Ulip ſatholic (ſhoirmaster

F E E R U A R ºr N IN E T E E N F I F. T. E. E. N.

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s ºrietº uſ ºf. (ºrºguru uſ America Oſbe Catholic Choirmaster

THE OFFICIAL BULLETIN

of The Society of St. Gregory of America

A magazine for those interested in Liturgical Church Music.

Nicola A. Montani, Editor.

STAFF OF CONTRIBUTORS.

Very Rev. E. R. Dyer, S.S. D.D.; Very Rev. A. De Santi, S.J.; Rev. L. Bouhier, S.S.; Mr. James A. McDavitt; Rev. A. Dress, Mus. D.; Dom A. Eudine, O.S.B.; Rev. A. L. Gabert, Mus. D.; Dom Gajard, O.S.B.; Rev. Garrouteigt, S.S.; Rev. Virgil Genevrier; Rev. G. Gleason, S.S.; Mr. F. W. Goodrich; Rev. H. T. Henry, Litt. D.; Rev. N. Holly; Rev. G. Huegle, O.S.B.; Mr. J. P. Keating; Rev. E. M. McKeever, LL.D.; Rev. T. Laboure, O.M.I.; Rev. C. H. Lefebvre, S.J.; Rev. L. P. Manzetti, Mus. D.; Mr. A. Mauro, Mus. D.; Dom A. Mocquereau, O.S.B.; Rev. J. M. Petter, S.T.B., Mus. D.; Mr. A. Van Dyke Power, Litt. D.; Mr. R. R. Terry; Rev. D. Waedenschwiler, O.S.B.; Mr. W. N. Waters; Rev. S. M. Yenn.; Dom L. M. Zerr, O.S.B.

All editorial matter, programmes, etc., should be addressed to the editor. All matter pertaining to advertising, subscriptions, etc., should be addressed to Bro ther Berchmans, Station D, Baltimore, Md.

On general matters concerning the Society, address: The Society of St. Gregory of America, St. Mary's Seminary, Baltimore, Md. Ullr (Jatſulir (Ulmirutagter

Vol. I. No. 1. February, 1915 Price 10c. .

CONTENTS

Page In Memoriam...... 2 Very Rev. E. R. Oyer, S.S., D.D.,

Pope Benedict XV. and Church Music ...... 3 Audience granted by the Holy Father to the Italian St. Cecilia Society and the Faculty of the Pontifical High School for Church Music, Rome

Let the Right Spirit Prevail...... ------x ------4 Rev. E. M. McKeever, L.L.D.

The Motu Proprio on Church Music..... * ------* ------* ------5 Rev. L. P. Manzetti, Mus. D.

Editorial Notes ...... ~~~~ ------4)

List of Contributors to the Society of St. Gregory...... 11 The Baltimore Convention ...... … ...... 11

Pontifical High School of Church Music ...... ‘. . . . . 12 Letters to the Editor...... º “… … 13

Notes and Gleanings...... ------15

Notes Canadiennes...... º 24

Prºgrammes ...... 26

Reviews...... ------29

Guillaume Couture ...... * ------:32

* of Recommended Music for Lent, Holy Week and Eastertide...... ------34

Society of St. Gregory...... ‘...... 4() Qualification for Membership; Women Eligible; Application for Membership; Dues; Con tributions: Application Blank. 2 - THE CATHOLIC CHOIRMASTER

IN MEMORIAM

w HE American Press has paid a noble storation of the Gregorian Chant as the tribute to the memory of the saintly best interpreter of the liturgical text, and Pontiff Pius X. In reviewing the eleven he prescribed that restoration, while leav years of his Pontificate non-Catholic as ing ample room for such figured music well as Catholic writers recognized his as is of a truly religious character. In holiness of life and his earnest efforts to this he was only urging what had been restore all things in Christ. commanded by his predecessor and what Perhaps the most lasting and far-reach is now insisted on by his successor, Ben ing part of his work, though it has received edict XV. - but little attention in the secular press, will To carry out such a thorough and un be found in the decrees he made and the iversal reform in Church Music cannot be measures he took to secure the better train the work of a few years, perhaps not even ing of the clergy, to urge priests to greater of one generation; but Pius X. went to the zeal in teaching Christian Doctrine and to root of the matter by establishing in Rome promote the practice of daily communion a school of Church Music in which direc among the faithful, especially in religious tors for Churches, Colleges and especially communities and ecclesiastical seminaries. Seminaries may receive their training. Of a like quiet and far-reaching influence When a new generation of priests has been is the reform he introduced in divine wor taught to appreciate genuine Church ship by a return to the traditional plain Music, so as to be able to supervise the chant of the Church. The holy Pontiff work of the organist or even to train and felt that the faithful come to Church not direct a choir, the reform which the late to be entertained, but to draw near to God. Pontiff had so much at heart will be near The music and the singing therefore should its complete realization. help them to raise their minds and hearts We wonder now how architects of the to heavenly things and to bring their Renaissance and of the following centuries souls in harmony with the sentiments ex should have discarded as barbarian the pressed in the Sacred Liturgy. He realized grand Catholic architecture of the Middle that certain religious music (so called), Ages and spoiled some of the great Cathe instead of interpreting the words of the drals of Europe by pagan ornaments. Liturgy, twisted and disfigured them; and, When the reform urged by Pius X. is instead of helping the faithful to forget completed religious men will doubtless the world and worldly things, rather equally wonder at the long neglect and aroused in them worldly memories and even contempt in which the traditional emotions. What should be a help to singing of the Church has been held. worship had become a hindrance. — E. R. Dyer. Pius X. felt that the remedy lay in a re | f SN - - 82 333 05U9 i u Q 2509

THE CATHOLIC CHOIRMASTER 3

POPE BENEDICT XV. AND CHURCH MUSIC. The following letter was received by our First Vice-President. The Pontifical High School for Church Music, evolence, permitting each member of Rome, the party to kiss his hand. Very Reverend and dear Father Manzetti: There were present: the Rt. Rev. Ab I send you an account of our audience bot Ambrose Amelli, honorary President with the Holy Father, with the wish that of the Association; the Very Rev. Angelo you make it generally known in the Unit DeSanti, S.J., President of the Associa ed States. tion and Rector of the High School; the Even before the audience, the Holy Rev. Raphael Casimiri, choir-master of Father let us know that he wished to have St. John Lateran, Secretary of the Asso whatever he might say published as his ciation and professor in the High School; programme regarding Church Music. Dr. Ernest Boezi, choir-master of the His words surpassed our every expec Capella Giulia in Saint Peter's; Rev. Dr. tation, and we came out from his presence Raphael Manari, Prefect, and the follow overjoyed. ing members of faculty of the High They were saying here in Rome, “With School: the death of Pius the Tenth farewell to The Rt. Rev. Abbot Paul Ferretti, Rev. the Motu Proprio,” and were already pre Licinius Refice, choir-master in St. Mary paring to bring back into use a certain Major, and the Rt. Rev. Charles Re style of music. Our audience, and the spighi, Pontifical Master of Ceremonies, words of the Holy Father, were like a and Substitute for First Office of the Vica shower of ice-water to these persons. riate of Rome. You will see that I did not forget to His Holiness, with words of fatherly make mention of you own Society of Saint kindness, congratulated each and every Gregory. The blessing of Pope Benedict member of the Commission for the work

XV. is extended to it, also. - so far accomplished on behalf of the res His Holiness gives us a new and very toration of Gregorian Chant and the bet beautiful location in the buildings of the terment of Church Music, and said that College of Saint Apollinaris. “The the results of their work had been very school,” he says, “needs expansion, light, consoling. and air, and cannot flourish in a cata He declared that he would as Pope, just comb.” as when Archbishop, uphold the princi He, like Pius the Tenth, relies on ples laid down by Pope Pius X., of happy Providence, and urged me to continue my memory, in his admirable “Motu Pro activity in procuring an endowment fund. prio” of Nov. 22, 1903, and said that he With best wishes, and in haste, I am, wished those principles to be put into Devotedly yours, practice in the form and by the means (Signed) Angelo DeSanti, S. J. suggested in the “Motu Proprio.” Rome, Sept. 25th, 1914. He expressed himself as pleased with the good results already obtained, especially The Osservatore Romano, in its issue for in Rome, and said that he was determined Sept. 24, 1914, gives an account of an not only to maintain, but to extend the audience granted to the representatives of good work, so that Rome will be an effect the Italian Association of Saint Cecilia, ive example to all the churches of the

and the faculty of the Pontifical High world. .. School for Church Music in Rome. He said he rejoiced to see established They were presented to His Holiness in Rome a High School for Church Music, ') Cardinal Gaetano Bisleti, protector of conducted in accordance with the very * Association. The Holy Father re important provision laid down in the *ived them with great affability and ben “Motu Proprio.” 4 THE CATII () LIC ('H()IIRMASTER

His Holiness remarked that a lasting affairs of the Association, the condition of reform in Church Music would not be the High School, and the quality of the possible without the aid of trained experts music rendered in the basilicas and to carry on the work. To this end, he churhes of Rome, His Holiness presented said, such a school was a necessity, in or to each one present a gold medal as a re der that the Church herself could form ward for the good work accomplished, her own maestri. urging them to continue their labors for He added that this Institute, declared the glory of God, the dignity of the divine Pontifical by his august predecessor, was worship, and the honor of the Holy See. particularly dear to his heart, as Father At the end of the audience, His Holi and as Pontiff, and that he would uphold ness imparted to all present the Apostolic and promote it in every way possible. Benediction and, at the request of Father He further said that, like Pius X., he DeSanti, graciously extended this blessing looked to Divine Providence to furnish the to the Association of Saint Cecilia in Ger means necessary to carry on this great many and Spain, and to the newly-organ work. ized Society of Saint Gregory in the After asking a few questions as to the United States.

LET THE RIGHT SPIRIT PREVAIL.

IN the Proprio Motu of November 22nd, even in minor and country churches, but 1903, Pius X., of happy memory, with particularly in the principal churches. all the force of supreme authority, promul The teachings of Liturgy, Morals, and gated instructions regarding “The Princi Cannon Law, with due regard for the ples regulating sacred music in the func aesthetic side of the sacred art, should be tions of public worship, and gathered to impressed upon the minds of Clerics, so gether, in a general survey, the principal that they may not leave the seminary igno prescriptions of the Church against the rant of all those notions, necessary for a more common abuses in this subject.” complete ecclesiastical culture. There we find the following subjects The higher schools of sacred music are dealt with : to receive special attention. For “It is of I. General Principles. the highest importance that the Church II. The different kinds of sacred music. herself provide for the instruction of its III. The Liturgical Text. masters, organists and singers according to IV. External form of the sacred com the true principles of Sacred Art ’’ positions. The Instruction closes with these words: V. The singers. “Finally it is recommended to Choir Mas VI. Organ and Instruments. ters, Singers, Members of the Clergy, VII. The length of Liturgical Chant. Superiors of Seminaries, Ecclesiastical VIII. The Principal Means. Institutions, and Religious Communities, IX. Conclusion. Parish Priests and Rectors of Churches, Under the head of “The Principal Canons of Collegiate Churches and Cathe Means’’Bishops are to institute and charter drals, and, above all, to the Diocesan Music Commissions which are to take ade Ordinaries, to favor with all zeal these quate care of Church Music in their Dio prudent reforms, long desired and de

CeSeS. - manded with united voice by all, so that Clerics are to be trained with all dili the authority of the Church, which her gence in the traditional Gregorian Chant self has repeatedly proposed them, and in seminaries and ecclesiastical institu now inculcates them, may not fall into tions. contempt.” - Scholae Cantorum are to be established, The Holy Father, through the Sacred THE CATHOLIC CHOIRMASTER 5

Congregation of Rites, by Decree Urbis et dience granted to the representatives of the Orbis of January 8th, 1904, “Commands Italian Association of St. Caecilia, and the and ordains that the said “Instruction” be faculty of the Pontifical High School for received and most religiously observed by Church Music in Rome. with other re all churches, all privileges and exceptions marks Pope Benedict XV. made the fol to the contrary notwithstanding,” etc. lowing: “That he would, as Pope, just as To this “Instruction,” “As a juridical when Archbishop, uphold the principles code of Sacred Music, he has given by his laid down by Pope Pius X., of happy Apostolic Authority the force of law for memory, in his admirable “Motu Proprio” the Universal Church.” of November 22nd, 1903, and said that he The above indicates what is to be done, wished those principles to be put in prac and an humble spirit of obedience will tice in the form and by the means indica guide us in doing it. ted in the “Proprio Motu.” In this connection, it might be well to “At the end of the audience His Holi quote from the Papal letter to Cardinal ness imparted to all present, including the Respighi, Vicar General of Rome, dated newly-organized Society of St. Gregory in December 8th, 1903: “We cherish the the United States, his Apostolic Bene hope that all will second Us in the de diction.’’ sired restoration (of the Traditional Chant) Much more could be quoted, but not and not merely with that blind submis without exceeding the space alloted, from sion, always laudable though it be, which ordinaries of dioceses, and others, showing is accorded out of a spirit of obedience and the zeal, industry, intelligence, activity contrary to one's own manner of thinking and energy that should be devoted with

and feeling; but with that alacrity of will alacrity to the cause of sacred music. - which springs from the intimate persua The Society of St. Gregory of America sion of having to do so on grounds duly States: “The main object and guiding prin weighed, clear, evident, and beyond ques ciple of the Society is, to foster fraternal tion.” assistance and encouragement among the In a letter, to Very Reverend Dom members thereof, in their endeavor to pro Delatte, dated May 12th, 1901, Pope Leo mote the cause of Sacred Music Reform, XIII. says: “Every effort undertaken for according to the provisions of the “Motu the purpose of explaining and extending Proprio” of Pius X. dated November 22nd, the use of plain-song, the companion and 1903. hand-maid of the most holy rites, must This seems to cover the whole ground, assuredly be commended, not only for its and if it be lived up to with proper regard intelligence and industry, but what is far for the utterances, quoted and referred to more important, for the much desired gain above from the highest sources, there is no which it brings to Divine Worship—Pro question but the Right Spirit will prevail vided that mutual charity and the respect among the members of the Society of St. ful obedience due to the Church are prop Gregory, and govern, under the blessing erly observed, many may contribute much of Heaven, whatever work they may take assistance by their efforts in this matter.” in hand, including “The Catholic Choir According to statements in the Osservo master” in behalf of “Sacred Music Re tore Romano of Sept. 24, 1914, at an “Au form.”—E. M. McKeever. THE “MOTU PROPRIO’’ ON CHURCH MUSIC. THE Motu Proprio of Pius X., Novem majority, are still indifferent or adversely ber 22, 1903, which seemingly called critical. The attitude of these last men (ºr a thoroughgoing reform in Church tioned is variously accounted for. There "sic has met with the enthusiastic co are those who wonder what qualifications *P*ration of many; but, as everyone the Pontiff possesses or question whether *WS, many, and perhaps these are of the music is a field within the province of the (5 THE CATHOLIC CHOIRMASTER

