration bearIng in itself an quotation illustrates the idea to be inferred effusion of fervour and love. T,empo from the chromatic idiom and tendency in 112. The melody or theme again em.... Franck's music. bodies a deep sense of mystic contemplation. The writer cannot vouch as to whom credit Though tinged with Franck's pensive long.... should be attributed to for this quotation. ing and wondering, that mystical power It sounds as though it came from d'lndy's seems to grow more intense as the tonality pen. Again, it might be from Mr. W. Good... is shifted from A to E. The transcribed par,.; rich. When the writer's copIes of Franck's tion of the Allelgretto covers but four Organ Pieces were brought to the binder, pages. The originaL however, is more ex.... the said binder in his work, cut out the title tensive. In the transcription here commented page of this genuine explanation, and there,..; upon, the theme is heard in a more serious by, I cannot, presently, vouch for the author... v,ein. It retains nevertheless those chromatic shirt but what is said of Franck's chroma... chords, shifting in color, from light to darkt ticis1n is all very true and well commented as when sudden black clouds cross the sunt upon. "Have you ever thought of Cesar and darken the restless waves of the bright Frau\:k's harmonies, being like a ,.gyI'Oscope? and wide expanse of the sea; but the ca-­ A 9 y.roscope is a top spinlfing on a metal dence has a remarkable tendernesst attaining ring. The size may be large or small, ~nd to perfect resignation. It clings to one, long it spin,s continuously until it drops, makIng afterwards. all manner of curves, maintaining contact FANTA~iIE with th~~ stem of the top and the ring. C. in: C major.Op. 16 (14 Franck's' mus.ic is more or less like that, pages), inscribed to Alexis Chauvet (1837.... interwovetn harmonies, plunglng apparently 71) . Ot~t in and of the key. In spite of this the The analysis of this work contains no dif-­ undercurrent, like the stem of·the to!?, on ficuIty, for it is quite simply written: merely the ring. they keep harmonic balance. one melodic line, but with broad exposition. Prof. '.&dwin Kraft has edited an Organ Throughout it is almost diatonic and devel.... Folio of six compositions by Franck for the a~elS)\clic. c~OO1 Thi~ whi~h ops into •..The middle sec.... Boston :,Vlusic Co. (1916). folio tion, (page" 'live), in minor:', covers r~?ev en m~\hY r sells for one dollar is times worch-its pages qud forms a PASTORAL containing cost, for the print is clecl! and the choice of many artistic ing.enious inventions of themes. rep\;ese~ted items ,are c;ll suited for .Church The entire work is not devoid of style, and Ir~\ In~erted organ. thIS foho, Nir. Kraft has frequently, I detach this passage from the ot~~e Al1~g~: S~~ a section tto from Franck s whole work, using it as an Offertory or nata for V'iohnand Piano and Mr. Kraft IS Prelude during the season of Christmas. the transcriber of this item for Organ. The Quasi Lento movement (page 12) Franck's ~-,onata for Violin and Piano was having but sixteen measures: is al.i~o or s'nJ:'lJle composed f70r Eugene ant Theophile Y saye texture arl:" 1.2V 1.t~-~u11 chords, prepares l),~ (1886,~. 1']aturallyt t111S !le,gvetto t does not th~' F:~~~\\TWel~Lar?,,,"~ introduce-is Ad.agio which follows and . belong to any of +JC:(m·lnate~ the F ANTASIE. Piieces fg.r{Jrg\cln. !t'h:(thissame COmP?SI ... This work though entitled F1aJntaisie has tion which b, so genially interpreted on dISCS olympian calm and quietude, and the serene by Thibault and Cort6t. 504 THE CAECILIA humility which is associated with ecclesias~ and incompetent tyros in the organ...lofts, for ticism in music. to the one and to the other class, any con... Franckts style "is particularly befitting a trapuntal mould, I fear, whether they be quality of musical utterance which seems young or old, remains a closed book! If they knew that H contrapuntal music is melody to bear the soul aloft to unsealed and un... tt scaleable heights, and to lose itself in the contemplating itself ••• (Mr. Fox...Strang... triumphs and glories of a holy and righteous wayts ). purpose, Music was, for him, soul...striving To the talented organist, I would say, be and soul-yearning, a transcendental and no longer receptive, but responsive in a con... mystical experience in the faith of the Chris... structive way. Music received, analysed tian Church, as revealed upon earth in Cath... and amalgamated, affords a type of experi... olicism. Franck lived as he wrote, and all his ence and tends to create an arttstic expres­ life he humbly trod in the foot...prints of Him sion of consciousness in analysis. All this who gave the world its moral precepts in is more than a fleeting sensory pleasure or the Sermon on the Mount." (Delacour de a mental titillation, for its brings refresh... Brisay, id. p. 69). ment to life just like the delicate but real fragrance of a flower. Often, it reaches the This Fa'ntaisie in C major is not a prolix p.eak of vision or ecstasy which comes in the work or an heterogeneous amalgam, for from pure reception of beauty. At other times, it emanates a calm, balanced beauty of rna... especially in the modern publications, the ture art. It adheres to the liturgical charac... recompense is not short of the heaven of ter as do most of Franck's Organ works, aesthetic beauty, for such compositions of and all must admit that, for Church use, this \vritings convey to our longing and yearn... style of music should be made subservient to ing souls exalted moments of religious inten... the end, -- that of Divine Worship and sity, and the artistic experience circumscrib... Prayer. Fantaisie in Ccosts $1.50 per copy. ing our soul...strivings, makes us feel as Fal1taisie in A major (1872) has 13 pages. beings on the.threshold of a sanctified d~d This composition is also conceived in repeated experience. great simplicity of style. In ·fact, the recol... Even to... day, in my artistic endeavr:>r, I lected exposition characterIzes it as such. would fain deny myself the divine intui,tions The work is built on two ideas. All is pel... in the nature of art, especially as to i~;ha\ lucid and logical and this 'sacra fames' is regards Organ Music. Religion has ctadled not difficult to render. I leave the hunt to all the arts in their infancy, and mus.'ic was the enquirer this time, as I do not intend to coeval with the ,earliest ceremonies of litur~ deal seriatim or systematicai:i:r- with the gy. The organ, for 1000 years of ){tianity, master ideas which teemed in the master's has been and has remained the unhJue mode mind. of instrumental expression. It culrrlinates in Though Franck~s music is distInguished by the Tablatura of Gabrieli (1597), the Para", his copious use of chromaticism and a fond... phrases on Gregorian Motifs of fitelouze ness for succession of the smallest intervals, ( 1623), the Fiori Musicali of Fr '!:scobaldi in this Fantaisie these' characteristics as not ( 1635) and in the unbridgeable wi ith and to be found. We find though, that dramatic plumbless depth and spiritual uplift mani... intei~..,t which ~.e usually le1'\dsby his sud... den periods of rest and the resumption in fe$ted· in the h{llJow.edcompositions of a new key. Franck, Gigout, Wi;:lor, Boellmann, Vierne, Dupre, etc. \, To the reader and the enquirer especially, I would recommend this Fa'ntaisie in A rna... May this analysis Cj spel much (.)f the pre... jor. One must not resist the Impact of any judicial incumbus, arId the 12jicongeniat writing which savours of modern thought, esoteric quality in the atmosphere of the buf become interested in the more progres... ogan.-Ioft, which is often evinced -in regard siv~ aspects"ol tJ~~ music of conternporaries to Franck's unparalleled achieve,ment. For ~.L" near contemporaries. Ont: ::!J.oulu:l, act after lO know and int ~oret his works Ifor Oroan the manner of that Russian Genera1.regard... means to an a':tisf the release of jJt.llL'-UP_,.,...,..""..J blii~ \,"{J'cH...... f ~7"li iA1~S, fee1i!1:q and their cuI .na ing Wagner's music: He didn·t like it, ,I'-'''.~ UJ.. .lLJ... ~ _ ., __ ,,\, tJ ' . '{ .' ml ... he was not afraid of it ... But do not imi... tion in the pure linear movenlent 01 yearn... tate the manner of the venerable trun.dlers ing resignation. THE CAECILIA 505

Famous Names In £atholie £hnreh Musie

DOM JOSEPH POTHIER, O.S.B. his entrance Dom Pothier was assigned .li humble cross in the small graveyard to him as helper. When a premature of St. Maurice Abbey, Clerf, Luxemburg, death snatched away Dom J ausion, the bears the inscription: Here rests the continuation of the work was placed on Right Reverend Dom Joseph Pothier, the shoulders of young Dom Pothier. abbot of St. Wandregisil, 1835-1923. The The policy had been to procure and bring venerahle monk resting in this tomb died to Solesmes as many chant manuscripts at Conques, Belgium, on the 88th anni­ as possible; if they could not be pur­ versary of his baptism, the feast of the chased or loaned, the monks would make Immaculate Conception" 1923. He "\va:s copies of them. Daily contact with the born at Bonzemont in Lotharingia, De­ monastic chant, and the appointment as cember 7th, 1835. His father was a school chant teacher, shortly after he had made teacher and, as was customary in the his monastic profession, greatly fur­ good days of old, served also as sacris­ thered his own practical training which, tan and cantor. Of little Joseph it can be in turn, he endeavored to deepen by said: he ~lipped from the children's studying the theoreticians of the Middle bench to the singer's desk,for as soon Ages. as his mental grasp would permit, the The first fruit of these studies were father confided to him whatever he knew LES MELODIES GREGORIENNES of theory and practice in the field of Gre­ (1880). In this work Dom Pothier gives gorian chant, so that eventually little us an introduction into the ancient neu:.. Joseph might take papa's place. matic notation and into the pronuncia­ At the age of 23 Joseph was or­ tion of Latin; he treats of the relation dained priest, and one year later he ap­ existing between text and melody; he pJied to Dom Gueranger for admission stresses the importance of the word ac­ into the newly restored Abbey of Sol­ cent, of soLmisation and legato-singing. esmes. Dom Gueranger received the In the last ehapters he explains the rhy­ young priest with joy, for in him he thmic movement and finally defines it as recognized the very man he had been "oratorical rhythm". According to him looking for for so long. The Abbott of we must give plain-chant that natural Solesmes had been anxious to see the flow which the orator gives to his sacred chant rendered in his Abbey in speech ("ora,tion") , that means: syl­ the best possible manner. To bring this lable and musical tone must be so inter­ ahout he had to overcome a twofold diffi­ connected that the grammatical and (at culty; he had to restore the original ver­ the same ti,me) music~l sentence sound sion of the Gregorian melodies, and then llatural and beautiful. he had to rediscover the rhythmic prin­ ciples which might breathe new musical If LES MELODIES GREGORI­ life into the ancient songs. Dom Jausion ENNES in regard to neumatic science had been entrusted with the solution of and rhythmic theory could not formulate this double problem. From the day of ( Continued on Page 523) 506 THE CA,ECILIA

OUR MUSKC THKS MONTH

Kumints Mass in D

Here is an .example of an easy liturgical Mass written in the Caecilian style, which may be sung a cappella, or with accompaniment. By omitting the Gloria this work is ideal for use during Lent. The text is complete with~ out repetition. These extracts include practically all of the Kyrie, the end of the Credo, and the complete Sanctus, Benedictus and Agnus Dei. o Salutaris and Tantum Ergo, by Richard Keyes Biggs, provides a set of Benediction Hymns for unison or part singing. These numbers are part of a folio which contains a Prelude and Postlude for the Organ to'--supply a complete service under the one cover. The compositions are favorites at the famous "La Retraitett in England from which Convent they are spreading throughout the British Isles. In No.1., we see a good example of music which gives expression to the words. The text is of the most importance, and has not been used as a vehicle for music. There is a lasting charm to these settings. Once learned ,.- always remembered. The Tantum Ergo

No. l' t has been used in this country as a supplement to the regular offertory at Sunday Mass.

