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千田E USE AND ABUS重 OF THE ORGAN

Rev. Giuseppe V用ani, S.C.

MUS看C AND THた M▲SS

Rev. 」. B. McA帖s†er′S.S.

GREGORIAN CHAN丁INSPIRAT看ON Msgr. Enrico Pucci

丁HE ORGANIS丁S′ R重PER丁OIRた

QUESTION and ANSWER BOX Dom Gregory Hugle, O. S. B. ORATE FRATRE§

A Review Devoted to the Liturgical Åpostolate

first purpose is to foster an intelligent and whole-hearted participation in 重誓暮the liturgica=ife of the Church, Which Pius X has called =the primary and indispensable source of the true Christian spirit.,, Secondarily it also considers the liturgy in its literary, artistic, muSical, SOCial, educational and historical aspeCtS. Fγ0の♭ α L′鵬γ Sうg彬d By H毒Em読CrnC.C Caγd読al Ga∫paγγj “The Holy Father is greatly pleased that St. John’s Abbey is

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Vol. 6与 June 1938 No. 6

C ONTEN丁嶋

EDITORIAL PAGE 212

SELECTIONS FROM VARIOUS EASTER PROGRAMS …,……‥ 214

THE USE AND THE ABUSE OF THE ORGAN …..…………‥ 216 Reverend Giuseppe Villani, S. C.

MUSIC AND THE MASS Reverend J. B. McAllister, S. S.

OUR MUSIC THIS MONTH

QUESTION AND ANSWER BOX Dom Gregory Hugle, O. S. B.

GREGORIAN CHÅNT INSPIRATION

Msgr. Enrico Pu⊂Ci

THE ORGANISTS’ REPERTOIRE

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幸昌二二昌二二昌二二嵩二二昌幸≒キヨ幸≒幸手幸二呂二昌幸幸二呂二島昌二:二二:二幸 DÅNGER AHEAD -十手iI - しiii〇、 EDITORIAL PAGE Leading educators have always consi・ By DOM GREGORY HuGLE, O.S、B. dered the inherited songs of the native 幸手キ!幸幸】昌幸呈=昌二二呂幸二昌二二日二二嵩二二昌二二:幸手昌幸幸二昌二二昌二 COuntry aS a Principal means in the musical training of the children. If a child could GLORIA PATRI. 、. neither remember nor reproduce the sim- Plest folk song, he was considered destitute SICuT ERAT IN PRINCIPIO of musical talent. The ancient Greeks had framed severe laws banishing from their Whenever we pronounce the words, State~SChooIs every sort of music which was “GIory be to the Father’’ and continue, downish, PaSSionate, Or Sentimental, because they considered it detrimental to the for~ Saying: “As it was in the beginning∴ we give utterance to a transcendent truth. We mation of character. PrOfess by these words that we are unable The advent of the radio has created un. to praise God enough, and that we must heard-Of conditions; the whole world has look for adequate help. Refraining from been turned into a network of danger. tuming to the Angels and Saints, knowing What can be done to avoid the danger? they are creatures like ourselves, We tum A rather comical experience comes to our to Him who has been His own unspeak・ mind. A new railway was opened near our ably great glory from all etemity. Our native town in the fatherland. It gave us human intellect cannot measure or even Children unbounded pleasure to watch the imagine the greatness of this eternal praise black, SmOking monster・ With awe we and glory which the Three Divine Persons stood far enough away, aS PreSCribed by are unceasingly bestowing upon each law. Dutifully we read the full text over other. and over: “In virtue of paragraph so and Our Loving Saviour gave the Apostles a so of the `Reichs・Gesezbuch’ (Code of faint indication of this glory shortly before Law), yOu are nOt Pemitted to come doser He left the Supper Room to begin His than so and so many feet’∴.. In 1885, agony in the garden・ He said: “And now when riding on the∴CarS through the u・ S・ glorify Thou Me, O Father, With Thyself, A., We looked in vain for hoisted para・ With the glory which I had, before the graphs. What did we see? We saw in world was, With Thee’’. (John, 15, 5)、 laconic brevity the eminently wise inscrip- The 〃Sicut erat’, had been in use in the tion: “Look out for the∴CarS’’, and even the Eastem Church’long before the Westem still more abbreviated form: “Look out’’. Church took it up. It was St. Jerome who In the present fast・living and fast-mOVin9 prevailed upon the Pope St. Damasus to generation, it will be next to jmpossible to introduce it to the Church of Rome. give a wiser piece of advice than we see Church Musicians: Pronounce these at those crossi工lgS. Sound reason and holy