INFALLIBILE MAGISTERIUM. Oth the subject. Unfortunately the case is ers again are of the persuasion that the nowadays, in regard to Church Music, the taste of individual congregations, expedi less some people know the more they seem ency, practicability and such like consid to talk. Yet it is not even enough to erations should determine musical matters, have passed through some Conservatory especially in this country, though the of Music, with the sole intent of studying Motu Proprio might well be a suitable and music in general, to be competent and opportune regulation for the Old World. speak intelligently about Church Music. Some, too, have been under the impression On the other hand, if the Church Music that the decree in question is a thing question is in any way connected with savoring of novelty, relative at least, of a Catholic Liturgy, it is the Pope's business, personal predilection and zeal, quite un and his alone, to legislate about it. shared, for a peculiar sort of music; and Though few uninitiated in matters mu they calculated that an immediate suc sical know it, it is a positive fact that, cessor, within a decade, even, would before ascending the throne of Peter, have different or indifferent views, and Pope Pius X, was one of the pioneers of all the effort and upheaval of reform the Church Music movement in Europe would have been to no purpose. So they and had thus a positive knowledge about stood and stand idly, looking on and say a question which agitated the musical ing “Cui Bono?” world for over 50 years. He was a prom To be sure, the adoption of the Papal inent figure in the famous Congress of prescriptions on liturgical Music meant Church Music which was held, in 1882, and means, especially in this country, a at Arezzo, and which he attended as a new experience, real reform, and even delegate of the Cathedral Chapter of radical changes. And as the history of Treviso. Since Pope Gregory few Popes all reforms is bound to be the same, no then where so well qualified by personal one looked for an exception in this case. knowledge and practice to place the ques Traditions, old habits, and, worst of all, a tion of Church Music on a scientific basis. poor, even perverted musical taste, long In him the musician enlightened the since developed, aggravated a situation Pope, on a question where the Pope could that was already bad enough. For, con not decide alone. - servative, well-intentioned, but mistaken men have opposed and thwarted, too, But the question of Church Music is as many a sore-needed change and are doing old as the Church herself. Almost con the same now. tinuously the Popes have had to call at But Pope Pius X. was a musician, not tention, each in his turn, to the rules laid perhaps a professional musician, (al down by his Predecessors, and to make though he taught Church Music while a new ones to suppress prevalent abuses and violations of the Pontifical Decrees. One priest and, some say, while a bishop, in the Seminary of his diocese), but by an must be entirely ignorant of the history inclination to things musical, developed of Church Music to think that the Motu through studies and some practice in Proprio of Nov. 22, 1903, was an isolated teaching. That is one reason why we decree issued by a Pope who happened to should not have been too ready and pre be a musician. sumptuous in putting forward objections To speak only of recent years, although against the rules he has laid down in re not a musician himself, Pope Leo XIII. gard to Church Music, and which he had already issued for the Italian Catho thought his duty to make a matter of law. lics, a “Regolamento per la Musica Sacra” If the Church Music question is a musical and that, in 1884, just nineteen years be one, then it would become everybody who fore the Motu Proprio was written and the is not a musician, especially if he be a reform extended to the whole Church. Catholic, to listen to what a Pope musician Even that first document was not uncalled has to say when expressing his views on for: some ten years before, musicians all THE CATHOLIC CHOIRMASTER 7 over Europe had come to the realization much defamed plainchant, which was that Church Music had been desecrated, being, at that time, restored by the Bene that the sanctuary had become an annex dictine Monks of Solesmes, was still the of the theatre, and churches concert halls, highest and purest form of Church Music; as far as music was concerned; that plain that the fault, if there were any, did not chant was only, so to say, tolerated and lie with it but with the deformed taste had become a shade only of what St. and ignorance of musical traditions, Gregory had made it; that, on the con through the catchy arias of the modern trary, there should be no compromise be operas, and which makes people take for tween liturgical prayers and opera arias gold all that is new, shines and looks bril or music composed after the same fashion; liant externally. When I say musicians that just as we do not build a church on I do not mean exclusively organists and the very same architectural lines we do choirmasters of Cathedrals and or parish an opera house, just as Catholic priests churches, but also musical genius as do not disregard the old magnificent cleri Wagner and Verdi, to speak only of the cal vestments, whose unsurpassed gorgeous best known, who made use of Gregorian beauty shaped itself, in the vast Gothic Melodies in working out their best scores, Cathedrals at the very time when Gregor and who, at the height of their glorious ian Melodies and Polyphonic Music career, when almost worshipped as musi reached the climax of their pure form, cal gods, were finding their delight in and do not wear, during divine services, studying the Old Masters' compositions a modern dress suit or silk hat, so Church and were urging others to do likewise, Liturgy cannot allow itself to be musically regretting keenly that they had not been clothed after the fashion of anything made acquainted with their unfaded worldly and operatic; that it is, after all, beauties when trained to the art of Music. a question of artistic propriety; mostly It is not surprising then that, already since the modernistic theatrical music, in 1874, ten years before Pope Leo issued through its artificially contrapuntal his Regolamento, European musicians rhythms, through its often too multiplied, had started a movement to bring about unprepared and unresolved dissonances, a restoration of Church Music. They will never convey to the soul of the faith had raised the question in a session of the ful the serene message contained in the Catholic Congress in Venice. Commen liturgical text; that it is not either the dator Salvatore Meluzzi, Choirmaster of more or less small number of notes in a the Giulia Chapel in St. Peter's, Rome, melody that makes it more or less religious called the attention of the ecclesiastical and sacred, but the arrangement itself in authorities to the prevalent abuses in to melodic and harmonic relations and music in the liturgical functions. In the phrases more or less passionate or serene; year following, a School of Church Music that an exaggerated use of chromatic pro was opened in Milan. Other Catholic gressions has brought to music itself no conventions were held in Florence, Bo progress other than to give to it a sense of logna, Bergamo, where the establishment unrest, of emotional and sentimental ex of an Association of St. Cecilia was pression, meaning rather the stormy state planned and decided upon, together with of soul of a sinner than the peaceful con the foundation of a Church Music Mag science of the child of God. - azine, the Musica Sacra, which is now in Such were largely the opinions and its XXXVIIIth year of existence and is views of European musicians half a cen published in Milan. It was also in this tury ago. They then went back to the city that the first Italian Congress of study of the scores of the Old Masters Church Music took place in 1880, four and found out that they were as yet years before the issuance of the “Regol unsurpassed from an artistic as well as amento’’ of Leo XIII. The convention from a religious standpoint; that the so held in Arezzo, of which I have already 8 THE CATHOLIC CHOIRMASTER spoken, proved to be a stormy gathering was made a part of the curriculum, while of musicians; the followers of the formerly the great imajority of the daily newspapers authentic edition of Ratisbon and the helped in the attainment of the desired fosterers of the new version, as restored reform. by the Benedictines of Solesmes, came into So the way was paved for the Motu conflict concerning their respective con Proprio of Pope Pius X. He himself had ceits of Gregorian Chant. The question already introduced the new musical re was settled by the Motu Proprio of Pius form in his Archdiocese of Venice, and had X. and it certainly is consoling to see witnessed its good effects. The faithful, now how the new Vatican edition is as a whole, liked it and it brought about a adopted all over the world, almost with renewal in religious spirit. The Patriarch out opposition. But then it was only had, indeed, realized that in artistic and when public opinion had been stirred to scientific matters it is safer to stand by the the realization that something had to be opinions of men of art, that the taste of the done, that the Very Rev. Amelli, O.S.B., unlearned has to be raised and educated to President of the Association of St. that of the competent scholar, and that it Cecilia and of the Schola Cantorum of can be raised since every man has been Milan, brought the matter before the blessed by the Providence of God with an Holy See and caused the publication of aspiration to higher things, with a possibil the first decree, the “Regolamento.” In ity for improvement. There is no won the meantime musicians of other coun der then that the Motu Proprio was pub tries had not remained idle. Far from it. lished and its observance imposed upon the The ideas of a saner comprehension of whole Church, when Cardinal Sarto of the aims of Church Music had progressed Venice was created Pope; for the Motu among them even more than among Proprio had been unquestionably demand Italian Catholics, especially in Germany ed and brought into existence by a previ where musicians by the score had entered ous general movement of studies. It was the same field and agitated the same ques but the official recognition and sanction tion of the propriety of a certain style of by the Holy See of the desiderata of the music in liturgical functions. They had experts in the matter, not the arbitrary held Congresses and also formed an Asso ruling of a musician in power. ciation of St. Cecilia under whose auspices Since the above was written news has a school of Church Music was estab. come to the writer, directly from Rome, lished in Ratisbon, the Alma Mater of as it will be published in the present issue not a few choirmasters all over the world. of the Bulletin, that Pope Benedict XV. The nineteen years elapsing between the is “determined not only to maintain, but Regolamento of Pope Leo and the Motu to extend the principles laid down by Proprio of Pope Pius were also years of Pope Pius X. and said that he wished study, of earnest endeavor and progress those principles to be put into practice in on the part of church musicians and those the form and by the means suggested interested in the movement. France had in the Motu Proprio”. fallen into line and, besides the Summer I must be reasonable and conclude that School opened by the Monks of Solesmes the Motu Proprio will stand the wear of for the benefit of students of plainchant, time as well as the indifference and even the Schola Cantorum of Paris, under the opposition of men. It is not likely that guidance of Charles Bordes, had revived any successor of Benedict XV., even if he and brought into light again the beauties be not a musician, will, by an act of his of the scores of the Old Masters. In authority, frustrate the common view of Italy the study of plainchant was intro. whole generations of musicians, on a duced in most of the Royal Conservatories question which, although liturgical in of music and, better still, in the diocesan part, is, in the main, artistic and scientif Seminaries, where it belonged indeed and ic as well.—L. P. Mamzetti. THE CATHOLIC CHOIRMASTER 9

THE Society of St. Gregory of America (ſhe (Mathulir (ſhuirntaater was organized through the efforts of The Official Bulletin a number of enthusiastic supporters of the movement looking toward an improve —OF THE ment of Church Music conditions in this SoCIETY OF ST. GREGoRY OF AMERICA. country. The project was inaugurated at Nicol, A A. MoxTANI..... Editor. a meeting of three members of the organ ization committee, in Baltimore; June, Printed at St. Mary’s Industrial School, 1913; Rev. Leo P. Manzetti, Musical Di Baltimore, Maryland. rector in St. Mary's Seminary, Baltimore, Md.; Rev. John M. Petter, Musical Di Wol. I. No. 1. FEBRUARY, 1915. Price 10c. rector of St. Bernard's Seminary, Roches ter, N. Y., and Nicola A. Montani, Choirmaster of St. John's Church, Phila Uhe 5urietu af $t. (§regurg delphia, Pa. OF AMERICA. THER members of the committee who An Organization of Catholic Organists and Choir masters, and those interested in the advancement assisted materially in work of organ of the Cause of Sacred Music. ization were Rev. Louis J. Bouhier, S.S., Choirmaster of Notre Dame, Montreal, OFFICERS: Canada; Rev. Virgil Génévrier, Newark, President, The Very Rev. E. R. Dyer, S.S., D.D., N. J.; Rev. James A. Boylan, D.D., St. President of St. Mary’s Seminary, Baltimore, Charles Seminary, Overbrook, Pa.; Mr. Md. Jacques C. Ungerer, Choirmaster of St. Spiritual Director, Rev. E. M. McKeever, LL.D., Patrick's Cathedral, New York; Mr. Al Rector of the Church of St. John the Baptist, Pittsburgh, Pa. phonse Heuermann, Choirmaster of Our First Vice-President, Rev. Leo P. Manzetti, Mus. Mother of Sorrows Church, Phila., Pa. D., Musical Director St. Mary’s Seminary, Baltimore, Md. HE replies received to the circulars is Vice-Presidents representing respective districts: sued by the organization committee Canada, Rev. Louis J. Bouhier, S.S., Choirmaster were invariably favorable and enthusias Notre Dame Church, 66 Notre Dame, West, tic. All sections of the country were rep Montreal, Quebec. resented by delegates at the first meeting Central States, Rev. S. M. Yenn, Diocesan Direc which was held in Cliff Haven, New York, tor of Church Music, 1140 Clinton St., Ft. (The Catholic Summer School,) July 7th,

Wayne, Ind. - Middle West, Mr. Aloysius Rhode, 4309 A, South 8th, and 9th, while many prominent Compton Ave., St. Louis, Mo. musicians came from Montreal, Canada. Far West, Rev. F. Domenic Waedenschwiler, O.S.B., Pastor of St. Mary's, Mt. Angel, Ore HE spirit animating the members pre gon. sent was probably the most encourag South, Rev. Theo. Labouré, O.M.I., Theological ing feature of the meeting, for there was an Seminary, San Antonio, Texas. evident desire on the part of all to elimi East, Dr. James Reilly, 100 Boylston St., Boston, nate useless theoretical discussions and Mass. proceed immediately to the consideration Treasurer, Rev. James A. Boylan, D.D., St. of practical questions. - Charles' Seminary, Overbrook, Pa. Secretary and Editor of the Society’s “Bulletin” MUSICIAN S are generally supposed to Mr. Nicola A. Montani, 1207 Walnut St., Philadelphia, Pa. be erratic, visionary and devoid of all Committee, on Reviewing Church Compositions, the necessary appreciation of things vital and Compiling Catalogue: Rev. Leo P. Man. and practical. Here was a gathering of zetti, Mus. D., Rev. John M. Petter, S.T.B., men representing both the clergy and laity, Mr. Nicola A. Montani. whose chief efforts after the necessary ques ------º-º:

1() THE CATHOLIC CHOIRMASTER tions of organization had been disposed of, O particular National school of Music is were directed toward finding an answer to to be favored, since good Church Mus the question: “How can we solve those ic, in the modern sense of word, can pro problems which confront the rector and ceed from all sources. While due credit is organist alike in carrying out the provi given, and proper recognition taken of sions of the Motu Proprio?” the schools of Church Music in Europe, for the wonderful progress made towards THE first article of the Constitution of the the accomplishment of the ideal, the Society states; “The main object and peculiar conditions in America demand guiding principle of the Society, is to that all questions of National preference foster fraternal assistance and encourage should be eliminated and that no par ment among the members thereof, in ticular school or type of music be favored their endeavor to promote the cause of at the expense of another Sacred Music Reform according to the provisions of the “Motu Proprio” of the IN the matter of organization, adequate late Holy Father, Pius X.” credit cannot be given to the Rev. E. McKeever, who was elected unanimously, as presiding officer of the sessions and later, HIS in part is the reply to the question Spiritual Director. His wide knowledge, propounded, for it is only by mutual unfailing tact, and charming personality co-operation and sympathetic support that made his selection as chairman of the anything of moment can be accomplished. meetings an ideal one. Given the right spirit in the first place and a proper attitude, difficult problems HE more important resolutions adopted are often adjusted, or at least the way is at the first meeting provide for the paved toward a better appreciation of the

following: - divergent points of view. a) The admsssion of women to member ship in the Society (In acknowledg THE Society, for this reason, adopted the ment of the very important part that rule that all subjects of a controversial nuns and lay teachers have in the nature were to be rigorously avoided. In education of children); the greater question of “Reform of b) The establishment of a Summer Church Music” has crept in, ever since School in Cliff Haven, N. Y., where the first days of the promulgation of the instruction will be provided in all Papal decree, a smaller question which branches of Sacred Music; concerned itself with technical details c) The publication of a “Bulletin; ” and matter of interpretations, etc. The d) The organization of a Bureau of In controversies engendered by the ofttimes formation for the benefit of Pastors acrimonious discussion of the points at and Organists; - issue, caused many who were on the out e) The eventual compilation of a side as it were, to wonder whether any Hymnal which could be recom good could result to the movement as a mended for its devotional character whole, when there was so evident a disa and high artistic qualities. greement among those considered author ities on the subject. HE circular containing a survey of the results of the first meeting, can be THE Society has adopted a programme obtained upon application to the Secre which is constructive in every sense tary or any of the officers. of the word and judging from the re sponse of the clergy and the laity alike, CCASION is taken to make due ac this programme is meeting with the favor knowledgment of the kindness and of all. courtesy shown the members of the Society THE CATHOLIC CHOIRMASTER - 11 by the officers of the Catholic Summer CHOIRMASTER.” The paper by Rev. Leo School, and grateful thanks are hereby P. Manzetti well be found in this issue. conveyed to the Reverend President and the other officers of the Summer School. VARIO's plans for the establishment of a Summer School in Cliff Haven, THAT widespread interest is manifested New York (The Catholic Summer in the formation of the new Society School), are being discussed and they of St. Gregory is attested by the fact that will be further considered during the the leading musical journals of this coun meeting of the Society in Baltimore, April try, Canada and Europe, have devoted 6th, 1915. Full particulars regarding considerable space to the deliberations the Congress and the results accomplished of the first Congress. Catholic periodic at the Second meeting of the Society of als have also taken cognizance of the or St. Gregory will be given in “THE CATHo ganization, and all express the hope Lic CHOIRMASTER’’ which will be published that the ideals for which the Society soon after the close of the sessions. stands may be realized. LIST OF CONTRIBUTORS THE following papers were presented at Including those donating to the Society of St. Greg. the first meeting in Cliff Haven, N. Y. ory any sum above the legular annual dues In “The Origin of the “Motu Proprio.” some cases dues are included in amounts recorded. By Rev. Leo P. Manzetti. Rev. Louis Bouhier, S. S., Montreal...... $15.00 Mr. J Lewis Browne, Chicago, Ill...... 5 00 “Some obstacles to be overcome before Mr. J. N. Charbon neau, Montreal ...... 2.00 Rev. J P Desjardins, S. J., Montreal.... 2.00 introducing Church Music Reform '' By Mr. Martin G. Dumler, Cincinnati, O... . . 5.00 Mr. Walter N. Waters, Secretary of Rev. Virgil Génévrièr. Newark, N. J...... 2 00 Mr John P. Hession, Boston, Mass...... 2 00 the National Association of Organists. Mr. A. S. Hoerstmann, Mishawaka, Ind... 2 00 “The Training of Choir Boys; A con Mr J Percy Keating. Philadelphia...... 5.00 Rev. John B. Kessel, S J . Florissant, Mo. 2.00 sideration of the various methods em Mr Jos. A. Kunkel Baltimore, Md...... 5.00 ployed.” Nicola A. Montani. Rev. C. Hughes Lefebvre, S.J., Montreal, Quebec ...... 2.00 Church Music conditions in Mexico be Mr. Frederic C. Larivere, Montreal, Que.. 2.00 Rev. Leo P. Manzetti, Baltimore, Md. ... 10 00 fore the War.” Rev. Virgil Génévrier. Mr. Nicola A Montani, Philadelphia, Pa.. 10 00 “Recommendations for carrying on the Rev. E. M. McKeever. L. L. D. Pittsb'g. Pa. 10.00 work of Church Music Reform.” Prof. Mr James A. McDavitt. Staten Is., N. Y. . 2.00 Rev. J. M. Petter S.T. B., Rochester, N. Y. 20.00 Antonino Mauro. Rev. George W. Pred more. Elmira, N. Y.. 2 ()0 Rev. P. F. Quinnan, Pittston, Pa...... 1000 Rev. Dominic Waedenschwiler, O.S.B., HE papers above listed will appear in Mt Angel. Ore ...... 10 00 successive issues of “THE CATHOLIC Rev. Simon M. Yenn, Ft. Wayne, Ind.... 10.00

THE BALTIMORE CONVENTION.