The Ave Regina and Ave Maria (No.3) for women's voices, with organ accolupaniment ad libitum exemplify the sam,e devotional church style charac,... teristic of this composer's writings. .Liturgica.l "",d Approved Singcnberger', Guide KYRIE t() Catholi~ Chureh Music Lent o. -- ~=, ) fJ ;,;, 'P , I mf ~----- , I' .,. I . ------.J r 8aprano -- - --,~ ""'" - -r v Ky - -rie e - lei-son, k - ~i - e e - pp fJ;,;, --'-~. m,1 ==== , ... . ~.....- I''r :...I ., Alto .-I VI' - ItJ u -. • '-- -- Ky-rie e - le - i-SOH. m~Y - ri .- e-- e - rJ.u. P , --== ==- , -::-....- --J.. .. " - -' '.I "'" r- .-I Ttnor - ,~ - . it.> - - 1 Ky- rie e - lei- SOl1, Ky ri - e e - , mIt --_..--.---. ..., 'PP _. -. -.;;;;- .~ II •• - I -. - '- - -~+-+-.- - Bass " .- - -- I 1 ~ k.y-rleI. e - Ie - i-son, Ky - ri - e b ~

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Made "in U.S.A. 5',0'8 ~ --=~l :J'f). ---,-' 1 .. 1

.-l """-- - - .I. r I'.. r per Pro-phe-- tas. ~t'U-nam, san-ctam~ c~ - fuo - li-eam et a-po:"·sto,... li- ,I' I"" I --==...===:::::;t:",=,=- ..... -.------tJ - \.....-- ...... l r I tas. ;t u -nam satt -clam ea - tho - Ii-cam· et a- po-sto - Ii- fj~ per Pro -phe - ~. ,"''' , -- ~1 I I J" ;r ~11. -;;;;;;:"- ".."" - - .. -_. .. '"" I t.J perPro- phe - tci$. Et u.ncrin, san-ctam,ca ~ tho -Ji-cb ~t ,Ia~to - Ii ,- I~ ~ -.,~ ~ ".....-- _, - ,_ • • .,. .,.. :"110." ,. ~.-M ... -.: -.. -' -1.1 -

Et u-nkn, san-ctam--ca. , - tho- li-cam et a-po - sio - Ii-

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. :,~. I -r r r- II r I r J. j r r .-J ,--- ..., ... I I I I I T 1

,mf ." I L , -- '. " -- .. e ~ I I -.. cam ~~-cle.. si .. am. von - fi - te ~ or U- nUm ba - pti~sma in re- nUs-si '- '0 - nem ., - f) jJ, _.,.ii -' r"l .. ' I ,mr ~ ,

., - .•....-I -' .. -1 __ u .,.. - - - .- u -, nu.tn ba - pH-sma in re - mis- si-0. -rem ... , I _ ',' , r-- r-­ ....~ r It,; r b t. I. • ...... cam Ec-cle - si - am. Con - fi - te- or u~· num a -p 1 ~$ma in rc- nus- S1- 0,- nem • ,. LiP 'flJf .,.. .TT _ "', 0' _ = ., •• .- ...... -- .-- - -, -"-

"') cam - ti -te-or u-num ba'"" pti-sma in' re - mis-si -0 .ri.em f} ~ ~l I ~ I ...... -l I I I -..._ I':. • ...... II I V I r ~ ~ ~ ~-~ ~ :b~' 1: J J J" b ~

j I --.--. cr,.esc. J.fJ JJ. '49 I I I I , .. .. .-l '.J .. -I'I""\C ...... --r _I .-l r~ .. .-I . Ul" - tJ "'" , - - - --' - p~c-ca-to - - rum: Etex- spe- cto re-sur- re-cti - 0 - nero mor - tu- , I ~~lJo I cresc' l I i", "J.I. .. .- ~ ...... r, ... ""!" .-I - .. ',~,,-- '- '-Q I !"- - • u 009------pee -ca.:to - - rum: Et ex - spe -' cto Te-sur·· re-di - 0 - nem mOT - tu~ , I cresco f':JJiII I I I .-'- ·1 ~ P'-1 .. .. ~ .-l '.J - .~ ["7' - ...... -I ... - - r -, - I Ih - - -- !.v pee. ca- 0- - rum: Et ex- spe;. do fe.sur,· re-cti - 0 - nem tuor - tu - , _. cresc.,~. "', ~ .-:- ~ = .". ~ -, - ...... - ...... ~ - ...... "1 .J .- .- - -- - ", , I I pee- ca.-to - :,,' rUIJl: Et ex r.ape - cto re-sur- re-eti - 0, - nero mor - tu - fJ» I I I I ....,. ..,,, '.I l"" ....l -I Ii .~ I"" ", ... - tJ r r- -, ~ 'r' .--r -I, I l' .~ I j, ~ J ~ J.. J ~ j I Jir J j J ; .-l ~ ! J t -~-."':M~ ...... - .-- , , . - .... - '"-- '- .- f -I T I -I~ , T 1).09 ~ )(j .. I J-. , , ppf':\.' .. J.a -. .. ' .. ~- -... I' ...... - - -- - ...... - .; - -... I o - rum. Et vi - tam yen - tu - ri she-eu-li- A ------men. ~~ .f, ! ., , - ~ D -=-'- I. .~. ;""j i'I>' .- ...... ~ .. .riA .., - - - - - VI' .. 'tJ - • - - -- o -rum. Et Ji-tam.yen .. tu - ri sae .. eu-Ii. A ------~n. ~ ~ .. I I I l .. I ------I .-. .-II 9 ' ...... - .- I• - -4Ol' -""" ... - ..- -- - ..... l- - - - - ~ ~ It) o ··rum. Et vi-tam Yen,:· tu- ri sae:"cu-li. A ------men. .p. ~, - .f - , - • , 11lJ1:'\ :"tl.~ -~ -~ UI . - --... 7' .... - !.If .- "" ~ I. tam .. .. --. .. .. ·0 -,rum. Et Vi- ven .. tu - ri ·sae-eu-'li. A - - - -men. ,. ---- fl» I I J I I J I I I r--.. I 1:\

-' ~ .. .-l - .... Q j'--- ..... , ..... -- P'~ r. - ... tL " - - I - 1 r 1 I I r 1.-J ,l't] I ~ OJ )y .. 1) } ! 1 l' J ~ I, J .... J 1'1 -J J r-l::'..---~.~u...... - ." .-I - ~ (;» .--- \:; -z: ~.'--- Largo. SANCTUS ) fJ it# v· I f ,t I ------.. 1JP' -. --. -II.. ..,. ..., ..., IP"'Il. Wll '.#T "-J - - - I ItJ u- - -- I ppSap. .. - - - ctus, San------.. - ctus, - - .. - .ctus I.- _ ---- -n mSr

I~"'.lilt ...... I~- ~---- _u Q ~----- _u u fi~ San - - -- ct\\S San - -- - ctus, "an - .. -- ctus I I' flJil 'YYn I ",.. I I m:1' I I ... - ...... , _I I' ..... , .-I ..... 1'1 '~ , .JIll"'" .. -. - - ~ ItJ .. .. - ctus, ctus San ------etus, ~ San - - - San --- - ~ -n m.1-'--. ,----- :-...... , "" r-" .~ -" -~ .--_. - I ..- ...... -. .-. -- ~...... ~ - "' ...... J.' '1.1 - '" ~ I I ~an-I San - -, ~ - ctus, - - -. ctus, San- .- . - cths fJ~ I I II -:,;.". ~ -" ....I .. .:It"" , ..t. ~ ..;. rJI . ... --I'--- . '7 :f) ~ 1--" I I r r I I J- - I--.i.). r PI I J J .2- -I"--,~ -' ...... :Jlo-" ~ ...... ;. ----- '--,-•• ..u. I ...... - -

JO.~ j , I .f·, I , I , \I II ~- --..;.. -- . r .., '" .~ A .:...... - _. -- - I - I itJ- I - I- r ~;o - mi- nus De . us Sa - - ba - oth. Pie· ni sunt cae - Ii et fj~ "'J I I , I ,I! ., , ,..- ...... 'If"' .... '~ .-l .. A - ...- .... .tJ - - --- .' Do '- mi~ nus De - us Sa - - ba - oth. Pie - lli sunt coe - Ii et .f) ., ~.~~ .. .1' , ~ , , JI ~- '""" ~- ' ""'" - --I"; ------I 1 I f It- .. mi-nus De - us Sa - ba - oth. pIle _ ni Bunt, coe - Ii et ):0 ,~ - i'-J , .-, -/,,, ....;". . . ,,- , ,. , ... - ...- _--. ...~ r~ • ...... - ') I - Do - mi .. nus De" - us Sa ba - oth. PIe -ni sunt coe - Ii et f'J~ I I I I ~ l..-~ .. I I .-I .J T .:.J' ~ .-» ~~.;J~ r I' ~ r·...... : .. .;. . I I -. ItJ - {;,.,.I " I - - ~: ~ I J 1 1 ~ 1. -l>j -.J J_.:~ '-~: j 1 ... i J J . .;;.~ I'" - -.. . I"' ,~ I I _. _. ~",

I I I ter - - ra glo-ri-'a,' tu - - a. I I' I l' 'lIIIII' -. Ii

';';: ~--" - r-a g10------ri- a tu - .; a . ., 'I _ ._ ., -~ - ;' ,...­ .-1 .r - ter- - a. ~ . - . '~... _.-- IJ ...... fer '-'- a . Ho- SMt- naln. ex,'"' ., t\ J 1 ...... ­ ..J j 1 nifJ-~--

1 ~ ~~ ....-.;;;:' ..- _ ...... I• -a. Yo - - ,. ~ oY eJ Ho -san - na Tn --;-eel- - sis.. ~ (Jilo I ., r ., - .... ,.' I'" --. '"" .-i r - -. ..- .. I-~ - • -.-- - '------../' Ho -"san- na in ex - t,el (- sis, in- ex':cel - - sis. fJiIo ,....., I I ~ :--....- ,.--..., 'f':\. r ...... , ;. _. '~ . - ,... .-l ------".... - - -..... - ..I. ~( I Ho-san - ~a' in ex - cel- - sis, 110 - - san-- .na in ex-eel- - sis. , ~ 0-... ,.. ,.4 ; -,.r:: ,- 'T -. '-.... - - - , - f.I -- f JPr - ....- ~ .-I- - ... - ..... ------') I I I I r I c.el - 'S1S, ho.- san _-na in ex '- eel-sis, ho - san - nain. -ex - eel - - sis. f)~; .l I .1 r"1 I f:\ .. ...I V ..l ..... ~. ..J - ... - ,. .'- . - - - P' r t I 1 Jo.o.J t.J ~~ t. _l 1· jJ J J"J.4 J. Plr J JlJ r J -J ..u.. .' ~ . - ., - - I_ . I"': ~ f - -. ~ 1 -- f r BENEDICTUS )~ jJ, An dante.