words, “Sicut erat” with a11 fervor of de~ votion. These words contain the sublimest 誓9詳落掌意。離誌‡謹精薄 standard of praise言t is as though you were 1938, Techny, Ill・, Which reveals the in・ saying: “Oh great God, I praise Thee with dependent spirit of our youth in musical that fullness of praise with which Thou art =The papers report that the fad of having Thine own unspeakably great glory from etemity unto etemity!’’ children sing with orchestras is growing THE CÅEC重LIÅ 213 豊富・霊器9請託智s宝器 the homes and in the street or at gather- 董藷謀議嵩諾豊 ings. They never sing real folkson9 Or a Cultures, based on phonographic重eCOrds). 9dod modem tune言t is always one of the Silly airs from the movies or the latest radio hit・ Their taste seems to be thorough~ 。霊嵩霊f豊霊言語竺慧e詰 ]y vitiated, their sense Of propriety dulled, be fathered on the、POOr Ne9rO? In some e soul of music dead in their souls.’, SuCh way as this, I imagine: SIR RICHÅRD R. TERRY, Mus. D心c. 言嵩霊霊薄黒諾謀議諾芸 Whose death occurred April 18, 1938, SayS that in their drumming, their rhythm was jn his interesting book, “Voodoois皿in quite straightforward’With no suggestion Music’’ (Bums, Oates 8 Washbourne, Of syncopation・ In his singing, the West 1934) concemin9 the increasing de9eneraCy Indian Negro, like the ancient Greeks, beats in music: ``We are all witnesses to the suc_ time with his foot, giving that foot the

CeSS Of this propaganda (of Negro music): StrOng aCCent. But he also clapped his the `Spirituals’sung on every platform in hand on the wとak beat・ The handtdap America and the British Empire, their sing~ WaS audible to everybody; the strong beat ers feted and petted and called great ar- Of the bare foot made no sound; the un. tists; SO~Called ne9rOid music played nightly Observant listener might therefore be par~ On eVery dance band; the∴CrOOner hypno~ 霊譜監禁密計i盤謀議 露悪蕊悪霊精霊言霊。譜 On9m・ “To take a rhetorical or∴rhythmic trick, two continents succumbing to a musi⊂al atmosphere from which intellect has been empIoy it ad nauseam, and then claim the banished and the senses reign supreme. result as a new schooI of literature would “Once you have∴Created this erotic at- be silly to the point of lunacy・ But that is mosphere, anything may happen. Once exactly what the jazz-merChants have done erotic emotion becomes your food; yOu Pre~ With syncopation. And their partisans do Pare yOur mOral system for the reception of Claim the∴reSult as a new schooI of music.’’ Sheer paganism with all the excesses that follow in its wake. The period of excess GREEN BÅY CHuRCH may be sIow in coming, but (under present REVIVES VESPERS Conditions) it seems certain. “What are these conditions? Simply the exclusive appeal to the senses; a glamor of y。‡霊霊宝孟9豊詩誌蒜豊ぷ romance and mystery; a PaSSive mentality, ripe for any new sensuous experience; an 謹豊霊ご霊精霊葦豊嵩器 重e⊂ently. uncritical mentality that su任ers itself to be St. John’s choir sings the music for the led without ever asking itself `Whither?’ `’A parallel case is that of the planchette Vespers. The mixed choir altemates with the male choir in singing the verses of the and automatic writing. The victims of these practices are first thrilled and `up・ PSalms, hymns and canticles言n the anti- 1ifted’by the nobility and `紗irituali少of Phonal manner of singing such chants. Vespers is sung at 5 o’dock each Sunday the `messages’ dictated to them by their `cuntrol’. Once the victim has passively aftemoon, followed by Benediction of the Blessed Sacrament. abandoned himself to the practice (with the Subsequent destruction of his will) he finds Since Vespers are actually an evening himself, Willy・nilly, Writing foul things. ‥ Prayer, it seems appropriate that they The final stage is the lunatic asylum or Should be celebrated at this “vesper’’hour, the hour of dusk. The hour was selected COmPlete moral degeneracy:’ also with a thought for the∴COnVenience of ÅFRICAN versus EuROPEAN MuSIC those who wish to attend. The 5 o’dock “The gulf between African and European service will not directly interfere with the music has proved to be so wide that any activities of the aftemoon or of the evening. attempt at bridging it is out of the question Father Loerke hopes that su岱cient inter~