The Second Annual Meeting of The Society.

HE second annual convention of the tend, and on account of the matter, Society of St. Gregory will be held in which will be brought up for consideration Baltimore, Md., during Easter Week, from during the sessions. The Committees April 6th to 8th inclusively. which has been appointed by the Presi This convention promises to be of great dent, Very Rev. E. R. Dyer, is working interest to all members of the Society, out the details of the convention and it both on account of the increased number expects to present a programme which of the members who are expected to at will be both instructive and entertaining. 12 THE CATHOLIC CHOIRMASTER

The convention will open on Tuesday, see that automobiles will be provided for April 6th at ten o'clock, at the Cathedral, the purpose. with a solemn Mass celebrated by the Very The Rennert Hotel, Liberty and Sara Reverend President, His Eminence James toga Streets, one block from the Cathedral, Cardinal Gibbons assisting. The preach will probably be the headquarters for the er will be the Most Reverend James J. Convention. A banquet will be held at Keane, D.D., Archbishop of Dubuque. this hotel on Thursday evening. The music of the Mass will be rendered Information in regard to the Conven by the Choir of St. Mary's Seminary, tion can be obtained by addressing: about one hundred voices, under the di The Rev. W. Carroll Milholland, S.S., rection of our First Vice-President, the St. Mary's Seminary, Rev. Leo P. Manzetti, who is the Profes Baltimore, Md. sor of Liturgical Music at the Seminary. The business sessions of the convention will be held at St. Mary's Seminary, The Pontifical High School of North Paca Street, above Franklin, a Church Music, Rome. short distance from the Cathedral. The Letter from the Very Rev. A. De Santi, S.J., membership card will be necessary to President of the Pontifical High School of Church identify the members of the Society who Music, Rome, to Rev. Leo P. Manzetti. Musical are to attend the meetings. Public lec Director, St. Mary's Seminary, Baltimore, Md. tures will also be provided where papers The Pontifical High School will be read by prominent authorities on of Church Music, all subjects pertaining to Church Music, Rome. e. g., the training of boy choirs, the for November 29, 1914 mation of male choirs, congregational Very Rev. and Dear Father Manzetti:— singing, the accompaniment of Gregorian As you will see from the “Osser Chant, the rendering of Polyphonic music valore Romano,” that I send you, on the and other subjects of interest to lovers of very evening of the feast of St. Cecilia, a Church Music. A session is planned es tremendous gas explosion destroyed the pecially for the Sisters and lay teachers college where our School was located. The in attendance which will be devoted to quarters assigned to us were wiped out of the discussion of topics of special interest existence. - to them. Our students, with other boarders, were A concert of sacred music, exemplifying in the chapel, at evening prayer when the the three styles of church music recom explosion took place, some few minutes mended by the Motu Proprio; Gregorian before nine. Had it occurred a few min Chant, Polyphonic and Modern music, utes later, the students would have been will be given by the Seminary Choir on in their rooms and would have been caught Thursday afternoon, at half past three in the ruins. o'clock, at the Peabody Conservatory of One of the servants, the cause of the ex Music. A noted organist, member of the plosion, was killed. It seems he carried Society, will also give several selections. a lighted candle into a room which was It is hoped that His Excellency, the Ap filled with gas from a broken tube. ostolic Delegate, Most Rev. John Bon In the new place, we are fairly well zano, D.D., will preside on that occasion. fixed but, as you can imagine, we are in Delegates to the convention are expec need and this need must be met at once. ted from all parts of the United States The Rieger organ escaped with little and will be entertained in various ways. damage, and will be placed in the new hall One afternoon will be devoted to seeing this week. Our pride in having three or Baltimore and some of the Institutions in gans for use by our students is a thing of or around the city. The Knights of Col the past. umbus have very kindly volunteered to I beg you to help us, if you can, and I THE CATHOLIC CHOIRMASTER 13 hereby commission you to represent me, longed, formerly, to the Pontifical Roman and to acknowledge in the name of the Seminary. - President any contributions that may be The necessary changes in the building sent to you, as our need is very greatindeed. are not as yet completed, and it was found Yours most devotedly, necessary to begin the work of the new (Signed) A. De Santi, S. J. scholastic year in the old school, in the Via del Mascherone, in the College of the “L’Osservatore Romano,” Nov. 28th, 1914. Sons of Mary Immaculate. “The terrible explosion, which took As soon as the disaster occurred, the place last Sunday evening in the Via del Holy Father gave orders that the large Mascherone, completely destroyed the Pon hall, and several rooms in the old Palazzo tifical High School for Church Music, with del Vicariato, in the Via della Scrofa, the exception of the Gregorian Hall on should be placed at the disposal of the school. His Emine:nce Gaetano Cardinal the ground floor. - The greater part of the furnishings were Bisleti, the Protector of the School, and blown to pieces, the pieces being carried His Eminence Cardinal De Lai, with to a great distance, by the force of the ex admirable zeal, added their efforts to the plosion. paternal solicitude of His Holiness. Of four reed organs, the gifts of His late By means of this assistance, so promptly Holiness, Pope Pius X. and which were given, the various classes were resumed used in the classes of harmony, counter yesterday in the new and temporary quar point, etc., one only was left intact. An ters, to the great satisfaction of all. other one of the four can be repaired, but Nearly all of the necessary furnishings the other two are entirely ruined. of the school are lacking, but with the The walls of the library and the offices help of benefactors, it is hoped that this of the Director were shattered, and the need will soon be remedied. contents of these rooms ruined, with the exception of some books and printed sheets of music. Manzetti, will gladly receive and duly The large picture of Saint Gregory, acknowledge any contributions that may painted and presented to the School by be sent to him in sympathy with this well Professor Roland, was torn to pieces. deserving Institution of Church Music. The portraits of Pope Leo XIII. and Pope Pius X. were damaged beyond repair. The Letters to the Editor. The Catholic University picture of His Holiness Benedict XV. of Ainerica, which was placed on the wall of the direc Washington, D. C. tor's office only the evening before the Nov. 19, 1914. disaster, was saved. To the Editor of A small, historical painting of Guido THE CATHoI.IC CHOIRMASTER. d'Arezzo, the precious gift of the sisters of Dear Sir :- - the late Pope Pius X. was unharmed. It was my good fortune to assist in A small Inzoli pipe organ, which was in Baltimore at the mass of Consecration of the Gregorian Hall, was also unharmed. our rector, Bishop Shahan, and at the The Rieger pipe organ, a gift from His mass of the patronal feast of St. Mary's Holiness Pope Pius X. was but slightly Seminary. I cannot resist the temptation damaged. The large pipe organ, made to tell you what artistic satisfaction these by Balbiani of Milan, was completely two masses have given the old musician ruined. that I am. The Holy Father had already assigned It is a real musical treat to hear a new and larger quarters to the High numerous choir of seminarians render the School, in the Palazzo Apollinare, includ Gregorian chant with intelligence, with ing the large historical hall which be faith, with a perfect realization of its litur 14 THE CATHOLIC CHOIRMASTER gical bearing. Melismatic pieces like liturgical function. Needless to say that Graduals or litanies of the Saints or the all my preference went to it. Te Deum are mortally tiresome when Dom Guéranger has said: “this dumb sung by ordinary chanters; but rendered ness of a soul which seems not to need song by the St. Mary's students they are cap to complete its prayer and give it its higher tivating from beginning to end. I re form, is an indication of lowered Christian gret that I have not been able to hear feeling.” This sentence of condemnation them sing Vespers. will never be brought against St. Mary's With sorrow I have often observed that Seminary. the quality of the figured music in our I have under my eyes a book published colleges and seminaries is rather common last year in France on “The teaching of sac and vulgar. The case is entirely different red music in our Seminaries,” a work full with the seminarians of St. Mary's; their of charm and interest. I do not know music is serious, really polyphonic, ju whether it has occurred to anyone to write diciously chosen, and one feels that they something of the kind for Americans. understand it and grasp all its meaning in But I do know that much better has been religious worship. done in Baltimore; practical, efficient In our houses of clerical training, voice work has transformed St. Mary's Seminary culture is totally neglected, much to the into a real Schola Cantorum. This is a detriment of the future of the students. fact which connoisseurs already appreciate The case of St. Mary's seminarians is very highly and which the public itself again otherwise; they know how to use will appreciate more and more. the voice naturally and with ease, and one Yours very truly, can perceive, while listening to them, that (Signed) Abel L. Gabert. they have the advantages of salutary direc tion in this important art. This will help From Mr. Frederic W. Goodrich, Or their preaching as well as their singing. ganist and Choirmaster, St. Mary's Ca Three fourths of our priests con, plain of thedral, Portland, Ore. Secretary Church throat troubles; if they had been trained Music Commission, Archdiocese of Ore as those students are, their vocal organ gon City. Dean Oregon Chapter, Ameri would be as good as that of the rest of man can Guild of Organists, Musical Editor, kind. “Catholic Sentinel,” Portland, Ore. Edi The liturgical chant and real Church tor and Compiler “Oregon Catholic Hym music is more fittingly rendered by nal.” clerics than by women singers. The of “Here in the Pacific West, we, at least a fice of the chanter is indeed and rightly few of us, have been trying to carry out called a sacred office, since it is so inti the ideals of the Holy Father as far as mately connected with the liturgy and cere conditions will permit. In this city we monies. The study of sacred music must, have made a beginning. The worst of then, be an important part of the educa abuses are gradually being eliminated. tion given in a Seminary. Masses of a better style and more liturgi All these ideas absorbed me Sunday cal character are being introduced. The while the two choirs, that of the seculars proper of the Mass is now used according and of the seminarians vied each other in to the Vatican version, and the nonsense their desire to enhance the ceremony of at Weddings and Funerals has been an episcopal consecration. The secular forbidden.’’ choir did not lack real charm, notwith “In short, the whole situation is much standing the fact that its elegance had more hopeful than it was a few years ago. something of that worldly and extra During the summer we have not dis liturgical tone which seems to character banded our choir, but have sung a Plain ize the repertoire and rendering of our Chant Mass each Sunday. We had a best mixed choirs. The other was in the choir of priests sing for the Solemn Pon true place to which it was entitled in the tifical Requiem for the late Holy Father. THE CATHOLIC CHOIRMASTER 15

The music was entirely Gregorian. The today we graduate the first two students Mass was attended by nearly 2,000 people in that branch. It is a great move for an including the Mayor and City Commis institution like the Conservatory with its sioners. On Columbus day we had 2,000 3000 or more pupils to adopt, and one of our school children parade, after which that promises much for the future. they attended Solemn High Mass in the Cathedral. Two hundred and fifty From Dr. F. S. Palmer, Organist and children taken from twenty three parochial Choirmaster, St. James Cathedral, Se schools sang the “Missa de Angelis” with attle, Washington. excellent effect. Rev. Dominic Waeden “At our new Cathedral in Seattle, we be schwiler played the organ on this occa gan seven years ago to introduce the strict sion.” liturgical style, and two years ago our Right Rev. Bishop issued a list of com From Mr Harold Becket Gibbs, Cin. positions from which must be selected cinnati, Ohio. Organist and Choirmaster, music to be sung in the diocese. At the Sacred Heart Church. Prof. of Organ, beginning of 1913 we organized a choir of Voice and History, Cincinnati Conserva male voices which sings High Mass and tory of Music. Director of Music at various Vespers every Sunday and Holy day of Academies and Convents, Cincinnati, O. obligation during the year. But the re In 1905 we started a Gregorian Congre form is only just begun; when there shall gation for the exclusive propagation of the be less indifference and opposition to the Chant (Covington, Ky.) , and had fair movement as a whole, then can we hope success. The membership reached 130 for more lasting results. The Society of and all were enthusiastic. At the Cin St. Gregory has my best wishes and hopes cinnati Conservatory of Music we have for success in the cause of liturgical church opened a Church Music department and music.’’

NOTES AND GLEANINGS.