-r .~ ". ------"" - 'eJ I Be .. ne·- PI ., , ., ..-.. f\.u.... I 1 I. -If.. Ii --. .. .-l , .~ ,.4 - '" -' " - -tJ CJI ------.., T a~-ctusqui ve nit in no mi-ne - ini ni. . ~ ~ Be- ne -' - .- Do - - -, .-

"7 - i~ ,. ~' , " - - iJ· .~ ~ I ..-.. i I r-t --, ~ _ __I't. Ii ,UI' :- ,J -~_ '- ~.-~ e-o"'J,. ,'1.-1 -~ T I U l~ ,j~ ---r-r. F -~~p r' ptfDur J 'I .~l ~l ~J'..t -&. , .. . -. fJr .:... ~ ,.;;.' i -... - - .... ,., '~'-- I , , I 51! , , -'--"-.~, I JJ. I .-' I -" ! fl -_.....-. ". " rT~ '~ - - - .-I - ... - --- 'I ,I· I -- tJ di - etusqui ve - nit qui ve 1_ nit in ~lO- mi - ne Do·' mi.:.nL fJ~ I t I l .1 - .,- , - , ~ .-.. ., ··M'" oM _I .... - '~ . .... - - ~- - '- - '@) '------...,... -6J..- Be:- - ne - di - ctus qui ve-nit in nO:,mi - neDo -nli - ill.. flJJ. I ~ .. _. r.,- .... - - ., - - 'J 11(. .... -- ~'.'.'..... ~... - - - ,- ... - ...--- ... . ., -- I 1'JIIII"'" il ;Ho-sannaln ex- ~ 'f) t I I I I I I I I 1 I ''- .WI - .-I ...... ~ .~ ~ '.J ...... '..I .-'1' . ... '~. ~ ... - " " .. -- 1~ . - - - f) I i''-." ~~rr r'-~Ir i -- OJ.-- - r - -~: ..~ r J1 _. ~."'.' - :... .- --. '.J - .,. ~ ...... , '''' ." - ,.". - ~ .~ ! I I - I

l f:'.. JO.··~, IW .,. ,...- r-- .... ~ , ~ - - - r. ~) Ho-san - na ln --ex- eel - - sis. fl~ I ., 1 ..... f':\, "~ -. .- '- ....w. - ,.r-. r,""" ..- - .AI .... I- - ... ~ ... - -- - ~ - ..... f} - - - in ___'- - Ho -san - nain" ex - eel - sis, ex - eel -- sis. fl~ ..-I ....-...' I ,.... I ,. ..- I':' .- -~ , -.... '~. I. -, ... rr~ ... - -- - -... I. ... - - .-I _ - .... r r-r- '= ~ "" - - - -- . -I '- - r ------I v Ho-san-'na in ex-eel - . sis, ho - san - na in_·__ ex- eel - - sis. , /--...... -, .~ ',< ...... ,..- ,... -;;;0. I. -:'~··~I.i. ." - ...... - - ---= - -- - - r-. - ... I I I'i I I. I. I 1 eel - sisr~ ho -- san-ua in ex- eel.sis, 'ho - san-na in ex-- - eel - . - - sis. fl~ .1 I I r"'""'1 I t::\ "-.-- .. .., ... u ...... - - - . .. '"" - . . I"' J I - -~ tJ ~~ 'c-! I I r n~ t '1 1. ~~ I d .,L j .Jl ! 1/--'-1 J ..D. J1.J . r- ..... ~.~ ,.. - ~ ...- .... • .WI . - - - - - . I , J

AGNUS DEI Md0 erato. J[; ~ v, ' ,', .I' r. I -, " - - , - - if) I mi - se - ~e'- re' ~~ p , I' I Ir" '- - - - ,''J ...., ,r~ 4 u mi- se ,- re - re ~ p i}'}'. f) , I I I I' " _u. ..., rl .. ,,"" .. ... I'l' -' -" ...... - Ie. U (;I -~ ------.~ -- De - i, qui to! -lis pee-ca - ta mun - di, mi • se - n~ - re- rj=gnus -~ p ,..-. - --. I , ' ...... ~ Il..~: ~ ~ - .. '.J .--. --. ------" '- - I.of ." -- , ...... -- ") f I 1 I - A-gnus De - i,qui· tol-lis pee- ca - ta lIiun - dL mi .. se -'re.re I I "I ,.fJ : ..I _ -J ..,. "r!1 ~ "~I} ,...... - - r:J -- .- , I~ Ie) l3' - ~ ~u r r ph ~J r ,-- q1''- .~ j n -.. '1-..1 I. i I ..... a , ...I ...... I ,....-, .-.. ~ " . - .., - I I 1'-1' r T 5-12 t , I I I I -J~ -~-l ~ '" .~ _ -, - '" - - TT .""' V- - np - .. bis. ~- gnus De" - i,qt,ti tol-lis pee·ea- ~a ~un - di, 'f) ,JJ. , 'lnf ; " ..... r., .- .,.,-- 111'('.... - -r-1 - I f '--'" -- I tJ ~- ·u .. .. tol-lis pee ... ea -ta inun - di, n10 bis. A: .. gnus De - i,qui fl~ I , ... MI 'r '. [l. - "- tJ - no - .. bis. , ..-. ~:: -" - - / - ~ ~. no - .. bis. f)"J}, . J I- I t- I .--'~.""'.: roo ..- -- ~~ -~...... ~ ~ . - . .~ -;:: .•.- •.... ~~.W f~ I r ~ -- I r o ~'T ~-r..' I r --"r -I r ,J uJ r4" .-:-. J ... JA~ 'L~ IFl o . ... .CL--_ ...... I,' ,., ,- -- ~- -- ...... , - '" I ------.-

I , , 'I .-I , '~ r~ "" ... .- -..;:: -- I tJ I. I' .. !Jfl - se .. re - re no - - bis. A- .. gnus De - i, qui fl~" .,. , - .- .-1 --i -8- ~ iT -6- U ~ -e- £.. mi .. se - re .. re np .. - bis. n,~ ./i, I I' -\ I I l I _.-I -~~~ -'-' - ~ mi - se - re - re, no - - bis. A- - gnus De .. - i, qui f! I, / - ---. r~ ...... , - - I , r~ .. re no - - bis, I I I I~_ ~- - -"-.... ~-- ~.....j,"--""---1 - ... r I r -e-"~' I l I....J- r ; J J I #' J n'..fl' ""- -

~ ! ! .-

I~--~ -3,, ~~pr~'§aE[>~

to1 . lisp,eo-ca- ta mun - di, do,- na. 't uo - bis, pa - ,- - cern. r't -a·ra, ' '" 1':\ 1~'~' 2!!-._,.=g--~@~~- ~

'-..: -& do - na . no.. bis pa - .. .. ce,rn.. ~~rr-p ta mull." di, do - na .. no -"bis pa -- ,. cern. 'Yitard,. .' . ~~) do - na no .. bis pa - ,. celH. I t:'\

c, r.w. Schlimper, Music Engr. o Salutaris No.iif-) 518 RICHARD KEYS BIGGS Legato ",-..... ---- . --- dim. Sa-Iu-ta-ris Ho-sti - a, Qu~oe-lipan-dis 0 - stl· urn, Bel­ .ni tl'i-no-que Do-mi no Sit sem-pi.. ter - na glo-ri - a, Qui

I -==::::::: d't, m. la pre-munt ho-sti - Ii - a, Da ro-bur,fer au • urn. _ -< :::::=:=­ vi-tam 8i - ne ter- mi - no, No-bis do-net in a. _'_ A-men. 1

Tantum Ergo No.1 Q'llickl!J and sustained RICHARD KEYS BIGGS

Ve - ne.. re- rnur eer- nu .. Laus et Ju.. hi - la - tl ,'" --J-.l-J---

-crisco rJim.---- r i ti - quum do - ou men - tum __ ho .. nor, vir .. tus quo" que,_~ J~

...... ~:.-. ~.

ri - tu - L "_._ moo oti - --.---­q._'_ ~

~ *') Note. The ehoil' shou.ld sing t.his number with rather ra.pid tempo, slightly broadening the end'of eaeh phrase. Abso... lute HLegato" is required. . M. & R.Co. 752- 8 Copyright MC~IXXXIV by McLaughlin & Reilly Co., Boston 514

I crC8C. Sen- su ~ urn de - fe - ctu - 1. __,' Prae-stet fi -des sup-pIe" Com-par sit lau- da - ti ­ Pro - ce - den- ti ab u - ----.- --- J l J J"------

men· tum,_ Sen- su - urn ctu '. tro . que,_ Com-par sit ti ,~-_...... ------~

o Salutaris 'No.2 RICHARD KEYS BIGGS ~,.. rit. I":'. atem~

t. '0 Sa-Iu-ta-ris Ho sti- a, Quae coe-Ii' pan-dis 2.U ni trl- no- que Do '- roi - no Sit sem-pi ~ter - na -a=====- --;...... ==:::::::::::= ~- J ,J.J J .J

a sti urn, Bel - la pre-munt ho ... glo ri a, Qui vi-tam si· ne

-9-' -e-.

A , ,men.

M. & ,&.Co.'752-S. Sw. Flute and String 8' Tantum Ergo No.3

Gt. Flute (Sw.toGt.) > Soprano and Alto Duet Ped.Bourdon (Uncoupled) RICHARD KEYS BIGGS ¥,~;n:a

i. Tan-tum er - go Sa·· era- men-tum, Ve- ne - re - mur cer-nu - i, Et an­ 2. Ge - ni.- to" rl., Gf! - ni - to - que, Lans et ju - hi - la- ti - 0, _ Sa-Ius, ~well______....-......

Small notes for Pedal Bourdon uncoupled ----

tu i. Prae-stet cti o. Pro'- ce- --..."

add Sw. Fl..( .;

,--- sa.ns Pede ------~-...... ~ rr- fi - des sup- pIe - men .. tum, Sen- su - um de - fe - etu ­ i. __ Prae-stet den - ti ab u - tro - que, Com-par sit Iau -da - ti o. __ Pro- ee-

I withPed. ~ -=::::::= =- ~~B§~ti~§~~=tli_:J

sup-ple-men- tum,Sen-su - urn de- fe - etu.~ 1. ab u - tro - que, Com-par sit Iau- da - ti o.

Man. Pede M.lt R.Co. '153-8 ~516 To Motlti!';' Ma'Pie 1J~"(J·ltma""8,B.R.S.C. Ave· Regina.Caelor'urn For Two or Three Equal Voices H,ICHARD KEYS BIGGS . ,1, m t-.. ~ ~ ~~ ~ I 'f .- .. = A SOPR. , ... Ii. . .. .- 1- II .. - - - t.J -- • .4!J..t t'- r' r I r I- .I , • r r- A- ve Re-gl - na eae-to - rum * A- ve Do-mi- na An - g e - 10 - rum: ~ .= :::=:==-~ ALTO -':J.. ... - ~v ----- ... • -- ' . ~t:\ fJ .... r-,-., I I ------"lIL. _ ~ " ~ ....i"\ ," _. - , , .u .... -- - JU - . ... • I~ -~I ORGAN mf :r=-. ad lib. } -= ~n ~ - " 6.:: .

a tempo

V(r...g 0 glo­ ri - 0 - sa, Va-Ie, 0 -==::::: =::==-./":'.