. ‥ African music is not conceivable with- est will be awakened for this truly liturgical out dancing, nOr African rhythm without devotion to warrant its continuance. 214 THE' CAE子塁prA告

SELECTIONS FROM ‘SIR RICHARD RuNCIMÅN TERRY, VARIOuS EÅSTER PROGRÅMS Mus. Doぐ. ST. I,OuIS〆St. Agatha’s Church CAECILIA moums with the Catholics of Rev. G. SommeI., Choirmaster England the death of a most devoted church Terra Tremuit ……………….....………‥ McDonough

Christus Resurrexit …………‥:…… Mauro~Cottone Missa Mater Åd皿irabilis ………..,….,. Griesbacher R. Terryタfrom 1901 to 1934, Organist

WÅLLA WÅLLÅ, W,ÅSH. - St、 Pa(rid【’s Churぐh and Director of Music at Westminster Mrs. Robert Gle挙on, Choirmaster CathedraI, London, died on Apri=8, 1938, Mass of the Holy Fam組y …………… Singenberger after a three weeks’illness. Bom in 1865, he was educated at Cam~ DuBuQuE, IOWÅ - Holy Ghost Church John A. Ke]zer, Choirmaster bridge, Where he was chora量 scholar of Mass of St. Cecilia ……………….…… Singenberger King’s College. In 1892 he went to St.

CEDÅR RÅPIDS, IÅ.-Immaouhte Concept. Church John’s Cathedral, Antigua, West Indies・ Sister Mary Leo After his reception into the Church (1896) Missa Solermi5 Browne he went as Organist and Choimaster to Emmitte Spiritum …….……………………. Schuetky Downside (St. Gregory’s Abbey) where he

SPOKANE, WÅSH. - St. Joseph’s Church remained until his appointment to West~ Mass of St. Rose .....………………………… Tappert minster Cathedral, Londonタin 1901. Regina Coeli....………………………… Singenberger It was while at Downside that he began PORTLAND, OREGON - St. Ånthony’s Church the important work of his musical life. Henry Mousseau, Choirmaster He studied the ancient music of the Church, Jubilee Mass scored and edited examples of the great NEW YORK, N、 Y. ・- Cathedral English masters∴Published the series of P. A. Yon, Choirmaster “Downside MotetS’’ and brought to light Holy Trinity Mass ………………‥ Mauro~Cottone the Masses of William Byrd, Pye and ROCHESTER, N. Y. ・- St. Monica’s Church Tallis. On the executive side, Particular量y J. Carlin, Choirmaster Salve Regina Mass …………………………・・ Stehle in the training of boys’voices, his Anglican experience was invaluable, and he set up ELMIRÅタN. Y. - St. Patrick’s Church Mrs. F. Lynch, Choirmaster a new standard for Catholic choirs言ust as Salve Regina Mass...... ………….…………, Stehle in ecclesiastical music itself, he was to HAZLETO嵩若鳥葦音盤認a三豊ch exert a powerful in餌ence outside as well as within the Church. He was, indeed, by Missa Parochialis ………タ…………………‥ McGrath his revival of pre-Reformation polyphonic