Tiſº. objection raised by the Dean and cappella (i. e., unaccompanied) singing Chapter of Peterborough (Eng.), to may have to be slow, but I do not believh having “the Dream of Gerontius” sung that there is a church in the land, whice exactly as written by Cardinal Newman, will not gradually come to understand the was regarded throughout England as a intrinsic beauty in the a cappella style, matter “too silly for words” as “The Or a beauty never to be obtained in religious ganist and Choirmaster” states, and the music in any other style. Save me from singers who refused to render the mutila listening to so much popular porochial ted version were highly commended for English stuff, where the organist plays the stand taken. the four voice parts on the organ, while the choir sings them | If the organist cannot see his choir, let him walk out and Mr. Lindsey Norden, M. A., Mus. B., stand where he may lead them.” organist and Choirmaster of St. Mary's Church, Brooklyn, and editor of a new The Roman Correspondent of “The Or valuable series of Russian compositions gamist and Choirmaster” gives the follow for ecclesiastical use writes in “The New ing interesting account of Church Music music Review.” conditions in the Eternal City. “Church music will never amount to “There is a little street in Rome which anything until our choirs can sing both runs down by the side of the glorious pal with and without accompaniment. Sing ace of the Farnesi. The palace is now ing an accompaniment to on organ is not used as the French Embassy, and the lit religious music. The introduction of a tle street is the Via Mascheroni. A good 16 THE CATHOLIC CHOIRMASTER - work is being done, quietly and unobtru and, I believe, only two—in Rome where sively, in this street by the School of Sac you will hear Plainchant quite excellently red Music which has its obscure situation sung. One is at the French College, there. Public practices of Plainchant near the Minerva; and the other at the are held at the school on Thursday morn Benedictine College of S. Anselm. Ec ings; and public practices of Polyphony clesiastical Rome (which by the way is a on Thursday afternoons; and one may al widely distinct thing from civil Rome) is ways so study piano, organ, harmony, a wonderful cosmopolitan affair. Nearly counterpoint, plainchant, and the poly every country in the world maintains a phonic school of Church music, privately college of its own, to which theological there. After considerable searching and students and priests are sent from their inquiry, I managed to find this school on a respective countries for further study. recent Thursday morning, and dropped in Each college has its own chapel, and in to listen to the “public practice” of Plain several cases the college chapels are opened chant. I found a wonderful collection of to the public on Sundays for Mass and religious students and clerics of all ages Vespers. At the French College, the choir and nationalities, diligently rehearsing is formed of voices selected from among the “proper” of the Mass for the next the students. The music is entirely Plain Sunday. The public plainchant practices chant, and it is sung by the choir in a very are held under the direction of the priest delicate and exquisite manner, alternately choirmaster of S. Mary Major, who uses with the heavier and more robust chorus in his instruction that admixture of of the rest of the students. They have a boundless enthusiasm and gentle railery quite capable organist, and a fairly pleas which generally produces such good re ing organ. At the beautiful Benedictine sults in a choir. I will tell you frankly College Chapel, situated on a hill overlook that I was amazed at the excellence of the ing the river, they also sing Plainchant performance. Although the class is a exclusively; and quite excellently they do large one, the tone was rarely allowed to it, although without, perhaps, the delica exceed mezzo-forte: and the pianos and cy and refinement of the French College pianissimos were used with splendid ef performance. There is a very fine organ fect. And above all, the choir seemed to at the Benedictine College, and one some have learned the secret of that delicate times hears some really capital organ play mezzo-staccato which most Plainsong choirs ing there. On a recent Sunday, at the find so difficult. I went to the school High Mass, the first movement of Rhein again in the afternoon of the same day berger's F minor Sonata was played as an for the public practice of Polyphony. Offertory piece; and the organist's extem They were not studying Church music: porizations during the Mass were extraor on that particular afternoon, but were en dinarily clever. It was a refreshing oasis gaged upon a very delightful male voice in the musical desert of Rome. chorus—something about Autumn—by On Nov. 26th, at the chapel of the Rheinberger. These practices are under English College, a solemn IRequiem Mass the skilful direction of the Rev. Maestro was sung for the late Monsignor Giles, Casimiri, choirmaster of St. John Lateran. the former Rector of the College. The I think that the work of this school de music was entirely Plainchant, and was serves to be far more widely known, and sung very carefully, if somewhat tenta certainly the idea of public schools of tively, by a small choir chosen from the Church music is one which might with students. There is a small and very poor advantage be adopted in England. I was organ in this chapel, and sometimes the astonished to find that not a single Eng unintended sounds, which proceed from dish-speaking student in Rome attends in the mechanism of this instrument, exceed the school in the Via Mascheroni.” in strength the intended sounds which “Undoubtedly there are two places— proceed from the pipes!” THE CATHOLIC CHOIRMASTER 17 “woNDERFUL CHURCH MUSIC” The seminarians from Menlo Park with its spiritually joyful “Alleluia,” and yesterday morning gave the clergy and the incisive and, in moments, almost laity of San Francisco a practical ex poignantly earnest Credo. In the iatter emplification of what is meant by plain there is a Wagnerian directness of chant. They came to the city, perhaps utterance; the “Alleluia” has the rhyth fifty of them, to take part in the mass mic freedom of a meditation. To sing sing at St. Mary's Cathedral on the occa in this idiom demands, first of all, perfect sion of the meeting of the priests’ comprehension of and sympathy with the Eucharistic League. Doubtless the arch spirit of the words; it calls for purity of bishop wished them to give an object tone and careful adjustment of breath to lesson in the proper singing of the phrase, and, finally, it exacts on the part ancient chant, in order that the diocese of the singers a sense of aesthetic pro might be won to a recognition of the priety which while it may be cultivated beauty, the spirituality, and the propriety by art, must be the expression of personal of this truly Catholic music. spirituality. Mere musicians cannot sing The bulk of the music was taken from plain chant; the singers must be religious the lovely “Missa de Angelis,” an ex minded, for art ever stands in just relation ample of plain chant which, although not to its source. belonging to the more ancient days of the GREGoRIAN RENAuss ANCE. art, still dates back to the time of Dante Father B. F. Marcetteau, who teaches and Botticelli. The Kyrie is familiar; the seminarists at St. Patrick's, studied but as it came from the lips of the young with the Benedictines of Solesmes and Levites it had a suavity, a roundness that came under the influence of Dom Pothier. must have seemed to many like a new He and his works are therefore a fruit of revelation. It halted between a sigh and the Gregorian renaissance, and yesterday an aspiration. morning proved them a good fruit. LEsso N WAs NEEDED. When plain chant flows in a long ebb We have fortunately got past the time and flow of tone, stealing upon the ear so when it was thought proper to shout every gently that it hardly seems the product of note of the chant with the lungs of a Sten human voices; when its accent is humble tor. That was a sad inheritance yet uplifted, when the joy and sorrow from the period of abuse which led which it expresses are compunctious in Martin Luther to call the Gregorian chant their sweetness, then the singers have the “the braying of the wild ass.” But Al right tradition, and the music of the though, thanks to the efforts of earnest Catholic Church is heard through their clerics like Father Young of St Peter's and voices and their characters. Father T. J. Cullen of Old St. Mary's, CENTURIES OLD. many of our people have an inkling of I liked the responses; they were mascu the vast difference between pseudo church line, yet sensitive, and, while Bishop music by Rossini, Giorza and their kind, Hanna chanted the immortal melody of and the music handed down through the the preface, there came into my mind the long ages of the church, nevertheless, some memory of how Mozart said of that same such lesson as the seminarists gave us yes music that he would give all his reputation terday morning was absolutely necessary as a musician to be accounted its com and ought to be repeated from time to poser. It was that same old intonation of time, so that people may grow accustomed the Credo, moreover, to which John to its other-worldly beauty. Sebastian Bach turned when he wanted a People who thought plain chant symbol of Christian faith which should be *onotonous must have been astonished worthy of his highest genius. Both *d delighted by the contrast afforded by strains are more than a thousand years old. e Gradual “Oculi mei in Te sperant,” St. Augustine may have listened to them 1S THE CATHOLIC CHOIRMASTER when, in the basilica of Milan, the an time and circumstances, reflect great credit cient chanting did so much to win his upon his good taste. heart for the Christian faith. As Bishop of Bergamo, while pontifi I could say much about the singing of cating at his first Mass in the Cathedral, the lovely “Ave verum” of Sheuren and the organist took the occasion to play, dur of the “Lauda Jerusalem,” set to the ing an interlude, portions of Rossini's “royal” tone and something, too, should “Stabat Mater.” The Bishop quietly be spoken in grateful recongnition to the gave orders that the organist stop, and good musician who played the harmonium. play only that which was in keeping with But we may hope to hear plain chant the sacred liturgy. When visiting En Masses on more occasions than one.— dine, at Vespers, the choirmaster began Redfern Mason, in “The San Francisco with a “Dixit” written in rococo style,

ºraminer.’’ - with its roulades, flourishes and cadenzas, the Bishop commanded that the music be Among the prominent delegates who at stopped immediately, and requested the tended the First Congress of Church Mu clergy in the sanctuary to continue the sicians in Cliff Haven last summer, none vespers in plainchant. had more interesting accounts to give of He was instrumental in having the pro their musical activities than the Rev. P. fane style of music abolished in the Church F. Quinnan, of Wyoming, Pa. Through of Santa Maria Maggiore in Bergamo, and the initial efforts of Rev. J. M. Petter of was one of the organizers of the Diocesan Rochester, Father Quinnan inaugurated Society for the promotion of the cause of the unusual plan of having his congrega Sacred Music. However it was during tion sing the ordinary for the High Mass his visits to the 350 parishes in his diocese es; men, women, and children join in that he was able to accomplish the great the singing of the Chant every Sunday. est good, aiding his priests to effect chan The good sisters were largely instru ges and making practical suggestions for mental in training the children, who the betterment of music conditions. served as leaders for the adults. The con gregation is composed of representatives Mr. Wm. J. Henderson, the able music of many nationalities, and one would ex critic, in reviewing a recent performance pect this in itself to provide insurmount of the “Jewels of the Madonna” writes as able difficulties. The results however are follows in “The New York Sun.’’ reported to be most satisfactory, the con “I'erhaps more pertinent to note at this gregation having taken up the plan with time is that it is less difficult to give a great enthusiasm. good performance of “The Jewels of the Madonna’’ than of “La Traviata.” It is Monsignor Giacomo M. Radini Tedes also simpler than meeting successfully the chi whose death occurred recently in Italy, requirements of Wolf-Ferrari's “Secret is reported to have on several occasions of Suzanne,” “Le Donne Curiose,” or publicly reprimanded organists or singers “L’Amore Medico.” There is no formid who were rendering music unsuitable for able difficulty in finding singers who can Divine service. deliver the vigorous declamatory music of When he was a Canon of St. Peter's, he the contemporaneous opera, but who could often protested against the worldly char not sing a Gregorian “Gloria in excelsis'' acter of the compositions rendered by the to save their lives. - choir. It was notorious that the choir in “When the Benedictine monks of Soles mes following the custom of that period, sang restored the lost art of singing the chant they florid masses and vespers of the operatic also brought out clearly that the method of type. singing it contained all the fundamentals of When elected Prefect of Music, he in the entire modern art of song. The first troduced new regulations for the choir, and foremost of these was a sustained le which while not perfect, considering the gato. That is precisely what the typical THE CATHOLIC CHOIRMASTER - 19 modern opera singer does not own. He Mons. R. Casimiri, Choirmaster in St. must declaim or he is lost. And so he is John Lateran and Professor in the High at home in the so-called “dramatic” works, School of Church Music in Rome. but not in the classics, nor in anything His compositions are known all over which seeks to preserve the elegant fluen the world and have reached the 350 mark. cy and serene beauty of the classic style.” They are noted for their truly religious “But let us for the present avoid this and melodic beauty. There is no artifi topic which surely leads to “bel canto.” ciality or conventionalism of style in them. This is a hazardous subject at all times, He can be called the Mozart of Church and it is certain to come again.” Music, for his music has all the candor and geniality of the great Master. He him Dr. Richard Terry of Westminster self is already called the Father of Church Cathedral has organized a society for the Music, in Italy. He was made a Knight performance of Bach's smaller works—mo of the Crown of Italy by King Humbert tets, cantatas, chamber music—in West in 1885 and a Knight of St. Gregory the minster Cathedral Hall. . Great by Pope Pius X. in 1905. Bach lovers, whether in London or New We wish him many more years of use York, have always lamented the fact that fulness in the cause of the reform of many of the shorter works of the great Church Music. master are seldem to be heard. We wish we had a Terry here to “kindle our hearts” It is surprising to learn that there is an with such music. “Academia Juan Sebastian Bach’’ in the city of Mexico, and that it recently gave Luigi Bottazzo, the blind musician, a Bach Cycle. The festival is said to and the most prolific of Italian compo have lasted six days and the printed sers of Church Music, has celebrated on programme seems incredible. The first November 22nd, the fiftieth anniversary day was devoted to 24 “preludes and fu of his appointment as music teacher in ghettas” for piano and three chorales for the Configliachi Institute for the blind, in four part chorus; the next day 15 two. Padua, Italy. He was born in 1845 of part inventions, sonata and fugue for good Catholic parents, and became blind, piano and violin; then seven preludes through an accident, at the age of nine. and fugues from the “Well Tempered. But being gifted with a natural love for Clavier’’ and the concerto for two violins, music he studied under the best maestri followed by an evening devoted to the in the very same Institution where he was Chromatic Fantasia and Fugue and various afterwards to teach so long. At the age single numbers, including prelude and of fifteen he had written already a fugue on the name of Bach and prelude Fantasia for the piano, and a Prayer and and fugue in A minor. The last evening a Barcarole for the organ. Four years was devoted to the piano concertos in later he was appointed teacher of har G minor and F minor and that in C major mony, of counterpoint and of the organ in for three pianos. This seems like some the Configliachi, the fiftieth anniversary thing more than a feast. It should be of which has just been celebrated. In mentioned that the “Academia” is a 1872 he became organist of the famous Conservatory and many of the players Basilica of St. Anthony at Padua, and were its pupils and the rest “professors”. since that time he has been an ardent But even so the festival shows a strangely promoter and worker in the cause of the intensive cult of Bach. reform of Church Music. All his pupils, numbering over 250, are holding now high The will of Miss Mary P. Semple, of positions as choirmasters and organists in Pittsburgh, stipulates that the income Cathedrals, Seminaries and Conservatories from half her estate, valued at $100,000, of Italy; among others the Right Rev. be used to provide vacations for women 20 - THE CATHOLIC CHOIRMASTER who work for their living or who are ill. bright, vivacious, inquiring, emotional,” Other funds she left to foster church says Dr. Richardson. “Before I came to music. America I was warned of the American boy. I was told that he had no singing On March the 12th, 190S, Feast of St. voice, that his tone was thin and poor Gregory the Great, the complete publica and his compass limited; that he was tion of the Roman Graduale was issued difficult to manage and unwilling to by the Vatican Press. On that very day, work; and in other ways he was libelled Dom Pothier solemnly presented the first to me. copy to the Holy Father. A witness of “As I expected, all this proved to be the audience says that Pius X. wished to pure invention. The American boy often be the first to see the new book; he op sings very badly, to be sure, and he often ened it at random, at page 128 of the behaves very badly; but in these cases supplement “pro aliquibus locis”, it was the fault lies with the choirmaster rather the Introit of the new Feast of Our lady of than with the chorister. We hear loud Lourdes. The Pope sang it with perfect cries for more choir schools, as if they taste to the last note. were the one thing needful. The real need is not for schools for choristers but The Franciscan Order and the Musical schools for choirmasters, to teach them to use World have to mourn the death of the the material they have at hand in every great priest-composer, Father Hartmann, place instead of seeking for something out O.F.M., of Munich, Bavaria, who died side their own particular range.” of heart-disease. His fame grew along with that of Perosi of the Sistine Chapel. Dr. G. E. Stubbs, a well known auth Among his Oratorios the chief were “San ority on Boy voice training according to Pietro”, “San Francisco,” and the “Last the English method writes in a recent Supper”. number of “The New Music Review’’ on methods in vogue in various countries. A book of consuming interest is “The Dr. Stubbs, concluding paragraph is Choirtrainer's Art” (G. Schirmer,) by well worthy of quotation and attention:— Dr. A. Madeley Richardson, who was for “While it is only just to give due credit twelve years organist and director of the to modern choir-masters, who have choir at Southwark Cathedral, and now advanced the art of choir-boy training, the located in Newport, R. I. Dr. Richardson fact remains that it is a very old art. shows in his various chapters broad un What the Italians of the seventeenth cen derstanding of man and boy nature, and tury did not know about the boy voice is his sensible method of approaching prob certainly not worth knowing. What is lems in other matters than those purely commonly called “The Old Italian Meth vocal makes what he has to say interest od” did not arrive at maturity without a ing. co-ordination involving the voices of girls, There are chapters devoted to the boys, and women. And in this co-ordina choirmaster, the management of boys, of tion the phenomena and characteristics of men, voice production, women singers, the boy voice were studied first of all, and and English and American boys. Dr. the results were utilized in the voice-cul Richardson places the greater stress upon ture of girls and women. The opposite is the successful handling of boys than of supposed to be the case by the generality men. He believes in leading rather than of musical people, yet the annals of ecclesi driving, but in a firm discipline that can astical music make the point clear enough. not be misunderstood or permit the choir No amount of argument logic will ever con vince certain persons that the boy voice is master to be imposed upon. - “The English boy is quiet, steady, not a new fangled thing of no importance, plodding, reliable; the American boy is and of no position in musical history!” THE CATHOLIC CHOIRMASTER 21