.J

M.& R.Co. 91,2- 3 Copyright MC:MXX,XVI by McLaughlin &: Reilly Co.,Boston Made in U. S.A. 511

- -m ~ .... ~ I '"' I r I 1. i -1- .-I' - II...• - - _. -- ' - ~ -- - .... -- -, - - -~ , ~ ~ r r I ~ f .' '-'---- F=f9 val-de de-co - -- ra, Et pro n o-bis, pro no-bis Chri - stum ex - 0 - rae A .c-- Lo.. ~t ~U 2*l1 -. ~

tJ ~ ,----~I 1 - * ~ .. ..I ~ . -.. II. .. ---rJ .~. .,. ..I fi 'J - ""' '''!!l:= .-4 • -- .- . , ...... ----- ,~,~- . . \~ 1~ =l~ - ---I f...... 1-- f .q '- ~"""I mf T r ro l·~ ~ ---;J. 1 J. ~~.J. 1J 1i- J 1 ; =y J. \ ~. r '!II";; ...... 1"" - .. I ,..- -JIll' .. .~ ~ --, ...... JII' A ...... - . -.;....- , I r I

Ave Maria (No.3.inF) F'or Two or. Three Equ-al Voices RICHARD KEYS BIGGS -< ~ ) fJ I I I I' I I I I .~ I-== t I -.,.-r SO-PRo ".J ~ .-I r~ 'I'r-- ~ -. -, ,. .-.' , ~- J-II -- -- - ,.~ " .- v I T - I- I I --- -- i~T , r, f , 1 ~ I I A- va, A - ve Ma- ri - a, gra- ti - a pIe - na, --=:::: 11 mf<> --~ ~ - -=-- ---=-: ALTO ·._-v..- .- ., DtJ - 7f. if}- .~~ ~

Ii :::::::::-.... ---...... -1--- -.- ~ -T-..' . ~. .... -' -.._.~ ~ ...... -.------... -IT , -- , 'J I J I - _V' ORGAN mf ::::::=-- --=F= ~ I --- , ad lib. ~r=i .D. } -- #. - -H ----- '. , --,;...... -:'A "'" - -

be ...; ri-bus,

_'_'---_--I

M.,& R.Co.912-3 518 --=::b:--- tJ I . J. J> II t I I I I I ... ~ ...... ·k ,. _...... - - - III _Pn1 V .- - '" ,.. .- ,.. ,-- oJ' - -,- """ '1 t.J I , r/--I ! , I- I i I !~I- I ' I'-"r 'et be - ne - di -, ctus fru-ctus ven-tris tu - i, Je - SU&. ~ --=...,.....-. :::::::==-- ~ "- r... ,. a. )u - •• • -9~" ... 7t ...... ,..... fit ~-e- ..- ~

11 I~ I I I I I I .. - ....1/ .... ,~ . '110 ,"'" V ... r- ~ . . - . - ..... i~ I I ---- It) - I I I ~ f' .-kf=- .,.. 11- a ~ ~ .. ~~ ~+ .fl- . be- - - ...... - ..-

)11 ~ =-- _r.,~ ....,.. - ~ ~ :.II ~ .. ,~ ~ )U - • 'i' ?f ~ ~ ... ..

J1 I I ~ 1---- -'":"'---.. ,.- ... ".I ...I ...... _r" v - - . tJ Y ...... --'~ U ----- ...... ---...... mf --==. .::::::=-- I r .0 .D. '1J#-' oR- .p.. ~ 'ti-...... - :=: .. - - .- .. - - Woo " V

o nune et in ,1' --==

~ ) I I I I I I t I I I ~ ..... - II '111 I "1 I I 11 I r .L- r bo - ra, nune ho - ra mor-tis no - strae. A ..., ::::==-- j 'Pit. ..

I I~ ..., ..­ I' I II I I .(L ~... b.. .. I"'" " •

,M.&R.Co. 912- 3 THE CAECILIA 519

Question and Answer Box

Conducted Monthly by DOM GREGORY IfUGLE, D.S.B., Prior, Conception Abbey, Conception, Mo. Send your Questions to Father Gregory, they will be answered in this column without reference to your name. }

Copyright 1936 by Mclaughlin & Reilly Co.

Questions submitted in October, 1936: profane, unworthy, sentimental music, .(How can I overco,me my aversion for and go back to the tradition of real singing in unison? To me it seems all temple values, to the authentic, golden singing ,in chttrch should be in harmon­ Inelodies of the Ages of Faith". Need­ ized setting. When I was young I heard less to say that the ears of music lovers the Vesper Psalms ,sung in t:wo parts; were stunned and that many resented the Psalm-tones had a popular and ap­ orders that eame so suddenly. Like an pealing rnelody,. for years I miss all that undaunted champion Pius X said in his and I just resent it.)) letter to the Lord Cardinal Vicar of A. For almost three hundred years Rome: "Lord Cardinal, the patient is most of church music had been brought very sick; the operation has to be per­ under the spe/ll of secular influences; formed, and while you aTe at it, be not composers tried to please the people, afraid to cut deep enough" . This letter and the faithful just revelled in sweet refers to the musical reform in the city harmonious music. The idea of collec­ of Rome. tive prayerful song in unison had beeome But the .,deep cut" to be made af­ a thing of the past; liturgical standards fected the rest of the world ~lso, in par­ had yielded to popular taste; plainchant ticular all these enthusiastic lovers of had been (practically) sidetracked. Like harmony who were in the habit of look­ Cinderella it was relegated to the ash­ ing upon High Mass as a musical treat heap in the dark corner. Indications of and enjoyable diversion; their number a reform were in the air, but conditions included many pious men and women. did not seem favorable. To-day the Catholic World looks upon The twentieth century came; in 1899 HOlly Mass as a Sacrifice in atonement Pope Leo XIII consecrated it to the for our sins; it has begun to realize that Sacred Heart of our Divine redeemer. the music which accompanies this Sacri­ Already in 1903, "the man of fire' " Pope fice must be holy, solemn, austere and Pius X, appeared and with him a new prayerful. era set in. Like our Lord Himself, he be­ We have before us a pamphlet, U Ex­ gan his publie ministry with the cleans­ cellencia del Canto Gregorriano") which ing of the temple. He drove out the we received from Brazil. The author, buyers and sellers, overturned the 'tables Monsignor Moura, sets forth in different of the money changers, and to the sellers paragraphs, the beauty and effectiveness of doves he said: ' 'Take these thing'S of singing in unison. ' 'The singing in away". one voice imprints an air of majesty up­ Translated into the language of litur­ on the melody", he says, "owing to the gical music this m8'ans: "Take away the unobscured intervals sung by the voices.. 520 THE CAECILIA

In part-singing the intervals are ob­ and the same mechanical act; unison .scured, because they are already pres­ singing resembles working on the farm, "ent in some other voice". "A multitude where a person has the entire gamut of ,of voices joined in unison renders the activities engaging soul and body. ,sacred text in clear and overwhelming (( I read about a prophecy made to beauty; the ~scending and descending Saint Benedict that his Order before the waves produce an impression which can­ end of the wor~d would render special not be equaled". services to Holy Church. Is there any Now then, how can I overcome my truth to this?" .aversion for singing in unison ~ A. There is an ancient tradition in (1) By stripping off the baby-boots of the Benedictine Order that Saint Bene­ sentimental recollections, i. e. by earnest dict received the following promises: .submission to God's holy wiJI, so clearly (1) "The holy Order shall exist to the manifested by the supreme authority on end of the wOIild." ,earth, viz. by Christ's Vicar. (2) At the end of the world the Order (2) By seriously considering the fact shall staunchly defend the Roman that unison singing possesses a beauty Church and confirm many in the faith. .of its own, and is not to be despised. (3 Everyone who perseveres in the Or­ (3) By further considering that part­ der shall be saved. .singing in church proves a nuisance (4 Everyone who persecutes the Order, whenever it obscures the text, retards unless he amend, shall be shortlived and .the sacred function, wears out the sing­ end badly. ers and wearies the people. (5 All those who love the Order shall

U I am anxious to obtain a swmmary die a happy death." .of the advantages accruing from unison "Is it permissible to chant or reeit,e .singing." any stanz,as of t,he Dies irae a,t will, with­ A. The following advantages seem to out regard for special verses? Does this .accrue therefrom: privilege apply also to other parts 0/ the (1) Singing in unison enjoys untram­ Mass?" meled movement. A. It is permissible to recite or chant (2) It creates its own harmony in virtue any stanzas (or versels) at will. At one ,of its free movement. time a ruling was in force 'that those (3) It enables any number of singers stanzas which contain a supplication to take part therein. should be sung. This ruling involved a (4) It gets away from text repetitions great de3,jl of hardship for those who did which often become so annoying in part­ not know Latin and, no doubt, for that :singing. reason it has been dropped. The privi­ (5) It gives a fair deal to all the voices. lege of reciting applie,s also to other In part-singing the voices are subject to parts of the Mass. for instance the Grad­ much inconvenience. Some hav-e to dwell uaJ, Tract, and Offertory. in the ttattic" of highest elevation, while "Can it be proved that the so-called ,others are perpetually kept in the t'base­ . Twelfth Mass of Mozart is the -work of ment" of ,lowest depression; the middle 'a swindler?" voices are assigned to an insignificant A. There is all the evidence in the range between. world that Mozart never wrote that An illustration. Part~singingresembles Mass. Mozart died in 1791; the Mass in working in a factory where a person question made its sudden appearance in from morning till night performs one 1826. A devoted and learned pupil of THE CAECILIA 521

Mozart, Ignace Baron von Seyfried, who (( What abo-ut the musical v,alue of the died in 1841, at once began to make in­ Twelfth MaBS?" vestigations and published a protest in A. As far as melodic invention is -i'Ca,ecilia of Mainz: a Magazine for the concerned the rating is very low; we Musical World", 1826 (No. 17). meet nothing but commonplace melody Professor John Singenberger repro­ wherever vve turn, with the possible ex­ duced the German version of this protest ception of the fugue "Cum Sancto in his Caecilia in 1880 (page 53), and an Spiritu", but even that becomes abnor­ English version in his ' 'Echo'" 1882 mal ; it extends over 14 pages and intro­ page 33. duces forty AMEN. ~'What can you quote from that pro­ When we turn to the harmonic treat­ test?" ment we hardly know what to say; call A. Baron von Seyfried protested it unworthy, unfit, banal, crude, or what that the pretended posthumous work you wiU; it falls below all these terms. from first to last was altogether un-Mo­ Dr. Franz Witt in Musica Sacra, 1874, zartian in style of composition, in se­ speaking of the orchestral parts, says quence of tonalities and in designation ,'they are most uncouth, endless fan­ of rhythm. He appealed to the publish­ fares; the bassoons treated as Mozart ing concern (Simrock in Bonn) to clear never treats them ... The Mass is ab­ up the matter. The information given solutely unchurchly and must not be tol­ by the Music House was not satisfactory. erated in our choirs". Rev. Paul Krut­ It must be remembered that also other schek in "Die Musik na,ch dem TVillen compositions appeared under Mozart's der K irche" in a just burst of holy in­ name; Ludwig von Kochel, in his monu­ dignation says: "The Fanfare of Mo­ mental work on Mozart's composition's zart's Twelfth are not church music, but gives a list of them. music for a cattle show, when the prize­ " How was it possible for t.hi,s Mass crowned oxen are led forth in triumph to become so immen$ely popular?" into the arena. " There are many reasons; we shall (( But what about the liturgical value limit ourselves to the following: of this M,ass?" (1) The uncritical, credulous age. A. This question might seem super­ (2) Mozart's great name. Enthusiastic fluous since we just heard a crushing music lovers in England and America verdict of its musical value, but for the did much towards the spread of this sake of study and information it seems Mass. necessary to view the composition also (3) Love of spectacular music for state from this important angle. We have be­ occasions, along the popular axiom: the fore us an old copy of the Vincent N a­ more noise, the better". In point of vella edition, printed by Oliver Ditson, bombastic display this composition has Boston and New York (undated). The no equal. organ score fills 151 pages, of which the (b) Low standards of musical educa­ K yrie occupies 20, the Gloria 47, the tion; depraved taste; pioneer conditions; Credo 28, the Sanctus 6, Benedictus 23, the Mass ,was easy and e:reective. Agnus Dei 26. From this survey it is at (5) The spirit of liberalism and secular­ once evident that the different parts, ism; the make-believe that the musical with exception of the S anctus, are too hero-es of Vienna: Haydn, Mozart, Beet­ long, and therefore unliturgical, be­ hoven, .were infallible leaders and inter­ cause they interf·ere with the sacred preters of church music. action. With regard 'to completeness of 522 text we but mention an inexcusable omis­ Crucifixus and Et incarnatus. Such sion in the Glor·ia, where the choir sings: things may occur in Opera buffa, but not Lattdamu.s, benedicimus, adoramus, glo­ in High Mass. rificamu.s, always omitting the most im­ "What, then, must ble our finial ver­ portant word: Te. It sounds like a dict?" mockery. When we look for an expression of A. In sight of the gigantic labors to suppliant petition in the Kyrie, what do restore liturgy to its pristine purity we we find ~ We find repetitions which toss must inscribe on the title-page of this the sacred words about in irreverent and Mass the words: (( Inimicus homo hoc meaningless fashion, as though a ball fecit - An enemy:has done this," in or­ game was going on between the different der to hurt the most sacred interests of voices. Still worse is the overlapping of the Holy Catholic Church." ---