CINCINNÅTIタOHIO - St. Ånthony’s Church music, the inspirer of a great and much Rosemary Eberts, Choirmaster needed reformation in Church music. Missa Exultet

CHICÅGO, ILL. - St. Ånselm’s Church hiご禁書書誌S講壇謹雷醤 Matthew Neven, Choirmaster Mass of Christ the King ………..……………‥ Dore 評語霊詩語豊u9鴇語謹 Terra Trrmuit ……………………………. McDonough was to succeed and to endure, for it was PROVIDENCE, R. I. - St..Agnes’Church Gertrude Jackson, Choirmaster Sacred Heart Mass ...... Marsh 霊ds蒜,聖霊藷荘盤霊詩語 Regina Coeli Wotz el composers of the past as Palestrina and

CÅMBRIDGE, MÅSS. ・- St. Paul’s Ch調rdl Byrd. The public justification for his re・ Joseph Ecker, Choirmaster Missa Ponti鰹calis McGrath 蕊嵩。豊9豊岩音霊a荘霊 Exultate Deo tised the principles laid down therein. HÅRTFORD, CONN, ・十Cathedral Under his direction the musical acquisi- Vincent Scully, Choirmaster tions of Westminster steadi宣y increased, Messe Ste. Jeame d’Arc …..……….……... NibelIe BOSTON,豊窯元嵩法器a警rch 謹霊d謹i嵩謀富e芸窪:霊

Missa Exultet 案轍〇日間 schooIs were incorporated, aS Well as much Immaculate Conception Church Leonard Whalen, Choirmaster 呈豊S圭露。霊霊宝i言霊Ⅹ霊 Mass, Fray Junipero Serra ………………... Biggs sic was so stimulated as to lead to a reviv・ St. James’Church Walter Burke, Choirmaster al in modem liturgical composition ・ ・ ‥ ・ Little FIower Mass …………………..,…...… Burk。 In addition to his numerous compositions・ THE CAEC重LIA 215

Particularly Masses and Motets, he∴edited This is the first year that Sacred Music has been a formal course at The Saint さ。岩盤品請書昔嘉書籍謹言 Mary College. The college now offers two 葦詣嵩認諾器露語豊 Voodooism in Music, and contributed to 器霊詰ま窪謹告・。詰霊 COl]ege credit a semester. many English, French, Be]gian, German and American hymna]s. The first purpose of the course in Sacred Music is a§ an expression言n a small way, 嘉豊露語霊薬詣 霊詩聖t露語豊能霊霊誼 Ieaving one son and one dau9hter. He was music, aCquainting them with the rules and regulations regarding sacred music as ex- knighted in 1922. Plained by Pope Pius XI in his Motu Pro_ (From The Tab]et) Prjo’and thus enabling them to bring this knowledge and appreciation of the true 1,000 CHILDREN SING ÅT MÅSS music of the Catholic Church to those with AS EDuCÅTORS CONVENE Whom they come iII COntaCt in later ]ife. IN MILWAuKEE The second and practical purpose of the COurSe is to train the students in Gregorian