The International Musical Society, A recent number of The Yorkshire whose members honored London with a Evening Press, Eng., contains some inter visit three years ago, has been holding a esting impressions of Mr. T.Tertius Noble Congress in Paris this year. concerning church music. Amongst the many interesting features Mr. Noble's American experiences have of this great gathering has been the com not been without some little worries, if plete survey of French Church music from we may judge from the following re the early Middle Ages to the present day, marks:– which has been afforded to the members “During my first few months in Amer of this important Society by some of the ica, from May to September, I was obliged leading Parisian choirs. to use a “melodian’ at our services, which were held in the chantry, a small side A sacred concert was given in the chapel chapel, holding anywhere from 300 to of the Invalides by members of the Paris 400 people. Owing to lack of space it Handel Society, under the direction of M. was necessary to huddle the whole of my Felix Raugel, maitre de chapelle at S. choir together in a lump on one side: the Eustache. The organ was played by M. result was most unsatisfactory, but it had Joseph Bonnet, organist of the same to be endured without grumbling, for church. M. Bonnet played several solos there was no other way out of the difficul of great interest by Roberdet (Lully's mas ty. The melodian was a perfect night ter), Cléramboult, Marchand (Bach's ri mare. It behaved fairly well till the very val), and others. The organ at the Inval last time it was used, when at a most criti ides has never been altered since it was cal moment in the service the handle for erected in the early 18th century, except blowing broke off, and the colored man for slight modifications about 100 years who blew had to use the small emergency ago. It is very rarely used, but is in ad handle close to the pedal board. This mirable condition, and its fresh clear tone was indeed a trying, and certainly a lud suited the old music to perfection. icrous affair; the weather was intensely hot at the time, which of course added Some other choral music of the 16th to the discomfort of the poor man at the century was heard at a concert given in handle—-|and the other poor man at the the Salle Gaveau. The Times correspon key-board? EDs. During these Sundays dent commenting on this performance re my mind often went back to the glorious marked that “the style of singing was not Minster, with its superb organ, and I won on a very high level; but,” he continued, dered what my York friends would have “a succession of choral performances said, had they run in to see me at my mel showed that we English musicians can odian with the colored man to supply the still learn something from French choral Wind.” methods. French choirs often strike us as being harsh in quality and uncertain Comparing the voices of American in intonation; but they have a certain choristers with those of English boys,

emotional power which is entirely their Mr. Noble says: — - 9Wh. A good English choir, if it sings “Up to the present I have found the With enthusiasm, in most cases seems to material somewhat inferior to the fine Pe expressing its joy in the physical action voices in England, although, perhaps, I * Singing, or at best its joy at the beauty have been rather fortunate with my boys of the music which it sings. A French at Ely and York. In both these cathe choir, even in the uncouth works of the drals there was much to attract the boys; Primitives, or in the stately dignity of here (in New York) it is very different. ully, Rameau or Lalande, seems to To begin with, the bringing up of the have a much more real sense of the pas American boy is vastly different to that *onate feeling of the music.” of the old country lad. Although the 22 THE CATHOLIC CHOIRMASTER

voices are not so good from a tonal point Italy, however long that may have been. of view, these American youngsters are With regard to organ music, if the casual very sharp, sharper than most provincial English visitor visiting Italian cathedrals boys, but no better in this respect than or churches were asked to make a com the London boy. I feel convinced that parison, he would say: “You cannot com there are many first-rate boy singers in pare the two; we are far ahead of them l’’ America; in fact, I have heard already But his (the lecturer's) experience from some boys in solo work who are superb an entirely unprejudiced view of the case singers, but they are few and far between. had led him to form the opinion that In a short time I hope to possess a choir England had a great deal to learn from school, and so attract boys from all parts Italy. Taken generally, our state of of the States. In this way I hope to build Church music was appalling. Its great up a fine boy choir; till then I must be strength and at the same time its great content with whatever material comes weakness were the magnificent and beau along.” tiful singing of the boys. In York Min And concerning the American choir ster that afternoon they had an example men, Mr. Noble remarked:— of the very best Church music. Generally “I have had a number of applications speaking, they made it a treble solo, with since I went to New York for positions in alto, tenor, and bass accompaniment. my choir, and I regret to say that most of The interest was in the treble part and the the applicants possessed voices almost en organ, and that was a very satisfactory tirely ruined by that terrible disease state of things. With regard to organs —vibrato. I have heard more of this in we had an extraordinary number of won six months in America than in all my derfully constructed instruments and professional career. Even many small boys singularly capable players, but at the are tainted with it, and can there be any same time he could not help feeling that thing more inartistic than a choir of 30 or we were on the wrong tack with regard to 40 voices all indulging in a violent vibrato? organ music, and suffering from false Yet this is not an uncommon thing. ideals. He severely criticised the pro This unfortunate defect in our American grammes which, as a rule, were played at singers should be wiped out; and in this English organ recitals, and lamented the connection it is the duty of every sound little use that was made of the diapasons. musician, in whatever branch of his art In Italy there was a distinct school of he may practice, to do his level best to Church and organ music. The first great stamp it out. The choir-master ought influence was an appreciation and proper certainly not to mince matters when he understanding of Plainsong, which was comes across a chorister aſilicted with the the foundation of all music, because its notion that vibrato is sane musical ex strength lies in being melodic. To pression.” modern ears it might sound quaint, but it was not more quaint than some modern Speaking at a meeting of Musicians music, and the strength of the Italian held recently in York, Mr. C. Carte Doorly, Church music was its melody. The organist of St. Mary's Church, Beverly, second influence of the Italian school was made some interesting remarks on the that of Bach and Palestrina, the latter be modern Italian School of Church and ing the founder of all ecclesiastical and Organ Music. vocal music. In Italy, too, Bach was ab Mr. Doorly said:— solutely loved. The third influence was “He did not suppose that many of his that of Wagner, whose spirit the Italian audience ever thought or realized that student assimilated. The two things practically everything good in music came which students learnt from Wagner were from Italy. If it did not originally come the fitness of things and an enlargement from there, it benefited by its sojourn in of the harmonic outlook. He spoke of THE CATHOLIC CHOIRMASTER 23 the Italian organs as being instruments of to himself the greatest musicians of the true organ tone, and not constructed for day in Rome, and by these means made the playing of orchestral music which the Oratory the musical centre of Rome. organs were never intended for. In Eng Annimuccia of Florence, Palestrina's land, notwithstanding our pride of Church successor at the Vatican Basilica in 1553, music, the overwhelming organ was be was one of the earliest disciples of St. coming a nuisance. He did not blame Philip Neri. Verily the world's greatest the organist, but the construction of the musicians owe much to the Church's organ. The characteristic of Italian greatest saints! Church music was its melodiousness, the purity of its writing, and its distinctly Our attention has been drawn to an

ecclesiastical manner.’’ - anonymous “open letter to organists and choirmasters” in the Musical Standard At the Memorial Discourse recently de for Nov. 15. livered as appointed at the solemn requiem This communication deals with the mass for Father F. W. Faber at the vexed question of choir-training. Brompton Oratory, it was pointed out by the preacher (Father Kenelm Digby Best) Here are just a few of its more note that in all of Faber's fascinating hymns worthy sentences:— and poems he “let himself go, and set free “Speaking of male choirs—my experi all the poetry of his temperament. Noth ence is that in a men and boys' choir it ing escaped his keen eye, and he was never is possible to get, by judicious training, at a loss for language to describe what he more purity of tone, better attack, better saw, and then he was able too to make phrasing, better finish and more artistic his readers see what he was beholding.” singing. With boys it is true the choir This faculty of making others see and master has to be constanly on the teach, hear was the life mission of St. Philip teach, teach; boys' voices are always Neri, the founder of the Congregation of breaking, and the same ground has to be the Oratory at Rome, the real founder of trodden over again and again, but what the Oratorio. John Evelyn, who visited does that matter? If a choirmaster has Rome in 1644, made the following entry not got patience and indomitable per in his world-famous Diary: “This even severance he is not fitted to be a choir ing I was invited to hear rare music at the master. Missa Nuova, the black marble pillars within led us to that most precious Oratory I assert there are two causes for the of Philippus Nerius, their founder . . . . indifferent choirs in our churches and their mottetos, which in a lofty cupola chapels. One is the incapacity of the richly painted, were sung by such rare choirmaster, and the other lies at the door voices, accompanied by theorboes, harp of the private voice trainer. To deal with sichords, and viols, that we were even the latter point first. To say that our ravished with the entertainment of the church choirs represent the best voices in evening.” the various districts in which the church stands is far from the truth. For this, St. Philip Neri was not a great musician to a large extent local professors of music, himself, but his influence was profound, who give lessons in singing to pupils who and far reaching, nevertheless. He did will never be heard of outside their own in church music what he did in ecclesi doors, are responsible. They tell their astical history; he found in the spiritual pupils that they must not sing in a choir life, a master musician, Palestrina, and as it is harmful to their voices. The re by means of him reformed the sacred sult is they refuse to join the church choir music of his time. Nor was his influence to show their gratitude to the Almighty confined to Palestrina alone. He drew for bestowing upon them the blessing of 24 THE CATHOLIC CHOIRMASTER a voice. I quote from a letter I have be to conductors of choirs great and small. fore me: ‘My singing master is very much I assert that even with the voices which against my singing in a choir, and I feel are at present found in the choirs of our while I am being taught by him I am ohurches and chapels, much greater and bound to do as he thinks,’ and the church better results could be obtained, given choir is perforce mainly comprised of en proper choirmasters. thusiasts who may or may not possess The choirmasters of the present day are voices. No, these individuals with voices content to teach their choristers the mel are content to waste them on the next door odies and the various parts of the har neighbour, who hears them practising monies, to sing in time and tune, to sing songs through the wall, because they piano and forte and so on where marked, think or are told that if they come and and that is about all. As to enunciation, sing a few hymns and an anthem in the phrasing, interpretation of the meanings choir they will irretrievably spoil their of the words, interpretation of the music, VOICes. these things are conspicuous by their absence. The result is that apart from The members of the choir are therefore piano and forte, hymns and anthems are not composed of the choicest voices in the sung as they are played on piano organs. districts, and the choirmaster has there The effect of this is that singers take only fore an increasingly difficult task, to a superficial interest in their work, when create good music out of indifferent if they were properly handled they would niaterial, and the grumblers and the be absorbed in it. f croakers croak loudly and talk about “what a rotten choir we’ve got,” and Here are some of the faults common SO On. amongst church choirs:–Not starting to It is quite true possibly, but grumbling gether—bad time—bad attack—bad fin won’t help matters, but it isn't the fault ish—bad enunciation—bad phrasing— of the choirmaster—or it is—and now I some choristers pronouncing a word one come to my former point which is:— way, others pronouncing it another, I assert that the great majority of so without feeling—hard singing—without called choirmasters are not worthy of the soul—merely mechanical sound. Solo name! Choristers know it and won't join boys in most churches are mere musical the choirs. That is a sweeping assertion toys, singing without musical expression to make. When I say this I mean real or feeling or soul, singing of any kind, choirmasters are so few that it is difficult and as to the interpretation of the mind to find them, and this remark I assert ap of the composer, there is no attempt plies not only to church choirmasters but made to discover it.”

NOTES CANADIENNES.

\ Archevêché de Montréal, choeurs de nos églises. Ils en compren l le 4 novembre, 1914. dront l'importance et l'utilité. Veuillez Monsieur le curé, leur transmettre mon invitation pressante. Les cours de chant grégorien don't je Ils seront tous heureux de s'y rendre, je vous ai parlé pendant les dernières re n’en . doute pas. Je serai moi-même traites pastorales, commenceront lundi présent à la legon d'ouverture. soir, 9 novembre, a 8 heures, a l’Univer Agréez, Monsieur le curé, l'assurance de sité Laval. IIs seront donnés par M. non entier dévouement. l'abbé Garrouteigt et M. l'abbé Bouhier. + PAUL, ARCH. DE MONTREAL. Je désire que ces cours soient fidèlement suivis par les maitres de chapelle, les or P. S.–Il va sans dire que le clergé et les ganistes et les membres des différents religieux sont invités à ces cours. THE CATHOLIC CHOIRMASTER 25

) La Semaine Religieuse de Montréal, un éclat sans précédent hier soir, à l'église 2 novembre, 14. Notre-Dame. UNIVERSITE LAVAL Depuis quelques années, une coutume FACULTE DES ARTs touchante réunit à Notre-Dame les cho Cours pratique de Chant grégorien. rales des paroisses de la ville, pour y exécu ter un programme de chant et de musique Une série de leçons de chant grégorien, en l'honneur de celle qui fut la confidente données par M. Bouhier, p. s. s., maître des anges. de chapelle à Notre-Dame, et par M. Gar La fête d'hier présentait un aspect in routeigt, p. s. s., maître de chapelle au accoutumé, la restauration parfaite des or Grand-Séminaire, s'ouvrira bientôt à la Faculté des Arts de l'Université Laval. gues de l'église-mère de Montréal. Ces instruments ont été réparés entièrement, Ces leçons auront un caractère surtout il y a quelques semaines, et Notre-Dame, pratique. Elles s'adressent aux maîtres peut s'enorgueillir maintenant d'avoir les de chapelle et aux chantres désireux, orgues les plus parfaites, comme les plus comme tous doivent l'être, de s'initier au considérables de l'Amérique. véritable chant ecclésiastique tel qu'il a été A cette occasion de la restauration des restauré par le Souverain-Pontife Pie X. orgues, le professeur J. D. Dussault, orga Les leçons, absolument gratuites, au niste de Notre-Dame, avait préparé un ront lieu une fois la semaine, le lundi, à magnifique programme, où l'on remar huit heures du soir précises, dans la salle quait les plus beaux chefs-d'œuvre de dite de la Bibliothèque. Le cours com musique religieuse. mencera lundi, le 9 novembre. Il estin Une foule éporme, prés de douze mille dispensable, pour le suivre avec fruit, de personnes, venues de toutes les parties de se procurer le Paroissien romain, édition la ville assistait à cette imposante céré vaticane avec signes rythmiques (Desclée). monie. Mgr. Bruchési présida la béné diction du Saint-Sacrement, assisté de M. Monseigneur Bruchesi désirait depuis le curé Labelle de Notre-Dame comme longtemps voir le chant grégorien exécuté diacre, et de M. le curé Bélanger, de partout dans son diocèse; comme il l'est Saint-Louis de France, comme sous-dia depuis nombre d'années au Séminaire, cre. Le sanctuaire était rempli de prêtres dans beaucoup de communautés religi

et de religieux. - - euses et dans quelques paroisses. C'est M. l'abbé Mélançon donna l'allocution pourquoi il pria Messieurs les Abbés de circonstance. Il expliqua le rôle des Garrouteigt et Bouhier, de la Société de orgues dans le culte catholique. St. Sulpice, de donner des cours à l'Uni "Sainte-Cécile, dit M. Mélançon, au dé versité. Le succès semble dépasser les but de son allocution, la vierge, chère au espérances. Plusieurs centaines d'audi cœur de tous les musiciens, vous retrouve teurs assidus se rendent chaque lundi à tous les ans, fidèles et nombreux, célébrant l'Université. Parmi eux beaucoup de avec l'Eglise, sa fête harmonieuse.'' Cet prêtres et de maîtres de chapelle. Mr. te année un attrait nouveau se prête à la Garrouteight a amené deux fois son excel célébration de cette fête, parce que les or lente Schola du Séminaire. On fait chan - gues de Notre-Dame ont été restaurées. ter aussi l'auditoire, et l'exécution est fort Ces orgues sont un peu notre orgueil, à nous convenable. Il y aura au moins une catholiques. Elles sont l'écho très pur de quinzaine de leçons. Cela promet pour la divinité. Quiconque observe la nature l'avenir. n'est pas lent à constater qu'il s'en dégage une pure harmonie. Harmonie des mon BELLE AUDITION D'oRGUE ET SALUT So tagnes, des déserts, des forêts, des rivages LENNEL A NoTRE DAME, MoNTREAL, CAN. et des mers. Tout est co-ordonné et il est La fête de Sainte-Cécile, l'auguste pa facile de voir qu'un Etre Suprême a présidé tronne des musiciens, a été célébrée avec à la création, qui est la voix du Verbe. 26 THE CATHOLIC CHOIRMASTER

De tous les instruments de musique, un L'orgue rend donc les émotions de seul a pu répondre à toutes les exigences l'âme et les sentiments de la nature, il ex pour étre l'interprète de la musique religi cite à la prière, il la soutient, il la pro euse. C'est l'orgue, l'instrument par ex longe. cellence. Il faut saluer l'orgue comme Ecoutez la grande voix de vos orgues, le roi des instruments de musique, dont dit em terminant le prédicateur, qu'elle les échos montent vers Dieu. L'orgue fasse descendre dans vos âmes des pen est l'instrument par excellence, celui qui sées d'éternelle confraternitè. s'adapte le mieux à la liturgie. C'est Le programme suivant a été executé : pourquoi l'Eglise lui a toujours réservé la PROGRAMME place d'honneur. Entrée—Grand Choeur, op. 18.... Alex. Guilmant.