He added that the memorial organ in St. EDWARD WHELAN DEAD Philip's church expressed the last word in Former Organist Los Angeles Priests Cboir construction. It was built by George Kilgen & Company of St. Louis, Mo~, and contains Mr. Edward Whelan, formerly of Boston, 495 pipes, all installed invisibly in the ceil... but for many years a resident and active ing of the church. The design is according church musician in Los Angeles, California, to Liturgical requirements. died during the weel< of October 19th. Mr. Whelan had served as organist for .. the Priests Choir, and for many years was .CALIFORNIA organist at St. Basil's Church where he was MILITARY FIELD MASS SUNG a leader in presenting many programs of im... AT SAN PEDRO, CALIFORNIA portant church music compositions. A quarter of a century ago, Mr. Whelan San Pedro, Oct. 13. ,-Climaxing and directed a choir of boys and men in East adding spiritual significance to San Pedro Boston: Mass., and this organization enjoyed colorful Spanish Fiesta, a solemn Military a fine reputation musically. Later, he moved Field Mass was celebrated at the Trona Na... to Los Angeles, where he became one of the vel Field on last Sunday. Present were sev... best known Catholic Church Musicians in eral monsignori priests, high army and navy that city. officers and an attendance of about four thousand persons. The music at the Mass was rendered by an augmented men's choir under the direc... ORGAN BLESSED tion of Lieut. Robert Resta, bandmaster at AT ST. PHILIP'S PASADENA Fort MacArthur, and the children's choir of On October 11, Right Rev. Msgr. John Mary Star of the Sea school, directed by the M. McCarthy, VF., officiated at the blessing Immaculate Heart Sisters. Mrs. Paul Hoof... of the new organ r,ecently installed in St. man was organist. Philip's church, Pasadena. 'The organ is a memorial to Michael J. Connell, uncle of the pastor, Rev. Daniel J. ALFRED SCHEHL INJURED O'Connell. BY AUTO The music for the Mass was rendered by J. Alfred Scheh!, widely known organist St. Philip's Choir, with E. J. McDonald, Jr., and composer, was struck by an autombile officiating at the new organ. on Oct. 20. He was returning to his home, In the course of his remarks Monsignor 1128 Beech Avenue, after playxng for a third McCarthy gave a brief history of the pipe Mass at St. Lawrence Church, where he is organ, which he described as Hthe king of organist and choir director. He suffered the instruments because it rules over the hearts fracture of a shoulder bone and an injury of men." to a knee. THE CAECILIA 523

DOM POTHIER (Hymns to the Blessed Virgin). All the ,.- Continued from page 505 new feasts that were introduced during the final scientific verdict - it was im­ his lifetime, received their musical set­ .possible to do that - they nevertheless ting at his hands. The wealth of his hand to us the golden key which opens interior life is revealed in this activity the treasury, containing the most reli­ in a striking manner. His compo­ gious and most fervent products of mu- sitions are not mere conglomerations ac­ sical art. Dom Pothier's work was en­ cording to dry rules; they are the out­ thusiastically received by some, and pouring of an overflowing heart. They .most bitterly antagonized by others. (It are the fruit of an artJess and cheerful is interesting to note that Anglican chant love, offered to God and His Saints. ,enthusiasts proclaimed "The Gregorian These qualities had long already di­ Melodies" by Dom Pothier a work para­ rected the attention of the Superiors to mount in importance with the discovery Dom Pothier. Little wonder, therefore, ,of America). that in 1895 he was appointed head of The opposing party obtained the up­ the newly restored Abbey of St. Wand­ per hand when all the propositions, rille; in 1898 Cardinal Sourrien placed 'which the Congress of Arezzo (1882) had the Abbot's mitre on his head and made formulated underDom Pothier's direc­ him the 77th successor of St. Wandregis­ tion, were rejected in bulk by the Con­ ilus. gregation of Rites (April 1,oth 1883). Unfortunately he could not govern his Dom Pothier was no impetuous fighter; Abbey in peace for a long time. Already he advanced his arguments with great in 1901 he had to flee into Bellgium to :moderation and reserve, not because he find an exile for his monks and to escape was not fully convinced or'the truth of the inimical la"vs then prevailing in his theories, but because he was deeply France. The sufferings of exile were re­ ·convincedthat in God's own time they lieved in part by the fact that the recog­ would find an opening in spite of all dif­ nition, shown him by the highest Eccle­ ·TI.culties on account of their intrinsic siastical Authorities already since 1890, value. had grown into a veritable triumph in The next great work of Dom Pothier, the days of Pope Pius X, who made •• the the Liber Gra,(lu1a.lis, appeared in 1883. heretic of A rezzo " president and direc­ It represented an immense advance over tor of the Papal Commission which had the Rheims-Cambray and the Medicaea been entrusted with the restoration of 'editions. Its use was primarily intended the Sacred Chant. -for the Benedictines of France, owing to Dom Pothier did not live to see the the above mentioned Decree of the Con­ return of his monks into France. Shortly ,gregation of Rites and the thirty years' before that time (1923) he died; his privilege granted to Herr Pustet in fa­ body was transferred to the Abbey at 'vor of the Medicean Edition. In 1888 Clerf. There it rests cJose to the apse ,appeared the Monastic Processional and of the Church, where the echo is wafted the Va,r~ae Preces; in 1891, the Liber An­ to his grave of those tender melodies for :tiphonarius for the Benedictine Order. whose restoration he had worked so Dom Pothier's activity was not limited much. (. Opera illorum sequuntur illos to paleographic and theoretical works; -Their works follow them." (Leo he was also a composer. His tender de­ Thiry O.S.B. in Musica, Sacra, translated votion to the Blessed Virgin urged him from the German by Dom Gregory to puhlish in 1903 the Cantus Mariales Hiigle). 524 T,HE CAECILIA

ALBANY SINGERS HONOR CLEVELAND ORGANIST DIES PROF. BRODEUR AT DINNER AS SHE CONCLUDES HOLY HOUR Professor "joseph D. Brodeurt organist and After playing the organ and· singing foro choirmaster of the Cathedral of the Immacu... the Holy Hour in St. Co.!.man's church, latet Conceptiont AlbanYt fot tile past seven~ Cleveland, O. Oct. 18. Mrs. Margaret teen yearst who resigned his postt October Reilly Parrellt organist in that church and 1, was the guest of honor at a reception and one of its choir for 35 yearst was stricken testimonial dinner tendered him recently at as she was leaving to go· home and died the Wellington Hotel. within a few minutes. She was carried into Prof. Broden was the recIpient of a sub... the vestibule of the church where the Rev. stantial purse presented him by Mr. James A. Flood administered last rites. Matthew Mahoney on behalf of the choir. PRIEST RECEIVES DEGREE Clergy of the Cathedral parisht the Rev. Joseph I. Hennessy, former assistant at the IN MUSIC AT WISCONSIN, UNIV. Cathedrat and members of the Senior Choir W,est De Pere, Wis. -- The first attended the event. doctor of philosophy degree. in music ever An acknowledged authority on Gregorian granted by the University of Wisconsin has music and liturgical questionst Professor been awarded to the Rev. Robert A. Srom... Brodeur studied music in Montreal, Bostont ovskYt O. Praem't associate professor of mu... Rome and Paris. sic at St. Norbert college here. He studied at the Institute of Sacred Music in Rome IRISH CHOIR PROVIDES and did research work among old music A SURPRISE FOR SIR manuscript in the Vatican library. RICHARD TERRY ORGAN RECITAL at WESTERLY, R. I.. (From the ~~UniverSiett CorreSlPondlent) MUSIC CLUB NOV. 9. BY MELCHIORRE MAURO~COTTONE BALLYMENA. Organist New York Philharmonic Society After listening to a special performance Organist St. Maryts Church, of early polyphonic church music in the New LOllldJotn, Conn. Honan Chapel, University Colleget Cork, I by St. Mary's Cathedral choir, Sir Richard Largo Sostenutoe Gigue Terry said he never imagined tbat there was Domenico~Zipoli in Ireland a choir capable of rendering so Two Inventions J.S. Bach excellent a performance. Toccata and Fugue in D Minor He congratulated the choirt which was di... J. S. Bach rected by Herr Aloys Fleischmannt and en... II couraged them to continue in their good Allegretto from Fourth Sonata work. Sir Richard had been acting as ex... Mendelssohn aminer for the autumn musIc examinations \ Musette Oreste R1avenlello in University College. Pastel H. Benjamin J1epson Toccata Marco Enrico Bossi LONDON CATHOLIC CHOIR III BEGINS NEW SEASON Chorale in A Minor Cesar Fr(1l11ck The London Catholic Cholr and Orches--­ Christmas in Sicily (from Sicilian Suite) trat whose president is Bishop Butt, and lVlauvo...Cottot1'e which is conducted by Mr. Robert HasberrYt IV The Swan Saint~Salens~Moret musical director at St. James' t Spanish-,placet has commenced a new season. Magic Fire Music (Die Wa'11