More than l,000 children in Milwaukee・s Chant sufficiently so that.they can conduct Small choirs with Gregorian chironomy, and 蒜蕊謹s詰。露等窪h豊嵩 to give them practice in accompanymg and Smgmg・ In the carry重ng Out Of this purpose, 霊蕊e藍器t露盤タ書誌 the course has made use of the Text Book Waukee, Wisc. Of Gregorian Chant, by Sunol; The Caeci]ia The convention was held in the Milwau_ Magazine, the Catholic Choir Master, Saint kee Auditoriumタ Which covers an entire Gre9Ory HymnaI, Mount Mary Hymna量タ The Most Rev. Samuel A. the Liber usualis and the Parish Kyriale, 誌岩室hbish。P 。f Milwauk。。, P。n,i. edited by the Liturgical Press. ficated’aSSisted by visiting prelates・ At the entrance of the Archbishop, the h蕊等諒霊i窪器i器s詣# Choir sang the “Ecce Sacerdos’’タby John Esther Makari and El]en Gray, Organists: Singenberger, K. S. G.タWho was a teacher Of music in Milwaukee for 50 years. Chorale Prelude _ Alle Menschen mussen sterben …….....…...…..…○○...…… The choir was directed by Prof. Otto A. 丁. S. Bach EIIen Gray Singenberger, arChdiocesan superintendent Veri Crealor〆Mode VIII Gregorian Of school musicタthe son of John Singen- Conducted by Ethel Hill ber9er. Gregorian Chan( A choir of priests, under the direction of Illustrations by the Choir Conducted by Agnes Tomlin Åve Maria _ Mode I Gre g orian 露盤龍碧空霊端整霊 Regina Coeli _ Mode VI Gre gorian Chanted the Proper of the Mass. Salve Regina - Mode V Gregorian Conducted by Rosemary Cahill Kyrie Eleison “Orbis F示tor’,-Mede I …. Gregorian

′’“ヽ● ● 重重〇〇 °● . ○○ 一書 _ _ 臆 臆臆 臆 SACRED MuSIC PROGRAM GIoria ``Missa de Ångdis-Mode V...... Greg ori an AT LEAVENWORTH, KANSAS Conducted by Johanna Kray Chorale Varぬtions - Sei Gegrusset ……. ... Krecke重i Esther Makari The Sacred Music Class Choirタ Of the Cor Jesu Sacratissimum _ Mode I ………‥,

Saint Mary College, Leavenworth, Kansas, Jesu Dulcis Memoria _ Mode I.……..…. Åve Verum _ Mode VI PreSented a concert of sacred musicタSunday 認諾 evening, May 8, aS a feature of the Music Conducted by Margaret Poutre Sanctus ``Orbis Factorタタ〆Mode II …….. Gregorianl Week Festival he量d at the college during the first week of May. Ågnus Dei ′`Orbis Factorタタ- Mode I ・"…・ Gregorian Deo Gratias “Orbis Factorタタ- Mode I …・ Gregorian In connection with the concert, an eX〆 Conducted by Ruth Hoffman Planation of Gregorian notationタ rhythm and the essentials of Gregorian Chant was 詑詑i霊○富農・i工:∴二・鴇慧 Conducted by Loraine Gilmore given by means of original charts projected Deo Gratias - Solemnis ………‥..……‥.……‥ Kreckel on the screen. Esther Makari 216 THE CAECILIÅ

ON THE uSE ÅND THE ÅBuSE tween words which, When translated, are OF THE ORGAN Certainly far from the interpretation it would 楽器喜○露葦y窪誓葦t霊 ( CONCLuSION ) COmPOSition.’For example, there are Masses HIS js a final chapter of previous arti・ 誓書豊i範討s霊筈書誌 T bycles Rev. we Giuseppehave written Villani, from S.time C、 to time inum Jesum Christum (l beat) Filium Dei in “The Caecilia’’タCOnCerning long and use~ ‥ ・ ; Crucifixus (2 beats) etiam pro nobis less preludes and interludes. The artides Sub Pontio Pilato (1 beat) passus (2 beats) have been purposely spread out so that they et ・ ‥ ; Et iterum venturus est cum gloria might serve as a reminder to reach various (1 measure and l beat=) judicare..言 readers, and not only those who happen Qui tollis peccata mundi (2 beats) miserere to be subscribers durin9 the period when ‥言Crucifixus (l beat) etiam pro nobis these lines might have been printed 5tlC~ (2 beats) sub Pontio Pilato (l measure CeSSively. and 3 beats=!)passus (1 beat)..言Qui Composers of liturgical church music are Cum Patre et Filio (l beat) simul adoratur SOmetimes confronted by the temptation to (2 beats) ‥言Et unam, SanCtam, Catholi- 南川,同い give the organ too much prominence at the Cam 3 beats) ‥言Et exspecto (what? 3 expense of the flow of sacred text. It is not beats =) ・.言Agnus Dei (l beat) qui Our intention to say anything against the tollis (what? 2 beats) ..言Agnus Dei