Acclamations ...... - - - - ...... Le Choeur Dès le deuxième siècle, elle en installe íícííííííonáüí daus ses temples. Tertullien, Saint-Au 1—Allegro Maestoso op. 28 L. Vierne (Extrait de la 3e Symphonie) gustin, Saint-Jérôme, ont célébré ses sons 2— A ndante (1ère Sonate) ...... F. Bowarski pleins de splendeur et de magnificence. 3—Scherzo...... ------* E. Bossi Pepin le Bref et Charlemagne en font ve 4—Final en Si BémoI...... W. Waistenholme s AI, UT SOLENNEI, mir de Constantinople et en font don aux Cor Jesu ...... Gounod monastères et aux cloitres de leur royaume. Ave Verum...... Lemmens Panis Angelicus arram ged by N. A. Montani Plus tard, les moines les perfectionnent; • • • • • • • • • • • ------C. Franck Tota pulchra es...... Perosi un invente la gamme, un autre le solfège, Ave Maria ...... Guilmant et les grands maitres de chapelle moder Tantum Ergo ...... Saint-Saëns nes viennent lui confier leurs émotions re- . Sortie—Final, Se Symphonie ...... C. M Widor M. L'abbe L. Bouhier. maitre de chapelle de ligieuses et lui demander un pain qu'um Notre-Dame dirigeait les Choeurs (plus de 400 voix) siècle pétri de matérialisme leur refusait. Exécution brillante, d'un e ffet puissant. PROGRAMMES From The Baltimore Sum, alternated with Gregoriam melodies.. Montani Offertory—Concupiscit...... Montani November 18, 1914. IRecessional—Oremus pro Pontifice...... Manzetti FEAST AT ST. MARY'S SEMINARY Vespers—Magnificat, two-part figured music, aiternated with Gregorian Cardinal and Bishop Shahan Take Part In psalmody of the eightb mode..... Ravanello Celebration. Benediction-(a) Ego Sum Panis...... Amadei (b) Ave Maria...... Perosi With Cardinal Gibbons presiding and (c) Tantum Ergo...... Manzetti Bishop Shaham, president of the Catholic The “ proper'' for mass and vespers was sung University, as celebrant, a pontifical mass according to the Gregoriam melodies of the breviary of St. Sulpice. was sung yesterday morning at St. Mary's The Credo sung on this occasion, was given its Seminary in honor of the patronal feast of first rendition. the institution. The entire student body and the faculty of the institution attended From The Baltimore Sum, the services, which were held in the December 25, 1914. seminary chapel. FEAST AT ST. MARY'S SEMINARY Very Rev. Edward R. Dyer, president of the seminary, was host to the visitors Cardinal Gibbons Will Pontificate Today At at dinner after mass. The seminary choir Cathedral. of 90 voiess, under the direction of Rev. Midnight masses were held in every Leo P. Mantzetti, gave the following section of the city last night in the Catho programme of music: lic churches, and there were great congre Processional—Ecce Sacerdos Magnus, gations present. There will be early Perosi—Manzetti m,asses this morning in all churches which E(yrie, Gloria, Sanctus, Agnus Dei—Holy Rosary Mass...... Botrazzo-Manzetti did not hold midnight mass. At the Credo—De Angelis, three-part figured music, Cathedral there will be a pontifical mass THE CATHOLIC CHOIRMASTER 27

at 11 o'clock, at which Cardinal Gibbons Responses by the sanctuary choir under the di will officiate. rection of Rev. G. A. Godreau. A feature of this service will be the Wespers were entirely Gregorian. BENEDICTION. singing, which will be on a larger scale O Salutaris...... O. Depuydt than ever before attempted. The Alma redemptoris...... Oscar Van Durme Cardinal is much interested in the Tantum ergo...... O. Depuydt programme, which will be under the direc tion of the Rev. Leo P. Manzetti of St. The following programme was rendered Mary’s Seminary. The following will be at St. Francis Xavier's Church, New the program of music: York, on the occasion of the celebration of the Patronal Feast, Sunday, December “Ecce Sacerdos Magnus,” two-part motet by 6th, under the direction of Rev. J. B. Perosi, choirmaster of the Sistine Chapel in Rome, arranged for four equal voices, by Leo P. Manzetti. Young, S.J., and Mr. Pietro A. Yon, “Tui Sunt Coeli,” offertory for four equal Organist. voices, by A. Wiltberger. Organ Prelude...... Second Sonata..... Rudnick “Oremus Pro Pontifice,” motet for four equal Ordinary of the Mass, Missa Hosanna Filio voices, by Leo P. Manzetti. David ...... ------P. A. Yon Pontifical Vespers: Proper of the Mass... For the feast of St " “Domine Ad Adjuvandum,” for four equal Francis Xavier ...... Gregorian Chant voices, by Manzetti. Offertory Interlude....Adagio...... P. A. Yon Alternate verses of the Psalmi in falsibordoni Organ Postlude...... Grand Choeur...... Bossi

for four equal voices, by Manzetti. VESPERS - Magnificat, two-part figured music, alternated Psalms and Antiphons ...... Gregorian Chant with chant, by O. Ravanello, Hymn ...... Kothe “O Sacrum Convivium,” four equal voices, by Alma Redemptoris Mater...... F. X. Witt Perosi. Motet “Jesu Dulcis”...... B. O. Klein “Adeste Fideles,” three equal voices by Gravier. O Sacrum Convivium...... Viadana “Tantum Ergo,” four equal voices, by Pales. Tantum Ergo...... F. X. Witt trina. The proper of the mass will be rendered by the Programme rendered on the occasion of whole community of the seminary, in unison with the Inauguration of the new three manual the choir, making a grand total of 300 voices. organ in the Church of The Immaculate Conception, Montreal, Canada.

Christmas Programme. ORGAN RECITAL. Suite Gothique...... Boellmann St. Jean Baptist's Church, Lynn, Mass. (Choral, Prière à Notre Dame, Toccata) Rev. J. B. Parent, Rector. Pastorale...... Padre Martini J. O. D. de Bondy, Organist and Choir Director. Carillon...... Westenholme

Interlude...... ------Callaerts Parochial Mass, 10.45 o'clock A. M. Meditation...... Hollins Prière au Dieu des Armées...... Alkan Vieux Noëls...... Dubois The Choir, under the direction of Rev J. P. Des. Organ Introit—“Puer natus est nobis''...Vatican edition jardins, S.J., rendered the following numbers: Cor Jesu...... 4 pt. chorus...... Stehle Kyrie-“Missa SS. Cordis Jesu”...... Bonvin Sanctus and Benedictus 4 pt. chorus (Mass Gloria— “ 4 - 4 - “ ...... 4 -

in A.)...... ------Rheinberger Graduale—“Widerunt omnes''..... Vatican edition Ave Maria...... ------Grison Alleluia...... -- * - Tantum Ergo...... Stehle Credo—“Missa SS. Cordi Jesu”...... Bonvin Laudate...... Faux Bourdon.... Perruchot Offertorium:—“Tui sunt coeli’’...... Sanctus:– “Missa SS. Cordi Jesu”......

Benedictus:– “ - - 4 : -- The Choir of the Church of Notre Agnus Dei:– “ - - - - “ ...... - - Communio:—“Widerunt omnes’’...Vatican edition Dame, Montreal, Canada composed of 60 “Les Anges dans nos campagnes’’...... Gagnon boys and 30 men rendered the following 2S THE CATHOLIC CHOIRMASTER

Filke programme Christmas day. The Choir Ecce Sacerdos...... ------Chant Vatican Ed. master is Rev. Louis J. Bouhier, S.S. Proper of the Mass...Gregorian Ordinary of the Mass, Missa “Benedicamus FOR THE ORDINA iry or the MASS Domino” ...... Perosi Kyrie.... Liturgically arranged....Cesar Franck Offertory Motet...... Adeste Fideles Gloria...... Pilot FOR BENEDICTION OF THE MOST BLESSED Credo...... ------St. Saens SACRAMENT Sanctus and Benedictus...... L. Wierne Ave Verum ...... Mozart Agnus Dei...... Cesar Franck Tantum Ergo ...... , Palestrina For the Proper of the Mass the Gregor Laudate ...... Gregorian ian Chant according to the Vatican Edi rendered. tion was Programme rendered by the Choir of the The Choir of the Church of St. John Church of St. John the Evangelist, Phil of com adelphia, Pa., under the direction the Evangelist, Philadelphia, Pa., Nicola A. Montani. posed of 30 boys and 20 men under the in the direction of Nicola A. Montani, gave the The Sacred Concert was given Church and repeated at the Catholic Girls’ following programme last Christmas day. High School before an audience of 500 Organ Prelude... Noel. . .(Salute)... Adolfo Bossi sisters, music teachers, and organists. Processional...Holy Night, Silent Night... Gruber The programme contained an introduc Proper of the Mass...... Gregorian Chant tory reference to the history of Gregorian ------Vatican Edition Ordinary of the Mass, Messe Brève, Written Chant, and an explanatory account of the in accordance with the recommen polyphonic composition rendered. dations of the Motu Proprio, and ded icated to the Choir of the Cathedral PROGRAMME of ...... Theodore Dubois Rheims...... Processional—Hark! Hark! My Soul! verses Credo (New) De Angelis, Alternate ------Faber-Montani for 4 Part Male chorus...... Montani Offertory Motet...... A deste Fideles PA RT I. Gregorian Chant...... From the Vatican Edition ------arr. by N. A. Montani Communion Motet....Tollite Hostias... St. Saens of the Graduale Organ Postlude ...... Impromptu 1—Introit—Puer Natus est nobis

------Rev. Virgil Génévrier 2–Kyrie From the Mass of the Blessed Virgin (Cum FOR BENEDICTION OF THE MOST BLESSED sACRAMENT jubilo), 12th century melody. Ave Verum...3 part chorus.... Martin G. Dumler 3–Sanctus and Benedictus—(Fifth Mode) Tantum Ergo, ..... (Mss).....4 part chorus Mass of the Blessed Virgin, 14th century ...... Itev. Virgil Génévrier melody. - . . - - - - Adoremus and Laudate...... Gregorian Chant 4—Communion—(Sixth Mode) Pascha nostrum from the proper of the The above programme was repeated on Mass Easter Sunday. the occasion of the celebration of the 5–Ave Verum Corpus—(Sixth Mode) Ancient Melody - - patronal feast of the Church, Sunday dur ------ing the octave of Christmas, with the ad PART II. dition of “Ecce Sacerdos” by Edward Polyphonic CoMPositions—SixtEENTH CENTURY Elgar and the proper for that day. 1—Jesu Dulcis Memoria....T. L. Da Vittoria (1540-1608) Musical programme rendered at the For four part chorus, unaccompanied. Bone Jesu . . . G. P. da Palestrina (1526-1593) Church of Our Mother of Sorrows, Phila 2—O Motet for four part chorus. delphia, Christmas, at the 5 o'clock and 3–O Sacrum Convivium ...... G. P. da Palestrina 10.30 a. m. Solemn Pontifical Masses Four part chorus. - by the choir of 40 boys and 20 men un 4–Sanctus from the “Missa Sine Nomine” G. P. da Palestrina der the direction of Rev. James A. Boy ------lan. Alph. Heuermann, Organist. Four part chorus. THE CATHOLIC CHOIRMASTER 29

PART III. 2. Ave Maria...... * ------Arcadelt 1—Ave Maria...... J. Arcadelt (1514-1560) (a capella). For four part chorus with organ. Angelus Domini...... Gruber 2—Ave Verum...... W. A. Mozart (1756-1791) Master Ralph Woepke, Soloist. Four part chorus and organ. 4. Ave Verum...... Gounod PArt IV. (a capella.) MoDERN LITURGICAL COMPositions. 5. Thine are the Heavens..... ------Filke 1—Pater Noster...... P. I. Tschaikowsky PART second. For four part chorus unaccompanied. 1. Mane nobiscum...... Podbertsky 2—Sanctus—from the Missa Pontificalis 2. a). Salve Regina...... Full Choir

------Don Lorenzo Perosi b). Vidi Aquam, a specimen of “melis 3–Agnus Dei–from the Missa Festiva matic’’ chant...... By Boy Choristers

------Nicola A. Montani c). Absolve Domine..... By Men Choristers Offertory Motet–Christus Vincit, Alex. Guilmant 3. Ave Maria, over a Gregorian Theme.... HYMNS FOR BENEDICTION. Guilmant...... Mr. Jos. Reis, Soloist. O Salutaris Hostia, chorus of men....C. St Saens 4. O Salutaris...... Beltjens Panis Angelicus—five part chorus...Cesar Franck Six part Polyphony of the Holland school. Tantum Ergo—five part chorus.... N. A. Montani 5. O Salutary Host..... ------Mercanti Adoremus and Laudate...... Gregorian Chant Duet: Mr. B. Niewoehner and Master Recessional—Glory to Thee, My God...Ch. Gounod O. Thomas. 6. O Crux Ave (a capella)...... Nekes Sacred Concert given under the au PART Third. spices of the St. Cecilia Choir at St Francis 1. Ave Maria...... ------Dietrich Church, by St. Anthony’s Choristers of Master R. Hinters, Soloist. 2. Stabat Mater...... Rheinberger St. Anthony’s Church, St. Louis, Mo., un 3. Passion Litany ...... Richardson der the direction of Prof. Al. Rhode, Or 4. Terra Tremuit...... Gruber ganist and Choirmaster. 5. Cor Dulce ...... Dietrich PArt First. Master E. Liermann, Soloist. 1. Ecce Sacerdos Magnus...... Elgar 6. Reges Tharsis...... Fiſke

R E V I E W S .

HYMNALs. type of Hymnal are the books by the The Oregon Catholic Hymnal. Edited Rev. Father J. B. Young, S. J., of St. by Frederick W. Goodrich Organist and Francis Xavier's Church, New York, Director of the Cathedral Church of the whose “Roman Hymnal” is still a model Immaculate Conception, Portland, Ore in many respects, and the “Catholic Hym gon. Published by the Catholic Book nal” compiled by Rev. Alfred Young, and Church Supply Co., 491 Washington C.S.P. St., Portland, Oregon. J. Fischer & Bro., That the cheap and tawdry musical ... to 11 Bible House, New York. style so often found in many of the old Probably the most encouraging feature hymnals is gradually becoming obsolete, ºf the Church music reform movement is a matter of ariistic satisfaction, for it ºn this country is the great improvement means that the Convents and Academies !” the general character of the Hymnals under whose auspices many of these ºned since the “Motu Proprio” was hymnals were published, are no longer Prºmulgated. willing to be responsible for the dissemi ty 9 appreciate the difference in the nation of a type of music unworthy of "P" of hymnals published in the early rendition in the church and school. *...* and those issued recently, one need Fewer and fewer hymns are being pub !. Put them side by side and examine lished with elaborate cadenzas in true * Contents carefully. operatic style, with a sad minor strain in Wo notable exceptions to this early the middle of the piece, and with an 30 THE CATHOLIC CHOIRMASTER accompaniment which would well serve year are included. There are also three for dancing purposes. Gregorian Masses, the “Missa de Ange The contents of the Oregon Catholic lis,” the beautiful Mass of the Blessed Hymnal presents abundant evidence of Virgin Mary, (cum jubilo) the Requiem this changed attitude. Mass; two Credos; the well known de An Here we have a collection of 131 gelis melody, and the first one given in the hymns, and all without exception are of Graduale, fourth mode, (incorrectly given a devotional type and are taken from as the sixth mode here.) sources concerning which there can be no The Responses, the Psalm tones; the question. Mr. Frederick Goodrich who Vespers for the feast of the Blessed compiled the book for use particularly Virgin; the Anthems for Compline; in the Oregon Diocese, deserves much many motets in modern liturgical style credit for the good judgment shown in complete a section that reflects the highest utilizing the beautiful traditional melo credit on the artistic judgment of the dies which, while known and sung by all editors and publishers alike. The book our German congregations, are only too remains open without undue strain upon little used in the church generally. A the binding, which is a point that should number of old English and French tra commend itself strongly to those who ditional tunes are included and there are have had the experience with volumes quite a number of fine melodies by con that need to be held open by mechanical temporary composers. Mr. Goodrich devices, to the discomfort of both player himself has contributed five very good and singer. original hymns which should become widely known, and there are two new melodies from the pen of Mr. d’Evry the well known organist of the Brompton The Choir Manual—a very practical Oratory (London). book of Hymns, Chants, etc., published by J. Fischer & Bro., for the use of Cathedral and Parish (Juvenile or Adult) The American Catholic Hymnal. A Choirs. Compiled by G. Burton. Con Collection of Hymns, Latin Chants, and tains the various chants required during Sacred Songs for For Church, School and the Ecclesiastical year; a Unison Mass in home, witten and compiled especially for modern liturgical style, the Psalm tones the Catholic Youth of the United States arranged so that the Vespers for the by the Marist Brothers. Published by principal feasts of the year can be easily P. J. Kennedy & Sons, 44 Barclay St., rendered: the Requiem Mass; the office New York. of Compline; Litanies; Holy week office, “The American Catholic Hymnal’’ in fact every thing that is required by a published also recently, is probably the choir for rendition throughout the year. most complete collection of Hymns issued The book is issued in convenient form for use in the Catholic Church. There and should prove a most valuable addition are 442 hymns, motets, chants, etc., in to the repertory of choirs who are follow this volume which presents an elegant ing the precepts of the Motu Proprio. In appearance, being well bound and in addition the Latin hymns there is a sec larger form than usual. tion devoted to English hymns which are While the section devoted to English devotional and of a type worthy of the hymns is complete in every respect, the highest commendation. melodies being taken in many in stances from traditional sources, it is the Latin section that is deserving of the Liturgical Church Music:—A col highest encomium. All the Chants and lection of pieces, arrangements, harmo Hymns required during the Liturgical nizations and original compositions by THE CATHOLIC CHOIRMASTER 31