II ORGAN Joseph J. McGrath, and the mixed voice ar.. H HStella Matutine H,enri Dallier rangement of the famous "Jesu Dulcis Mem­ "Ave Maria" M. Enrico Bossi oria" by Kothe enjoyed a popular sale. H "Fantasie and Fugue in G Minor JohannS. Bach NEWARK, N. J. III ORGAN H "Rose Windows Henri Mulet JOSEPH A. MURPHY, DIRECTS CHOIR HAndante from B Minor Sonata" IN SACRED CONCERT Arthur C. Becker s a part of the season's activities, the: "Scherzo from B Minor Sonata" A Diocesan Institute of Sacred Music of Arthur C. Becker Newark, presented a model exemplification IV ORGAN of churCh music at St. Joseph's Church,. HVariations de Concert" Newark, recently. Jose.ph Bonnet The program was rendered by St. Jo... "Will 0' the Wisp" seph's choir of young men and women, who Gordon Balch N'eviln have been singing for one year. They are "Tocatto from Fifth Symphony" uder the direction of Joseph A. Murphy, in~ Ch. M. Widor structor in Gregorian chant in the Diocesan Institute and organist and choirmaster of St. MUSIC FROM HCAECILIAtt USED AS Joseph's Church. CARDINAL PACELLI CELEBRATES The church was filled wlth members of MASS IN BOSTON the institute and their friends. Most of the Guest of the Most Rev. Bishop Spellman, organists, choirmasters and singers of the His Eminence Cardinal Pacelli visited Bos~ Newark Choir Guild were present, together ton, in October, to greet His Eminence Wil~ with representatives of the St. Cecilia Guild, liam Cardinal O'Connell. The Priests of the another branch of the Diocesan Institute. Archdiocese, on the Seminary grounds, wel~ The Rev. Harold J. Dilger, or Seton Hall comed the distinguished visitor, and later he College, lecturer on the liturgy in the Dioce~ retired to the Sacred Heart Church in New san Institute, was presented, following an ton, where Bishop Spellman is Pastor. The address by the pastor, Rev, James F. Flana~ following morning CardincI Pacelli, celebrat~ gan with .explanatorycomments on the char.... ed Mass at the Parish. acter of the music to be rendered in the fIrst Music was rendered by men's voices, in 2 portion of the program. The illuminating re~ part harmony. Among the numbers used marks served to enhance interest in the mu~ H during the service was the "Ecce Panis by sical numbers, which were presented in the Gilbert, "Panis Angelicus,H Franck, and following order: "Pater Noster' by Ippolitov,..Ivanov, all from "Ecce Sacerdos," Stadler: "Introit" (feast past supplements to the CAECILIA. Messrs. of the Holy N arne of Jesus), sung in falso Joseph and Jam,es Ecker were in charge of bordone style; "Kyrie," "Gloria:' "Sanc~ the music. tus," "Benedictus" and "Agnus Dei" of St. Dominic's Mass, by Sir Richard T,erry; the Proper of the Mass sung to falso bordone CHERION AND BIGGS MASSES and to psalm tones; the "Credo" from the SOLD OU1'Y Missa Eucharistica by Elmer Steffen, and Two new masses for four mixed voices the Offertory Motet "Jesu Dulcis Memoria," which enjoyed an exceptional sale this fall for three~part chorus, by director of the were the new Mass of St. Anthony by Biggs, choir. and L'Abbe Cherion's Mass of St. Cecilia. Father Dilger again gave a brief com~ Both of these are in modern liturgical style, mentary on the remaining portion of the and appeared in the music pages of THE program, consisting of supplemetary motets CAECILIA. The first edition of both was and music for Benediction of the Most Bles~ quickly exhausted. sed Sacrament: " Veni, Veni Emmanuel" Other popular supplements in THE (Gregorian chant); "Adoremus te Christe/~ CAECILIA, for mixed voices were Walters Palestrina (a cappella chorus) : "Regina H "Laudate Dominum Breen's "Ave MariaH Coeli," Lotti; "Veni Creator J (Kurpinski); and Arthur Becker's HAve Maria". Likewise "Cor Jesu," Schultes; "Panis Ang~licus,'~ "Three Short Motets" (one page each) by Lambilotte; "Tantum Ergo," Balthasar Flor.... 526 THE CAE CILIA

ence; "Divine Praises/' arrang.ed by J. A. rather the presentation of those programs. Murphy, and the Gregorian "Adoremus" It will never be repeated too often that and "Laudate Dominum." many choirs make the mistake of attempting The work of the choir was characterized to sing Masses that are too difficult for them by many flne qualities, chief among which to execute. As a result the srngers are sel... were absolute fidelity to pitch, good blend~ dom sure of their parts, especially when the ing between the various sections of the ,choir composition has intricate and difficult pas~ and exceptional finese in phrasing and the sages, and so such choirs hardly ever sing

control of dynamics. The singing of the H a with the proper feeling and expression. How cappella" motets proved the musicianship of muchhetter it would be to render a unison the conductor and the responsiveness of his Mass with ease, composure and exactness, well~trained choristers. The Gregorian ex~ than to sing a Mass in three or four parts, cerpts were given with due regard for inaccurately and without due feeling and rhythmic principles of the Solesmes monks, expression. How much more edifying for and were giv,en the interpretation one could the congregation is simple well-rehearsed reasonably expect from a specialist in that music that is understood and intelligently particular field. rendered by the·singers. Another common mistake is that many HYMN FROM SAN SEBASTIAN singers aim at "quantity" in voice production

It is a far cry from Red ruin in Spain to rather than H quality". It is an entirely er,., next year's W orId's Eucharistic Congress roneous notion that the test of a good singer in Manila, Philippine Islands. Yet they are lies in his ability to drown out his fellow closely linked by the fact that the hymn singers. In harmonized or part singing, espe~ ,chosen as official for the Congress has been cially, this is disastrous. The efficient or~ composed by the noted religious musical ganist or choir director should impress upon composer Fr. Domingo CarcelIer, A.R., prior his singers that volume of tone IS not every~ of a San Sebastian monastery. An English thing, but that it has only occaslonal place version of the Spanish text is being prepared. in the artistic rendition of music. Jesuit novices in Manila are already prac~ tising the hymn under the guidance of Jose There are times when the singing should Mossegeld, the distinguished Filipino singer, be subdued according to the meaning of the charac~ who is expected to be singing director for liturgical text and according to the the Congress. He has just returned from ter of the musical phrase or passage. It is Italy, where he has been perfecting his just this contrast between the fullness of voice. tone and its decrease that gives the variety which is essential in artistic choral work. Meanwhile the Philippines prepare for the Congr,ess with a series of parish, provincial There are passag,es that are to be exe~ ,and diocesan congresses ,...... , the latest one cuted forte or fortissimo; there are others being held on Mindanao Island, where the that require a piano or pianissimo. The good people are mostly pagan or Mahomm,edan, choir is known especially by the way it pro~ It was at Davao, an important commercial duces the phrases that demand a soft and centre, with a large Japanese population. diminished volume of tone. Therefore, this fact should not be surprising, namely that a small choir may render a composition in an PITTSBURGH LETTER artistic manner, while a chorus of fifty or more voices may sing the same music in an DIOCESAN CHURCH MUSIC inexpressive and inartistic way. The reason COMMISSION is simply this: in the one choir there is "qual~ R,ev. C. A .Saniderheck, Secretary ity", while in the other merely "quantity". In The Pittsburgh Catholic, Sept. 10, 1936. Quality, then, is the thing that counts and the thing that is expected in all artistic musi~ Rendition of ,a Composition cal renditions. HE proper rendition of the music se~ Other very important requirements for T lected is an essential factor in choir good rendition of church music are the fol~ work. It is not the announcement of ambi~ lowing; correct accentuation, pronunciation tious musical programs that counts, but and enunciation of the Latin, proper phras~ THE CAECILIA 527'

ing, strict tim.e, careful observance of the ST. LOUIS, MO. breathing marks, and close attention to all the marks of expression noted in the scores Guide for Organists aJnd Choirmasters and voice,..,parts. Every musical composition (Continued) worthy of the name is w.ell marked by the V. Nuptial High Mass composer or the editor for trle beneflt and a. The Synod prescribes that the Proper understanding of the organIst, choirmaster of the Mass be at least recited in a more and singers. The organist or choirmaster solemn way. There can be no excuse from must make sure the singers know what these this minimum that is stri,ctly imposed by marks mean. Finally, the begInning of each several Roman decrees. phrase should be given with a precise, firm b. Only the Latin language may be us.ed and simultaneous attack by all the singers; (Mp, SCR, Syn). and, conversely, all should stop singing as c. There is no Gloria or Credo, except on one person at the end. Without this, good important feasts. choral singing will prove impossible. It should be the aim of every choir to d. The singing of concert solos, of pieces sing a few motets a cappella, that is, to sing like the Ave Maria's of Schubert, Gounod, a few short compositions for three or four Millard, Rosewig, etc., or of ex\cerpts from voices without organ accompaniment. A OajPI..­ operas or non,..,religious sources, like "0' pella singing is conceded to be most effec,.., Promise Me," "I Love You Truly," "My tive, most artistic and most truly ecclesias,.., Heart at Thy Sweet Voice,t,. IS most strictly tical. Nothing is more impressive and edify,.., forbidden at all church services (MP, Syn). ing for the congregation thatl an appropriate e. Pope Pius XI wrote: "Let our churches. motet in homophonic style (a style without resound with organ,..,music that gives expres.... much rhythmical contrast within the differ,.., sion to the majesty of the ediflce and ent parts) sung by the choir a capP'ella and breathes the sacredness of the religious, in subdued ton.e. rites." Organ,..,music is under the same re.... strictions as vocal music; nothing secular At the offertory, after the forte ending of or operatic in style or execution is allowed the Credo and the chanting of the Proper, (MP). The Wedding Marches of Wagner' such a motet, a cappella and with soft voice, and Mendelssohn are purely secular in style, will prove most devotional. The same sub,.., composed primarily for opera and oN:hestra, dued rendition 'acapp,ella of the "Et incar,.., and have nothing in common with liturgical prayer and a church service. natus est", the "Sanctus" and the "Benedic,.., tus" of the Mass will also prove very effec,.., VI. Low Mass tive whenever the organ accompaniment is a. Good hymns in Latin or in th~ ver.... a mere duplication of the different voices in,.., nacular in honor of the saint or my"tery commemorated may be sung and the organ volved and therefore unnecessary. This is played. In order to agree with the rubri,cs, only possible, however, when there is a per,.., it is proper not to sing when they direct the' fect balance of voices, and when the singers celebrant to pray in a loud voice to be heard are sure of their parts and SIng them with by the congregation: from the beginning to, perfect ease an~ expression. the Offertory, at the Preface, trom the Pater' to after the Agnu D,ei, during the Cotnfiteor, Organists and choir directors will flnd a and Ecoe Agnus Dei at the Communion of Latin,..,English missal very useful for provid,.., the people, from the reading of the Com", ing a translation of the Ordinary and Proper munion' to the end. (This has been made parts of the Mass. A translation of the Latin obligatory in the Province of Rome,) The style of music must be as prescrihed for text is most desirable for the singers and it is strictly liturgical occasions (MP" Regula.... very helpful to them; for when the text is tions of Provo of Rome). known and understood by the singers, they b. WEDDING. - There are no prescrip.... will naturally put greater unction and de,.., tions beyond those given in the preceding votion into their singing. paragraph, but attention is called to the de... tails cited under Nuptial High Mass, V,. -Cecilian. d and e. 528 THE CASCILlA