Organ, because, aSSuredly言t is the King of 2 beats) qui tollis (2 beats) pecc云ta mundi 2be いい,いり all instruments, the preferred one by the a報いS Agnus Dei (l beat) qui Church and of great assistance as an.争C・ tollis (3 beats) peccata mundi (2 beats) COmPaniment to the words of liturgical text, as rendered by the choir. We all know Let us, therefore, keep the organ as a that the sacred text must be respected and help in Choral music and not as a source uninterrupted in its order and integrity, Of interruption and delay. When we speak without any unnatural interruptions.★ a sentence, We∴COntinue our words until Admitted that the organ came into ex- each phrase is completed, and it would seem istence many years after the Chant and COnSistent, therefore, tO do the same thing other kinds of music言t is recognized. usu~ in singing. There are many times when the ally, anCient church music is rendered with- Organ Can be of use and those who com~ out accompaniment. Almost all modem POSe muSic for the church, While entitled to church music is now composed with an or・ embellish chorus music with independent gan accompaniment, and many instances Organ aCCOmPaniments; neVertheless, the Can. be given to show that, by the use of liturgical ideal should not be sacrificed for Preludes and interludes, the organ is some~ musical display and effect through improper times given undue prominence. In music use of the organ. The trend of the times existing before the birth of the organ, there is for shorter services and shorter music, is no interruption between the words of SO that practically the subordination of the Gregorian melody, for∴eXamPle: there are accompaniment in compositions has a dis- no interruptions of the text in polyphonic tant appeal. The nature of church music COmPOSitions. If we wished to accompany demands subordination of the music to the the Gregorian melodies, Certainly no one text so that we see no reason why any but would think of interrupting the text with unskilled composers need disregard these interludes nor would one venture to give 重ules. the organ any interlude between words, the sense of which do not admit of interruption. 霊霊霊盤台瑞許諾霊能 Consequently, this same liberty of inter- be the∴Character of the organ accompani- ruption shou量d not take place in modem ment especially as regard to the use of church music. It would interfere with the organ preludes and interludes・ The writer grammatical construction of sentences in has come across some Masses, Where, af- some cases. We have noted some music ter the intonation of the GIoria (or the approved on the lists of Diocesan Commis- Credo) by the celebrant, SeVeral measures sions which contain organ interludes be~ of interlude by the organ appear. The in-

★’`Textus liturgicus canendus est... syllabarum terruption is simply i11ogical, and unsound・ abruptionibus prorsus amotis:’ from a liturgical viewpoint・ THE CAEC重LIA 217

MUS量C AND冒Ⅲ細MASS by REV. J. B. McALLISTER, S. S.