Rev. Leo P. Manzetti, (B. Herder, 17 has been entirely ignored by those who South Broadway, St. Louis, Mo.) have written accompaniments. Singers Father Manzetti, one of the pioneers in are ofttimes compelled to hurry through the field of Church Music Reform in this phrase after phrase with such little atten country, has contributed much to the cause tion given to breathing that the effect is that is of practical value. His harmoni inartistic to say the least. In following zation of the Kyriale was one of the first the accompaniment as here indicated there to be published according to the accepted should be no suggestion of this hurried interpretation of rhythm. Among the breath taking and it is well that this im pieces to be found in this new edition of portant vocal point is given the considera Liturgical Music is a collection of harmon tion it deserves. It is safe then to say izations of the Chant hymns for Benedic that the whole question of Chant accom tion of the Most Blessed Sacrament, ac paniment is much nearer a satisfactory cording to the Vatican Edition. solution if it develops logically along the It is interesting, to those who have ob lines suggested by the author in this set served the development of the subject of of accompaniments. Chant accompaniment, to note the differ Two original compositions by Rev. Man ence between the earlier form of accom zetti form a part of this new series of paniment used by Father Manzetti and the Catholic Church Music: ‘‘CHRISTUs FAC style adopted in this set of Hymns. In TI's Est,” for four part chorus of male the Kyriale we find a strict adherence to voices, and an ‘‘OREMUs Pro PONTIFICE, '' the rules adopted by most composers in also for four part chorus of men's voices, their accompaniment a few years ago, that with organ accompaniment. the change of chord or a harmonic pro In the “CHRISTUS FACTUS EST’’ there gression should occur on the ictus, and the is displayed not only an appreciation accompaniments of that period are gen of the particular timbre of the male voices, erally of a heavy and rather ponderous but the work reflects the sound musician type, for the tendency was to make too ship of the author in his treatment of the many harmonic changes, thus retarding in thematic material. This music is simple, a measure, the freedom and flow of the devotional, and admirably adapted to the Chant itself. text. - In this collection is noted a gracious The “OREMUS PRO PONTIFICE is a freedom in the accompaniment which brilliant and effective composition. The promises well for the eventual solution of composer has exercised good judgment the much discussed question. The use of in the use of contrasted rhythms for the imitative form is to be commended for it is varied sections and he succeeds in giving after all, a reversion to first principles new colors to his harmonic scheme, while and is based upon sound artistic judg always adhering closely to the polyphonic Inent. style so earnestly recommended in the Best of all, one does not find Father “Motu Proprio” as the type best suited Manzetti an advocate of the plan of the for modern liturgical compositions.— ultra modernists who wish now to place Nicola A. Montami. Chant in the same category as the Modern Symphonic Tone Poem and do not see the utter incongruity of a chromatic accom Hymns for Benediction of the Most B. paniment grafted on a diatonic melody. Sacrament—Harmonization of Vatican The author has kept also in mind ques edition, Price .50 (B. Herder, 17 S. tions of artistic phrasing and proper vocal Broadway, St. Louis, Mo.) production for he allows the singers suffi Of the above publication of Rev. Leo. cient time in which to breathe at the end P. Manzetti, the following criticism ap of the phrases and sections. Generally peared in the Musica Sacra of Milan, No. this very important phase of the question 10, Nov. 1914. 32 THE CATHOLIC CHOIRMASTER

“It is the best collection that can be Guillaume Couture. found of the Gregorian Melodies, intended for congregational singing; it includes MoNTREAL, Jan. 25.-The passing of Guillaume Couture removes one of the such hymns as: O Salutaris, Ave Verum, oldest musical pioneers in the Dominion. Panis Angelicus, Ecce Panis, Adoro Te, In the days when Mme. Albani was ac Tantum Ergo, etc. The chant is translat counted the leading soprano in oratorio ed into modern notation, with an accom in the world, she said: “There is no paniment of a melodically imitative form, greater conductor of choral music than as light and graceful as a delicate em. M. Couture”; and his fame extended be broidery, which does not hinder the yond the bounds of Montreal, where the rhythmical movement of the melody at greater part of his public life was spent, all, but rather concurs in making it stand to the larger cities of the United States, and even to Paris. out prominently. It is to be desired that M. Couture was born in Montreal on these hymns might be adopted especially October 23, 1851. At the age of thirteen in religious communities, instead of others he was choirmaster in St. Bridget’s of private composition, often too heavy Church, subsequently going to Paris, and not always liturgically and musically where he studied under César Franck, correct.” who eventually became one of his closest friends, together with Colonne, d'Indy and Messager. When only twenty-one Mass in honor of St. Barbara, for years of age, M. Couture was choirmaster choir of mixed voices with at the famous Church of St. Clotilde in OT98.In , ...... Price .80 Paris, but left to return to Montreal, Terra Tremuit, for S. A. T. B., with where he founded the Philharmonic So Organ, ...... Price .15 ciety, an English chorus which would Tui Sunt Coeli, for S. A. T. B., with doubtless have equalled the Mendelsshon Organ, ...... Price .15 Choir of Toronto, had it survived the Laetentur Coeli, for S. A. T. B., financial embarrassment under which it with organ, ...... Price .15; was finally placed. M. Couture was also the first conductor by René Becker, (Fischer & Bro., Bible of the Montreal Symphony Orchestra, House, New York, N. Y.) choirmaster in the Roman Catholic Ca . These four church music compositions thedral and taught extensively. Those of René Becker will be welcomed by the who studied under him speak now with average choir of fair ability. They are particular veneration of his kindness to not exactly difficult, although “heavy” them and of his culture. The Montreal here and there. They correspond to the Operatic Club was another organization rules of the Motu Proprio for the style is which owed its life to him ; and there Cecilian all the way through, with, how was, in fact, scarcely any movement of ever, a light touch of modernity that does importance in which he was not a dom not mar them in the least. If we are not inant figure. He was made an Officer de l’Instruction Publique, of Paris, being mistaken, René Becker was a pupil of the first Canadian to receive a musical Rheinberger, the great Austrian Choir honor of this kind; taught in the public master of the Royal Chapel in Vienna, but schools of Montreal, and had his com little of the latter's style of music can be positions performed by Colonne. detected in the above compositions. We Of late years failing health confined M. do not consider it a defect, quite the con Couture to his house, to which many went trary, for it has always been an open to pay him homage. His funeral was question with us whether or not Rhein attended by practically every musician berger's so-called church music can be of prominence in the city, and by many held as real liturgical music. In fact the others prominent in the public life of the city. A mass of his own was sung, Master never did care to accept as ideal and it is understood that his latest and church music the style of music patronized most ambitious work, an oratorio, “John by the Cecilien Verein of Germany.— the Baptist,” is in the hands of a Leo P. Manzetti. Parasian publishing house.—A lingsor. THE CATHOLIC CHOIRMASTER 33

NOTICE! It may be well to make clear the attitude of the So A šultufur the ſupe ciety with regard to advertising matters, pro grammes of music rendered in liturgical functions, arranged by concerts, organ recitals and the like.—The Society J. LEWIS BROWNE of Saint Gregory cannot stand sponsor for all the music advertised and mentioned in programmes This rousing secular “SONG FOR THE published in its “Bulletin.”—While we rely upon our patrons to offer for advertisement only such POPE" for a solo voice with chorus, was written music as they believe to be in conformity with the by the late Dr. Murray, sometime Professor of The rules of the “Motu Proprio,” we cannot engage the ology in Maynooth College, its melody being sug good offices of the Society for recommending music which has not been submitted to our Committee for gested by the Rev. T. J. O'Reilly. It has been examination and approval. Moreover it would be a favorite college song with the clergy of Ireland quite impossible for the Committee to pronounce for many years, due in large measure to the effective upon all the music issued by publishing houses. presentation of the composition by Ven. Archdea No publicity will be given however either in ad con Mark A. Canon Fricker, of Rathmines. vertisements or programmes to any music compo sition which is judged to be out of harmony with As a song for school, college or concert use, or approved ideals. The “Bulletin” publishes a list, for any occasion where enthusiasm is the object, it necessarily quite limited, of music approved by its would be difficult to mention a number more in Committee. It can be easily ascertained if the mu sic mentioned in advertisements and programmes spiling than “A SONG FOR THE POPE.” appears on the approved list. Price 20 cents the copy. (Liberal The task of the Committee is often a delicate one. discount on quantity orders for choruses.) While very many compositions of sacred music clearly accord with the principles laid down in the PUBLISHED BY “Motu Proprio” and others clearly do not, there are still others about which even those whose judgment must be respected will differ in appreci THE GILBERT MUSIG (0. ation. The Committee would gladly have attention 59 E. Van Buren Street called to any questionable musical composition mentioned in the advertisements and programmes Chicago, Illinois published in the Society’s “Bulletin.” Its great purpose is to aid effectually in the selection of Church Music of an unquestionable religious char acter. New Publications Approved Church Music — IN– RECENT ISSUES of “Fischer Edition” The Gilbert Music Company. BECKER, RENé L.

- Price Mass in honor of St. Barbara; for chor The Divine Praises (Blessed be God)(S.A.T.B.) J. Lewis Browne...... 1 us of mixed voices with organ...... 80 Ave Maris Stella (S.A.T.B.) Richard Farrant .10 MULLER, JOSEPH Ave Maria (S.A.T.B.) Fr. Ignatius Wilkens, Mass in honor of St. Benedict; for O. F. M...... 15 Glorious Patron (Hymn to St. John Baptist chorus of mixed voices with organ... .80 de la Salle) J. Lewis Browne...... 10 The same arranged for male voices ...... 80 Missa Solemnis (S.A.T.B.) J. Lewis Browne .75 Tantum Ergo (S.A.T.B.) (Harmonized by) Charles Burney...... 10 FOR EASTER SUNDAY on “Alla Trinita” (15th Century Melody) Magnificat (8th Tone) (S.A.T.B.) Michael Terra Tremuit, S. A. T. B., René L. Becker. . . .15 Haydn ...... 20 Terra Tremuit, S. A. T. B., J. C. Ungerer... . 12 Salve Mater (Solesmes Version) (Harmonized Terra Tremuit, T. T. B. B., Fr. Nekes...... 06 by) J. Lewis Browne ...... ------. .12 Festival Chorus (S.S.S. A.T.T. B.B.) Her. Regina Coeli....T. T. B. .... O. Ravanello.... .10 bert J. Wrightson ...... - Proper of the Mass with organ accompani. Wedding Hymns, J. Lewis Browne...... 15 We do not Presume, T. Guy Lucas...... 10 ment by Ignace Muller ...... net .50 (Usual discounts on quantity orders) “Fischer Edition’’ publications sent on approval SEND FOR LIST OF NEW SONGS AND PIANO PIECES. ALL OF THE ABOVE TO BE HAD OF YOUR DEALER to responsible parties. or, The Gilbert Music Co. J. FISCHER & BRO., New York. 59 E. Van Buren St., CH1CAGO 7, 8, 10 & 11, Bible House, (Astor Place.) 34 THE CATHOLIC CHOIRMASTER

Recommended Liturgical Music for Lent, Holy Week and Eastertide (Lamentations, Responsories, Motets, Etc.) Addresses of Publishers Will be Fonnd at the End of the List LENT AND HOLY WEEK MUSIC

TITLE COMPOSER VOICES PUBLISHER Adoramus te Christe Palestrina B McLaughlin & Reilly 4 + 1 - - 4 Orlando di Lasso * G. Schirmer Magri A. Bertarelli & Co. * - -- -- Martini

4 & - - 44 Casciolini Holy Thursday Christus Factus Est Leo P. Manzetti i º B. Herder Casciolini A. Bertarelli & Co. * * -- -- i Novello Amerio - F. Witt, Op. 5, No. 2, . B. F. Pustet Good Friday Caliga verunt Oculi Mei L. Bottazzo, Op. 1 # ; ". . B. M. Capra Choruses from the Passion C. Ett J. Fischer & Bro. Holy Thursday Dextera Domini G. Terrabugio . O A. Bertarelli & Co.

4 + -- O. Ravanello . M. Capra Good Friday Ecce Lignum Crucis Mattoni A. Bertarelli & Co. Holy Thursday Ecce Vidimus L. Viadana F. Pustet -- -- Fr. Nekes * * - - Good Friday Ego Wir Palestrina * * 4 - F. Witt -- -- Eram Quasi Wittoria - - - - Palestrina * - - i. Holy Saturday Ecce Quomodo J. Handl * - - * 4 - - - L. Perosi Melodie Sacre, Resp n Sor l e t c A. Bertarelli & Co. M. Haydn A T. G. Schirmer Holy Thursday Et Egressus Palestrina A F. Pustet

* - 4 - . Piel T Good Friday Eripe Me . Witt, A Exaltabo Te Witt Palm Sunday Gloria Laus et Honor . Ravanello B M. Capra Easter Haec Dies . Ett G. Schirmer . Biederman i J. Fischer & Bro. . Ravanello : i M. Capra Secund Anthologia n . Dress J. Fischer & Bro. . Ett B. B A. Bertarelli & Co. . Haller F. Pustet Palm Sunday Hosanna . Ravanello M. Capra . Haller T F. Pustet Improperium ... Witt * - . Ravanello M. Capra

- * Alois Partschmid Boston Music Co. i A. Bertarelli & Co. 4 - G. Terrabugio Holy Thursday In Monte Oliveti M. Haydn G. Schirmer

* - 4 + * - L. Perosi A. Bertarelli & Co. i. d e Martini A. Lotti F. Pustet G. Croce f . B. -- * - THE CATHOLIC CHOIRMASTER 35

TITLE COMPOSER VOICES PUBLISHER In Monte Oliveti G. Croce T. T. B. B M. Capra Palm Sunday Ingrediente (and Hos.) Rev. I. Wilkens S. A. T. McLaughlin & Reilly Jerusalem L. Perosi A. T. B. A. Bertarelli & Co. Melodie Sacre

Good Friday Jesum Tradidit L. Perosi A. T. B. - - 4 - Melodie Sacre - 4 - - Wittoria T. T. B. B. F. Pustet

Wittoria S. A. T. B. -- --

Holy Saturday Jerusalem Surge L. Viadana S. A. T. B. * * - 4 3rd Sun. in Lent Justitiae Domine Alois Bartschmid S. A. T. B. Boston Music Co. Holy Thursday Judas Mercator Wittoria S. A. T. B. F. Pustet L. Perosi A. T. B. A. Bertarelli & Co. Melodie Sacre Lamentations (Three) J. G. Stehle Male Voices J. Fischer & Bro. '' (Collections) F. Witt 4 and 5 Voices F. Pustet Palestrina S. A. T. B. wº 4 +

* * P. Piel, Op. 96 T. T. B. B. * - - - Nanino T. T. B. B. A. Bertarelli & Co. 4 + (Five) 4th Sun. in Lent Laudate F. Witt S. A. T. B. F. Pustet R. Casimiri A. T. B. M. Capra C. Ett T. T. B. B. F. Pustet Mass for Holy Saturday Mattoni T. T. B. A. Bertarelli & Co. Holy Thursday Manum Suam (Lament.) Palestrina S. A. T. B. F. Pustet

F. Witt A. T. T. B. -- -- Good Friday Matribus Suis Palestrina S. A. T. B. F Pustet H. Bohlen (Collection) T.T. B. B. Larsen (Aachen 2nd Sun. in Lent Meditabor Alois Bartschmidt 5pt. Cho. Boston Music Co. - - J. Gruber S. A. T. B. J. Fischer & Bro.