c. REQUIEM. Approved funeral is no prohibition against using the organ at hymns, the, psalm D,e profwndis, or other extra... liturgical services like Tre Ore and prayers for the dead may be sung. There Holy Hour where this is customary, but it is should be no organ interludes (Reg. Provo of more in accord with the spirit of these days Rome). It is good to sing the Subvenite as a not to us.e it. processional. The Libera and Absolution d. CORPUS CHRISTI WEEK. -- At may be sung, as after a High l\tlass (SCR). the procession the chanters start Pange li!n... VII. B,enediction gua when the celebrant has received the a. The only prescribed songs are Tatntum ostensorium and is ready to start the pro... ergo, PaJnem de ,e'aelo, prayer iJ'eus qui nobis, cession. The stanzas Tantum ergo and Gem.... and the response Amen (CEp). itori are used only when the celebrant b. Other good appropriate hymns in Latin reaches the altar. Before this, other suitable or in the vernacular may be used before or hymns may be inserted. In the archdiocese after the prescribed songs, and the organ of St. Louis it is tolerated to sing these in the may always be played. vernacular. All through the week, only hymns to the Blessed Sacrament should be VIII. Sp,ecial Occasions used at Benediction (Haegy). After the Tan... a. FORTY HOURS. -- On the second tum ergo, Alleluia is added to the versicle day the Votive Mass H pro Pac,e" with Credo and response. but no Gloria will usually be sung, and on e. CONFIRMATION. ,...., Ecce saoevdos, the other days usually the Votive Mass Hde or Sacerdos et ponti£ex should be sung when SS. Eucharistiae Sacramento" with Gloria the bishop .enters church. The Veni Creator and Cr,eoo. These are found in the books and prayer is not obligatory. Either the near the Nuptial and other Votive Masses. clergy or the choir may either read or sing The Pangle lingua is intoned only when the the r.esponses, and also (while the bishop is -celebrant turns toward the people to start washing his hands after all have been con... the procession. The stanzas Tantum ergo firmed) the antiphon Conlirma boc with and Geltlitori are not used until the celebrant Gloria Patri and antiphon repeated. approaches the altar. After Propitius est<> f. PROCESSIONS. ,...., When candles are in the Litany some of the lnovations are blessed on February 2nd and palms on Palm changed on this occasion, and there is a Sunday, a procession with them is obliga... ·difference in the versicles following the long tory. For these and other processions, there prayers of the celebrant. On the first day are chants provided in the books. The or... Pange lingua precedes the Litany; on the ganist and choir should gladly prepare them, last day Pange lingua follows the Litany. so as to make these processions as impres... b. WAY OF THE CROSS, HOLY sive as Holy Church means them to be. HOUR. ~ These are extra...liturgical ser... g. "They sin grievously who sing, or who vices for which there are no music regula... play musical instruments in religious func... tions beyond the general ones for all sacred tions of non... cathoHcs, even if they do it only music. There is Benediction, see VII. for the money" (Syn). c. HOLY WEEK. ,...., On Palm Sunday .as well as at any other time, the popular IX. Cong~e'gation.alSinging sacred song Palms by Faure and similar pieces are forbidden in ,church. If the cele... PIUS X: "Special efforts are to be made to restore the use of Gregorian Chant by the brant simply reads the Passion, there had people so that the faithful may again take a better be no singing during it. On Holy more active part in the ecclesiastical offices." Thursday the organ is played in festive style only for the Gloria, although it may also be PIUS XI. "Gregorian Chant in that which played from the beginning of Mass where pertains to the p.eople should be restored to that is customary (Wuest, Haegy). After their use. It is quite necessary that the faith... the Gloria the organ may not be used at all, fut not as visitors or mute spectators, but as 'even to support the singers. This absolute worshippers thoroughly imbued with the prohibition extends to liturgical services like beauty of the liturgy, should take part in the Mass and Tenebrae until the Gloria of Holy sacred ceremonies so that they may alter... Saturday (SCR). On Holy Saturday each nate with the priests or choir according to invocation of the Litany is sung twice. There prescribed norms." THE CAECILIA 529

118TH ANNIVERSARY OF HSILENT NIGHT" WILL BE OBSERVED Oberndort but a stone's throw from Salz-- :burg, is planning to celebrate this Christmas thecomposition of HSilent Night, Holy Night," which originated in the little Salz-­ burg hamlet on Christmas Eve 118 year ago. Many well known Austrian musicians will ·come to the little town for the shepherds' ,carols, the torch procession and the impres,.. sive midnight vespers and Mass at which the composition will be sung. Franz Gruber, organist and teacher of the town, composed the melody for song. choir .and organ on December 24. 1818, at the re,.. quest of Josef Mohr, the village priest who had written the poem. It was sung that night with great effect. An organ maker of the Ziller Valley carried the song back to his valley whence it spread over the world. For years it was attributed to the brother of Haydn, and Gruber was long dead before he received credit for it. Berchtle and Klockler Nights, derived from the noise pageants of ancient Teuton practice, miners' festivals, St. Nicholas plays, wild hunting, torch light processions will en-­ liven the drama of the December trees, cribs that are art treasures and great banquets 'culminate in the provinces with the Christ,.. mas vesper and in Vienna with the New Year's parade during which smart Viennese lead young pigs on pink satin leashes along the magnificent Ringstrasse.

ARTHUR C. BECKER Mus.D., A.A.G.O. Dean of the School of Music DE PAUL UNIVERSITY CHICAGO

ANNOUNCES COURSES IN ORGAN, LITURGICAL · 0 R G A N CLASSES, CHOIR CONDUCTING AND COM­ POSITION IN LITURGICAL FORMS

For Detailed Information Address ARTHUR C. BECKER, 64 East Lake Street, Chicago, Illinois TELEPHONE CENTRAL 1970 530 TH~ CAECILIA

REVIEWS

PLAINSONG FOR SCHOOLS Dr. Will Earhart famous Pittsburgh edu-­ Two little books, prepared by Father Jus-­ cator gave it a place in HThe Music Educa... tin Field D.P., (but who modestly left his tors Bulletin" Book Reviews and joined the name off) were published in England not ranks of distinguished endorsers of this, long ago. Printed on th.e authoritative Des-­ work. clee Press, in Gregorian notation, these These reviews are in addition to the large: books were offered as little hand books con-­ number mentioned in the publishers adver... taining most used practi.cal chants for school tising a few months ago, and it is doubtful if use. Motets and parts of Masses make up there was ever a book on Catholic Church the collection. Music, published in this country which has. Each booklet, in handy size, with paper received so much attention and praise. The cover sells for 25c. Book I is the most popu-­ major Music Libraries of the country have lar it is believed, although Book II is a good bought this work, as have several famous supplement to the first. European libraries! The popularity of these books spread to 12 EASY ORGAN PROCESSIONALS the U. S. A., perhaps through the use at the AND RECESSIONALS Pius X School. Students returning to home A new book in the 80c. series of publica­ dioc.eses brought back these books and put tions for Catholic Chur,ch services, is the them to use, in their choirs. Now every-­ collection of 12 pieces, (written on two where it seems that if the Gregorian notation staves) designed for use to accompany pro... can be read, the "Plainsong For Schools" is cessions at various church services. Purists being used. Even in secular universities may say that the organ is an encumbrance where an acquaintance with Gregorian is at such times but the facts show that average required in certain courses, this book is the parish organists actually use such music most economical and easily used reference. more than any other kind on the organ. In The publishers have sent out the informa... simple style these pieces, by Lemmens, Va­ tion that no one concern has the exclusive lenti, Salom.e, etc. appear in various easy agency for these books, as erroneously keys. They average about two pages in printed on some copies. Y oumay procure length. Until the organ is eliminated alto... these famous "handbooks" from your regu... gether by "a cappella" singing or used only lar supply house, promptly and without incidentally in the background of Gregorian delay. chant, we might as well have Catholic or.. HSACRED MUSIC ganists playing pieces which have some fit­ AND THE CATHOLIC CHURCH" ness for church use. All do not want im... Favorable reviews continue monthly in provisations on Gregorian themes -- the various American and European periodicals. church does not forbid modern music, hence reviewing the now well known "Sacred Mu... church music by renowned organists, in sic and The Catholic Church" by Father practical good taste, is here presented in this Predmor,e. book. The music is essentially simple and Special praise was bestowed in "Eccle... easy to play. tt siastical Review , and Dr. Be,cket Gibbs SEPARATE NUMBERS paid a special tribute to it In "Liturgical FROM COLLECTIONS Arts" by giving it an extensive r,eview. Dr. Under No. 437 John Singenbergerts Gibbs in one sentence sums up his review "Sacred Heart Hymns" were published in saying "But the vast amount of information one collection. This has been divided into Father Predmore gives is almost astounding two 20c. collections now. The first half un... and everyone who wants to knowhowthings cler the original No. 437, and the second half should be done cannot fail to attain his am... under the new number 918. liymns by Mit~ bition if only he will be led by this matchless terer, Meurers, Mettenleiter and Jaspers, all tt book • for 2 voices make up the 2nd booklet. THE CAECILIA 531

DOH MO~qUEREAU and LE NOMBRE MUSI~ALE Dam Mocquereau's greatest work is chant books. In these editions three rhy­ .I. Le N ombre musicale",. the first volume thmic sig-ns are employed: the punct1iJm,

.appeared in 1908; the second in 1927. called U mor'a vocis"; the horizontal, The suhject of this work is the big prob­ and vertical episema, whose value and lem of chant rhythm. Starting from the significance is explained in a brief in­ nature of rhythm in general, he makes a troduction. distinction between the free rhythm of The dynamic shading has been re­ chant and the measured rhythm of mod­ duced to a minimum; a very moderate ern music. A development heyond the crescendo and decrescendo in the rise teaching of Dom Pothier lies in the fact and fall of the melody is 3.lll Dom Mocqu­ that Dom Mocquerau does not stop at erau permits. Higher than -dynamic the merely oratorical rhythm, but pro­ shading he places the intimate union of c,laims it a really musical rhythm. He parts hy which a given melody is con­ places great stress on the reduction of ceived and produced as one grand unit. rhythm to its component parts, viz. the This implies strict elimination of all binary and ternary ,group-rhythms. He jerking, pushingt and overstressing, so considers the knowledge of arsis and that the rhythmic ictus as well as the thesis as connected with these elements word accent appear as something aeriaJ, indispensable for the artistic interpre­ elastic, and buoyant. tation of any chant melody; the thesis carries the rhythmictus (down bea,t ), The result of these maxims is a form and must be distinguished from the arsis of chant which appears (especially to (up-be'at)...... German e'ars) somewhat soft and lady­ like. "They breathe the chant", it had In most cases the rhythmic ictus is ex­ been said. There can be no doubt that pressed by a slight impulse of the voice; Dom Mocquerau has brought about what but it varies greatly in value according chant really should be: a musical prayer. to the syllable upon which it falls, and It must he stated that towards the end the position it occupies in t~e inner de­ of his life he made a few slight conces­ velopment of the metlodic line. In many sions. di~tinction cases the between arsis and Dom Mocquerau had the satisfaction thesis seems to be an intellectual consid­ of seeing hi~ teaching endorsed my many eration rather than one which affects and great lllusicians. Church Authorities the vocal order. Different chapters of had repeatedly bestowed on him marks VoL 2 are masterful demonstrations of of confidence, especially so at the occa­ the great argument advanced by 801es­ sion of his golden sacerdotal jubilee, De­ mes: viz. that the word accent is inde­ cember 28, 1929. - Three weeks later, pendent of rhythm. early on January 18, 1930, he was found Dom Mocquerau's studies on rhythm dead in his bed. did not remain mere speculations: they (Leo Thiry aSB. in Musica Sacra. assumed visible form in the so-called Translated for Caecilia by U r.hythmic" editions of the liturgical Dom Gregory Hiigle) 532 THE CAECILIA Litnrgical Aspects of the Late Dney Long H Y the presst even the usual alert nered and peaceable Dr. Gibbs. But the lat'" W Nlews,.,Week, should find anything ter was instrumental in inaugurating on Sep", startlingly novel and sensational in the re.­ tember 14 a permanent Schola Cantorum for­ cent letter on church music of Archbishop the cultivation of liturgical musict at Huey Forbes of Ottawa is indeed difficult to see. Long's favorite educational institutiont the The Archbishop. is merely repeating. with University of Louisiana at Baton Rouge. some applications to his own part of the The L. S. U. Schola Cantorum is unique world, the prescriptions on church music in that it is founded on the famous Motu that were laid down by Pope Pius X in his Proprio of Pius X on Sacred Music and in Motu Proprio of 1911. the University Bulletin is termed HCurricu.­ The prohibition of mixed choirs, bugles lum of Roman Catholic Music." This, says; and trumpetst English hymns during High Dr. Gibbst is a four.-year course resulting in

Mass t and such like, is old and familiar t and the degree of Bachelor or Master of Sacred has been repeated by Catholic bishops all Music, including fifteen subjects which rep.­ over the world. Every year sees more and resent some eighteen hours each week. more dioceses of the United States conform The idea arose in 1934 with the Director­ strictly to the Papal regulations,. which in of the University's Department of Musict their turn are not arbitrary rulingst but rep.­ Dr. H. Wallace Stophert who was appointed resent the age.-old tradition of the Church. in 1916. The following year he engaged Dr. Hoary organloft favorites like 0 Promise Becket Gibbs to give a nine.-week summer­ Me and The Palms have long been banned course on Liturgical Music. As a resuItt the by the Church Universal, and find few University authorities began to share the homes today in the Church particular. It is Director's interest in such a scheme. This simply nonsense when News,.,W,eek de.­ was developed during the season of 1935",36; clares: HWith amazement worshipers heard and after another nine.-weeks' course in the H the Archbishop rule out the favorites; or summer of 1936 t the idea took practical root. speaks of a H debated question: exactly what Dr. Gibbs compiled the syllabus which is does the Catholic Church want sungt' The founded on the constitution of such institu... debate has long been settled in precise Pon.­ tions from the time of St. Gregory the Great tifical pronouncements. until the present time. No detail is omitted Still more curious is the newspapers' idea and Frank Crawford Paget Mus. Bac. F.A. H that the prohibition of "secular music G.O' t has been appointed to direct the Scho... means the restriction to nothing but Greg.­ la and is already installed in this onerous orian. While the Church encourages the position. Having been one of the assistants use of the chant as far as possible, while she of Mother Stevenst R.S.C.J.t Director of the requires it in certain parts of the liturgy she Pius X School of Liturqical Music in l\lew leaves a wide range of music, polyphonic York for many yearst he would seem to be and ecclesiastical in character, as absolutely well qualified. . permissible. What has been the local effect of all this? Critics of the Church's restrictions fre.­ Dr. Gibbs informs me that during this past quently overlook the fact that the distinction summer's course the churches of Baton between Gregorian and non.-Gregorian Rouge shared the enthusiasm for the Greg... church music is not that between two types oriant the Church's own music. of music, one ancient and one more Many broadcasts were made possible, modern, but between the ch1ant, on the one while local newspapers carried accounts of hand and song on the other. Says Dr. Bec.­ the same activities~ the title beinq Gregorian ket Gibbs, eminent authority on chant and Music lat L. S. U. The Catholic chaplain music: HIt seems to be generally agreed that of the UniversitYt the Rev. Maurice Schex... the term chant suggests the importance of naydert will act as Rector of the Schola the text over the music, while that of son9 Cantorum while directinq the liturgical stud", would give equal rights to both words and ies of the students. For two years there has melody." been a Greqorian Choir of the Catholic Mentioning Dr. Gibbs reminds me of Students' Center under the direction of Huey Long. It would be difficult to con.­ Frank Lesquint a Slood singer and an en­ ceive of anyone less Hueyish than mild",man", thusiastic Gregorianist. THE CAECILIA 533

Such a foundation, logically speaking first time that a secular college Glee Club should be in a Catholic, not a secular insti... has appeared on such a program. The Har..... tution. In the latter, whatever be the merits vard choir has been a leader in the rendition of the Schola in itself, it has no principles, of polyphonic 16th century music for many no integrated whole to which to relate itself. years, and the program on the Catholic It is like a Catholic sanctuary in a public Truth Hour is anticipated eagerly by all fol ..... library. The surroundings may be physically lowers of this Sunday Period. Recent pro,.. harmonious, but religiously and morally they grams; rendered by the choirs of Holy Tri­ have no particular significance. But the nity (Maennerchor); St. Lukas,.--Waverly; question of .expense stands in the way, and and Holy Name,-West Roxbury, drew this is where Huey LonQ comes in. The special favorable notice from musicians. The material aid that Catholic benefaction is Holy Trinity choir rendered parts of John powerless to provide for a liturgical program Singenberger's Mass of St. Peter. The St. is found in the provisions established by a Luke's choir sang several McDonough com... purely secular educator. Hence if to be at positions, and the Holy Name Choir sang all, the Schola Cantorum rests upon the post... Walter's HLaudate Dominum" and parts of humous munificence of Louisiana's some\..­ Singenberger's, Holy Family Mass. time dictator. It is a whimsical and by no means distasteful application of HShare the Miss Ann Ragan of Woonsocket, R. 1., Wealth." THE PILGRIM. was married recently to Mr. Roland Lareau. America, October 17, 1936. Miss Ragan has been organist at St. Charles Church. The Harvard University Glee Club, di... rected byDr. Archibald Davison, will render Sister Margaret Mary, Head of the Music the music selections on one of the January Department at St. Anne's Academy, Fort programs of the Catholic Truth Hour, broad,.. Smith, Ark., has been made History exa ... cast weekly throughout the New England miner for teachers of music, by the Ameri... states. It is believed that this will be the can Educational Association.

Jaeobs~ Piano Folios A Veritable Treasure Store of Melodious Compositions for the Recreational Period 50 CENTS the volume POSTPAID Over 100 volumes, each containing 6 delightful lyric pieces -tun.eful, interesting, and colorful.--exclusively by American composers well known in the field of light music, classified as TONE-POEMS - REVERIES - BALLETS - NOVELETTES ORIENTAL - INDIAN - SPANISH - MARCHES GALOPS - WALTZES - ETC. Every Number An Original Copyright Found In No Other Collection Send' for classified booklet of Contents and Thematics IF YOU ARB A PIANO TEACHER send your ,professional card for a GIFT of great practical value. Refer to this ad. WALTER JACOBS INC., 120 Boylston St., Boston, Mass. JACOBS· BAND MONTHLY and JACOBS· ORCHESTRA MONTHLY. $1.00 per yr. each. 534 THE CAECILIA THIS PIPE ORGAN PIUS X SCHOOL OF $775.00 LITURGICAL MUSIC COLLEGE OF THE SACRED HEART 133rd Street and Convent Avenue New York City, N. Y.

A Partiral List of Courses Offered: Liturgical Singing (including all church services) Gregorian Chant L II Gregorian Chant III Gregorian Accompaniment I, II According to the principles ofSolesmes For the small sum of $775.00 it is pos­ sible to get a pipe organ of finest qual­ Polyphonic Singing and le,ctures ity. standard console and voidng by Conducting I, II famous artists. Following are the ~(Tone specifications: Courses in Music I. It III, IV GREAT SWELL and Rhythm Series) Bourdon Bourdon Harmony, four years Flute Quintadena Counterpoint, three years Stopped Flute Composition, four years-from simple Salicional Oboe Flute D'Amour Viola melody writing to advanced form;:, Violina Flute Methods and Principles of teaching ap- Piccolo Violina plied to the daily work in s'chools Nazard Training of Boy Choir PEDAL Sub Bass Flute Theory I, II, III, Gedeekt Violina Musical Appreciation The regular strong Wicks guarantee General Choral Work of ten years accompanies this instru­ Lectures on the Litur£,y ment. Write to-day for full details. Organ-Piano.-Violin'-Voice Place- WICKS ORGAN CO. ment Dept. CA. HIGHLAND, ILL RECOGNITION The College has the official recognition and approval ofthe following accrediting agencies: The Association of AmericanUnf­ CATHOLIC CHURCH MUSIC versities. With us, Church Musiq is not merely The Association of Colleges and a side issue. Music is our sole specialty Secondary Schools of the Middle States and our Catholic Department has been and Maryland. founded for the purpose of giving a The Catholic Educational Associa- highly specialized service in Catholic tion. Church Music. The Regents of the University of the Our latest complete catalogues will State of New York. be forwarded on request and all en­ The College holds membership in: quiries will receive immediate ahd care­ ful attention. The Ameri'can Council on Education. J. & W. CHESTER, LTD. The Association of American Col-· leges. 11 Great Marlborough Street, The Educational Records Bureau. London, England ~~ "The Spotlight O.A .• A.IIIL hurch Music"

11 • • • Rev. Carlo 'O,"'r.""I::'''_~ "I to • • •

•• •

• •

"W~hat • •

cL I 100 GREGORIAN MUSIC CHART DIAGRAM of the EICHT NODES AuthenUc Plagal Authtnfi[ Plagal AuthmUc Plagal AuthenUc Plagal ~~!~! ~~~~_[:~--~=]~:~~~]~~~~~=l!i~~r~=-~~~~ W-He

'VOl -8-00 V11-8-DO VI-a-Do V-8-Do V111-8,;,DO IV-a-DO VII-S-DO VII B-7-51- VI-7-SI- V-7-S1 V1D-7-SI- 1V-'7-SI- :vD-'7-SI- m-7-SI- VI-i-SI- ~!W~1'~~ !W1'~~ ··········~1·~19l· ~1~19l !W1'~~ ~1-~19l ~1~19l ~1-~19l VI A-a-La V-a·La WI-a-La IV-a-La YO-6-La m-8-La VI-a-La 1-8-La V-G-La V O-S-SollV-5-Sol VII-S-Sol m-s-sol VI-a-Sol 0-6-501 v-a-sol '-5-50' IV-S-Sol IV F-4-Fa m-4-P'a Vl-4-Fa D-4-Fa V-4-Fa 1-4-Fa 1V-4-Fa m-4-fa II E-3-MI n-3-MI v-a-Hi 1-3-MI 1V-3-Ml m-a-MI 0-3-Ml I D-2-Re '-Z-Re 1V-2-Re 1D-2-Re B-2-Re I 2-Re C-I-Do m-I-Do 0-1-00 1-1-00· B-1-51 n-l-S1 1--1-S1-

~o8Jn First Iselci~d Third fourth fifth Sixth Seventh Eighth Normal Mode Mode Mode Mode Mod~ Mode Mode Mode Scale ._ " , " "_ ",, ..__ _.. __ _._- -._- .. ,.. - ._, , _, .. ,,,

GREGORIAN MUSIC CHART

AUTHENTIC MOO[5 ~. . PlAGAL MODES ~S.LeG~-

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GREGORIAN MUSIC CHARTS Large size, for classroom use, these charts are invaluable for beginners' groups in chant. Three charts in all. Approved by letter from Rev. Norman Holly, while he was Secretary of the Pontifical Plainsong Commission. Highly endorsed by letter from Dom Mocquereau. a.S.B. 1'he current interest in Gregorian renews the demand for these-the oriCT"" inal Charts used in this country, after the Motu Propio. Price $1.00 net. for each chart. McLAUGHLIN & REILLY CO., Boston