- Miserere O. Ravanello T. T. B. A. Bertarelli Allegri S. A. T. B. G. Schirmer Palestrina T. T. B. B. A. Bertarelli

Casciolini S. A. T. B -- - -

Bottazzo T. T. B. - . --

Gruber S. A. T. B. -- 4 * *

Lotti A. T. B. B. - i. 4 i.

G. Bas A. T. B. B. M. Capra

Magri S. A. (or T. B.) “ - 4

Bottazzo S. A (or T. B.) “ - -

P. A matucci A. T. T. B. 4 : 4. G. Terrabugio T. T. B. A. Bertarelli C. Ett S. A. T. B. F. Pustet A. Dress T. T. B. B. J. Fischer & Bro. Offertories for the Biedermann S. A. T. B. J. Fischer & Bro. Sundays in Lent J. Gruber S. A. T. B. J. Fischer & Bro.

Griesbacher ------F. Pustet Good Friday Omnes Amici Mei M. Haydn S. A. T. B. G. Schirmer 4 - 4 - - - L. Perosi A. T. B. (Mel. Sacre) Bertarelli - 4 - . 4 4 La Viadana S. A. T. B. Pustet -- -- 4 & Palestrina T. T. B. B. (Kothe Mus. Sac.) -- - 4 * - Mitterer (Op. 12) S. A. T. B. Pustet O Crux Ave & Crucem Tuam Casimiri A. T. T. B. A. Bertarelli O Wos Omnes L. Perosi A. T. B. Mel. Sac Bertarelli Holy Saturday Vittoria S. A. T. B. Pustet Passion Motets (12) M. Haydn S. A. T. B. G. Schirmer Palm Sunday Passion, Music Wittoria S. A. T. B. McLaughlin & Reilly

Good Friday “ Responses(Turba) -- S. A. T. B. Novello 36 THE CATHOLIC CHOIRMASTER

TITLE COMPOSER VOICES PUBLISHER Good Friday Passion Music Byrd S. T. B. Novello 4 4 -- R. Terry Unison or S.A.T.B. McLaughlin & Reilly -- -- R. Casimiri (Op. 9) S.A. (or T. B.) M. Capra . . - 44 4 * * J. B. Molitor S. A. T. B. Krull (Fischer Palm Sunday 4 - 4 - 4 - 4 - * * -- - * * * -4 4 4 ------R. Casimiri (Op. 9, No. 1) S. A. (or '1'. B.) M. Capra Holy Saturday Plange (responsory) L. Viadana S. A. T. B. Pustet

J. Strubel T. T. B. B. * *

Good Friday Popule Meus Palestrina S.A. T. B. - - - i. - i. Wittoria S. A. T. B. J. Fischer & Bro.

* - - i. 4 * A.T. B. B. (Schmidt, Cantuar) J. Fischer & Bro. -- -- Palestrina T. T. B. B. Leuchardt (J. Fischer) - - - . Bernabei S. A. T. B. Pustet -- - - Richardson S. A. T. B. McLaughlin & Reilly 4 - -- Palestrina Double Chorus (Difficult) G. Schirmer Palm Sunday Pueri Hebraeorum Ravanello S. A. or T. B. M. Capra -- - - A. Lammel S. A. B. J. Fischer & Bro. - - 4 - Palestrina T. T. B. B.(Schwan) “ “ “ Easter Pascha Nostrum (Comm) Fr. Nekes S. A. or T. B. J. Singenberger Sexagesima Perfice Gressus(Offer) C. Ett S. A. T. T. B. (Kothel J. Fischer F. Witt A. B. Pustet

Holy Saturday Quomodo (Lament) Palestrina S. A. T. B. * - H. Bohlen T. T. B. B. Larsen (Aachen) Responsories for Holy Week L. Perosi A. T. B. Melodie Sacre (Capra)

-- Viadana S. A. T. B. Pustet

- - Strubel T. T. B. B. Pustet

- 4 Wittoria S. A. T. B. Pustet Recessit Pastor M. Haydn S. A. T. B. G. Schirmer Easter Regina Coeli A. Lotti S. A. T. B. J. Fischer 4 - -- arr N. A. Montani S. A. T. B. or unison G. Schirmer O. Ravanello T. B. J. Fischer Aichinger A. T. B. Pustet M. Haller A. l’ustet A. Wiltberger S. Pustet E. Tinel T. B. B. J. Singenberger Holy Saturday Sicut Cervus H. B. Gaul T. B. Boston Music Co. Ch. Gounod T. B. G. Schirmer * * -- Palestrina A. B. Breitkopf & Hartel Tanquam ad Latrones M. Haydn A. T. B. G. Schirmer

Tenebrae Factae Sunt M. Haydn A. [3. -- --

- i. 4 - 4 + (No. 2) “ -- A. T. B. -- --

Good Friday - - - 4 T. B. Kothe Fischer Casciolini A. B. Schwann Wittoria T. B. Pustet Palestrina S. A. G. Schirmer * * A. T. B. Boston Music Co. * - -- -- 17th Century Melody A. B. Boston Music Co. Holy Thursday Tristis est Anima Mea M. Haydn A. B. G. Schirmer 4 + 44 4 - - 4 G. Martini . T. A. Bertarelli -- 4 - -- 4 - Palestrina A. T. B. * - -- * - Terra Tremuit O. Ravanello A. or T. B. M. Capra Easter Terra Tremuit Alois Bartschmid A. B. Boston Music Co. (offertory) - - -- J. J. O'Connor A. B. G. Schirmer G. Stehle A. B. J. Fischer M. Filke A. B. "Pustet L. Bottazzo A. T. B. A. Bertarelli THE CATHOLIC (XHOIRMASTER :37

TITLE COMPUSER voices PUBLISHERS Easter Terra Tremuit Casimiri S. A. T. B. A. Bertarelli

- - º “ F. Witt T. T. B. B. Pustet

- i. -- A. Dress T. B. J. Fischer & Bro. Holy Thursday Una Hora Non Potuistis M. Haydn S. A. T. B. G. Schirmer

* * * * i. ſ. i º Ferrari S. A. T. B. Pustet

Unus ex Oiscipulis M. Haydn S. A. T. B. G. Schirmer

* : * * * * G. Croce S. A. T. B. Pustet Good Friday Velum Templi Scissum est M. Haydn S. A. T. B. G. Schirmer Holy Saturday Vespere Autem Sabbati O. Ravanello S. A. or T. B. M. Capra

-- - 4 4 - J. Handl S. A. T. B. Pustet Easter Sequence Wictimae Paschali Laudes L. Bottazzo S. A. or T. B. G. Schirmer

* - -- H. J. Stewart S. A. T. B. Boston Music Co.

- c. -- G. E. Stehle S. A. T. B. Pustet Widi Aquam E. J. Biedermann T. T. B. B. J. Fischer & Bro.

4 : * - J. Gruber S. A. T. B. ad lib, ‘‘ ‘‘ . .

* . - - F. X. Witt S. A. T. B. * : * * * . Vexilla Regis I. Mitterer S. S. A. A. Bertarelli

-- 4 * G. Bas S. S. A. - . 4 &

MUSIC ABOVE LISTED CAN BE OBTAINED FROM THE PUBLISHERS

DIRECT OR THROUGH LOCAL DEA LERS Breitkopf & Härtel, 22-24 w. 38th Street, New York, N. Y. Boston Music Company, 26–28 West Street, Boston, Mass. A. Bertarelli & Company, Via Archimede, Milan, Italy. Brietkopf & Härtel, N. Y. Agents.

M. Capra, Turin, Italy, Via Nizza 149. 4 * - - - - 4 * * * * * J. Fischer & Bro., 7-11 Bible House, New York, N. Y. B. Herder, 17 S. Broadway Street, St. Louis, Mo. McLaughlin & Reilly, 100 Boylston Street, Boston, Mass. Novello, London, The H. W. Gray Co., No. 2 W. 45th St., New York, N. Y. F. Pustet, 52 Barclay Street, New York, N. Y. G. Schirmer, Inc., 3 E. 43rd Street, New York, N. Y. Prof. John Singenberger, St. Francis, Wis. Schwann-Dusseldorf. J. Fischer & Bro., New York Agents. Cary & Co., London, McLaughlin & Reilly, 100 Boylston St., Boston, Mass. Agents. Other German Firms can be reached through F. Pustet or J. Fischer & Bro.

CARL BARCKHOFF The True Story Series - BUILI) ER OF For supplementary reading in Catholic Schools and CHURCH ORGANS for general distribution. Su QYer 3000 Barckhoff organs in use which testify to their "THE ORGAN 1st of THE SEM IN A RY'' *Fiºrity and Durability in Construction, Workmanship, “THE VOICE FROM THE SLUMS''

and Sweetne of T. - - - or further Information, Estimates, References, Etc. $5.00 per hundred. Other stories in preparation. Sam Address, ple copies Sent on request. CARL BARCKHOFF, St. Mary's Industrial School,

BASIC CITY, VIRGINIA. * Baltimore. Mid. 3S THE CATHOLIC CHOIRMASTER

ApproVEl Lillºgical MāSSES

For Unison Chorus Missa “Orbis Factor,” by Nicola A. Montani Price 50 cents net Missa de Beata Maria Virgine, by Mon signor Newsham Price 50 cents net For Two-Part Chorus SOPRANO and ALTO or TENOR and BASS Missa Tertia, by M. Haller Price 30 cents net Mass in A, by Joseph Rheinberger Price 60 cents net

Missa “Orbis Factor,” by Nicola A. ST. PAUL’S, - Baltimore Montani Price 50 cents net Mass in G, by Guglielmo Lardelli Price 25 cents net Missa de Beata Maria Virgine, by Mon Estey Pipe Organ signor Newsham Price 50 cents net For Three-Part Chorus The selection of an organ is SOPRANO, TENOR and BASS different from the selection of Mass in G. In honor of Blessed Jean d'Arc, by P. A. Yon Price 75 cents net any other article and it is here SOPRANO, ALTO and TENOR (OR BASS) that the experience and probi Mass in A, by Joseph Rheinberger, Op. 126 Price 60 cents net ty of the builder should have Missa Beata Maria Virgine, by Monsig nor Newsham Price 50 cents net the utmost consideration. For Four=Part Chorus It is with pardonable pride SOPRANO, ALTO, TENOR and BASS that attention is directed to Missa Solemnis “Te Deum laudamus,” by Nicola A Montani Price 60 cts. net the reputation of this house, Mass in A, by Joseph H. Rheinberger Price 60 cents net both for fairness of dealing Mass in A, by F. X. Schmid Price 50 cents net and responsibility, as well as For Male Choirs more than sixty-five years of TENORS and BASSES Mass of the Immaculate Conception, No. experience in the manufacture 8 (in C) by Abel L. Gabert Price 50 cents net of organs. Liberal Discounts on Quantities Estimates and specifications Any of the above may be had for examination furnished on request. PUBLISHED BY G. Schirmer, (Inc.) Estey Organ Co. 3 EAST 43RD STREET New York Brattleboro, Vt. | | | THE CATHOLIC CHOIRMASTER :34) (Ullr American Catholic 1ſignitial According to the Motu Proprio of HIS HOLINESS POPE PIUS X. Written, Arranged and Compiled Especially for THE CATHOLIC YOUTH OF THE UNITED STATES Approved by the New York Diocesan Church Music Commission COMPLETE–HARMONIOUS—CORRECT Containing 232 Hymns, 84 Sacred Songs, 60 Motets for Benediction, 5 Litanies, 3 Masses, and the Psalms to be sung at Vespers complete for the year The Gregorian numbers are according to the Vatican edition, and in modern notation. The bymns are as varied in character as in source, the editors having attempted to meet the require ments of trained choirs, of congregations singing in unison, of children in school and of the family

at home. - -- -

compleTE EDITION WITH NOTES: EDITION WITH WORDS ONLY: Net $1.50. In quantities, $15.00 per dozen. Net 25c in any quantity. Black Cloth Cover, Morroco Leather Back, size, 7x9, Cloth Cover, Rounded Back, size 4x6, 540 pages. 512 pages.

SYNOPSIS AND SPECIMEN PAGES FURNISHED ON REQUEST P. J. KENEDY AND SONS Printers to the Holy Apostolic See 44 EARCLAY STREET NEW YORK

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- Blowing” and list of The Patent Kinetic Organ Blower . installations. Kinetic Engineering Company Main Office and Works 6052 BALTIMORE AVENUE, PHILADELPHIA, PA. New York Office Chicago Office Boston Off!ce 41 PARK ROW 1441 MONADNOCK BLOCK 12 PEARL ST. THE CATH()}|,IC CHIOIRMASTEIR Ulip #mriety uf $f. (§reguru OF AMERICA

Qualifications Article II of the Constitution, adopted by the Society at its for Membership first meeting, held in Cliff Haven, N. Y., July 7th, 1914, states: “Those shall be eligible to membership who, whether actively engaged in musical work or not, favor the purpose of the Society and give it their earnest support.” Women Eligible Although, in accordance with the provisions of the “Motu to Membership Proprio,” women may may not take part in liturgical func tions, they are eligible to membership in the Society of St. Gregory, as set forth in the following article of the Constitu

tion : - “Recognizing the important part that nuns and lay teachers have in the education of children, and realizing that suc ceeding generations will receive their first musical impres sions at the hands of the sisters and lay teachers who have charge of the musical work in the parochial schools, con vents, academies, etc., it is resolved that women be admit ted to membership.” Application for Application for membership may be made by filling out the Membership attached blank, and forwarding same to the Secretary, or to any of the officers of the Society. Dues The dues have been fixed at the nominal sum of $1.00 per year; this includes subscription to the “Bulletin,” which will be issued at intervals throughout the year. Contributions Many generously inclined persons who have the success of this movement at heart are making contributions in addition to the payment of dues, in order that the work may be carried on and that the unusual expenses incident to organization, etc., may be met. All donations will assist materially in furthering the work and will be greatly appreciated and duly acknowledged.

APPLICATION FOR MEMBERSHIP Uſte §uriety uf $f. (§regurg OF AMERICA | desire to make application for membership in the SOCIETY OF ST. GREGORY

Please give full name and address MU-IC LIA.

Liturgical Church Music Compositions, Arrangements, Harmonizations ——BY LEO P. MANZETTI

KYRIALE harmonized according to the Vatican Edition $2.00 MISSA PRO DEFUNCTIS harmonized for the organ according to the Vatican Edition Organ part .75 Vocal part .15 VESPERS of the B. V. M.: Complete harmonization for the organ of the Vespers of the B. V. M. according to the Solesmes version, with inter ludes and a postlude Organ part .75 MASS in honor of the HOLY ROSARY of the B. V. M.: Arrangement for two equal voices Organ part .75 Vocal part .15 PRINCIPAL FEASTS. PROPER of the Mass and Ves pers harmonized for the organ according to the Vatican Edition Organ part .25 HYMNS for Benediction of the B. Sacrament harmonized for the organ according to the Vatican Edi tion Organ part .50 ECCE SACERDOS. Arrangement for four equal voices with organ accompaniment; as sung in the Batimore Cathedral .20 OREMUS PRO PONTIFICE. Motet for four equal voi ces, with organ accompaniment; as sung in the Baltimore Cathedral .20 CHRISTUS FACTUS EST. Motet a Cappella for T. T. B. B., as sung in the Baltimore Cathedral .20

Same a Cappella for S. A. T. B. .20

Address all orders to the Author: REV. LEO P. MANZETTI, St. Mary's Seminary, Baltimore, Md.

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