figured music, Where the∴Cinema and radio ARECENTactor repeatedadvertisement his song fordedared a picture an flourish. The Church has her own special forty-SeVen times, nOt COunting rehearsals. form of music, O鯖cially dedared the su~ He was gifted with an excellent voice; Preme nOrm Of all church music, and so, in coaches of all sorts helped him; Holly- tuming to Gregorian Chant, a Choir can be wood’s fabulous technical and financial re_ Certain it is making no mistake, legally or sources backed him generously.・ Yet, the artisticall夕. finished song suggested hardly any of this Here is what Redfem Mason wrote some to the superficial - nOr did the price of time ago in the Boston Transcript: “Sung admittance. With even less expense and by believers who appreciate its chaste in greater comfort the churchgoer enjoys beauty and for whom song is a form of his radio, at home or in his car. A flick of WOrShip, there is nothing in the whole lit- the button brings in soIoists and choruses erature of music more spiritual than is the representing the most talented and highly・ melody which takes its name from Gregory trained singers that can be∴Culled from sev・ the Great. . . The music of those ancient eral continents - in little or no proportion Church musicians testifies to the inspirational to the cost of the box of wires and bulbs. e鯖cacy of their meditations. It is beautiful The result is that the average Catholic is . ‥ With a hallowed loveliness. Moreover, gradually being tutored to expect church in spite of its antiquity i± is言n the best music to match what he hears so casually sense of the term, mOdem. and at such a low price. Notice how to his high praise of the In some churches the music will be above Chant, Mr. Mason couples “sung by be・ criticism. In a few it will not be worth lievers who appreciate its chaste beauty and Criticizing. But in the majority, Whether he for whom song is a form of worship・’’ And be a musician or not, he will feel that then recall Bishop Ullathome’s words: “If言nstead of singing from our hearts to it lacks finish. Arcadelt’s Ave Maria from the parish loft is a di任erent thing from God, We Sing for the∴entertainment of the What he was listening to on his way to people; if the first motive of our music is their delectation; if we seek rather to give Church. He has come to take a high stan~ めh ehe dard of performance for granted, and finds them the enjoyment of a concert than ▲「し t Church music, When compared with it, def- lift up their hearts to God ・ ・ ・ this is initely inferior. His reaction may be one song of the world, nOt the song of Of questioning wondement, that he does church.’’ not find in church an attention given to the Worship of God is a thing apart・ Its WOrShip of the Lord that is simply pre・ realm transcends the world and the market~ Sumed in professional artists in the atten- place. Why should not the music of the tion they give their audience. church be di任erent from what皿ows hourly Why should any parish choir expose it- from electric Ioud-SPeakers? And why must self to such pejorative comparison! One the Chant be defended against the charge way not to Iose is not to compete. No aver・ that it fails to entertain, When its fundamen・ age parish choir can hope to match pro~ tal aim is not that at all? Its right to be fessional resources. To boIster up an or- called the supreme norm of church music ganization by bringing in women, because rests upon its peerless ability to vitalize boy sopranos cannot be had, Or, in defect the sacred text, tO direct social worship im- of talent, tO hire artists who are not Cath・ mediately to God by allowing the worship- olics in good standing nor∴eVen Christians, pers to take a more active part in it・ Au・ seems flagrant, When the Church expressly thentic worship can never be the passive

StateS that the choir of menタ taking the sIouch at the cinema nor the comfortable Place of Levites, Shares intimately in the sprawl in front of a radio・ orate hatres Liturgy with the priest at the altar・ Even is an imperative not to be∴entertained but SuCh hedging makeshifts please only a to act, tO raise the mind and heart to God. dwindling majority. Further, nO Parish Father Kelly wrote, quOting M・ Brunetiere, choir is forced to compete in the field of that “no music but should be a delight for

(Reprinted, by permission. from Columbia Magazine, May, 1938) 218 THE ‘CÅEC重EIA

the ‘ear!’, Yet there is much more in the On their lips was 。earer than English. ratio pulchri than the mere触tery of the Most knew what the words meant. As eye or ear・ It is the intellect which attains Chant, their renditjon was not perfect; but it was decent, and devotionaI言n the sense 誓言詰ま密語霊詩聖諒 Of true worship. And the chief point is that entire beauty is not in the sound or in the these children profited by putting their ef- Pleasing audition of sweet notes alone, but forts beyond easy comparison w王th other OVer and above the audible p]easure, there forms of music. Incidenta]ly, the parishion- is the intellectual appreciation of the∴ele_ ers were de重ighted with their Gregorian 諾h豊で謹言書き調慧宰(謹話 choir. If this can be done In a sma重l Negro W∽l, Jan. 11, 1933.) COuntry ParishタWhat can be done in a city Plain Song is not the only kind of With a lar9er grOuP tO choos。 from? In Church music・ Where resources make them St・ Louis, I saw such an organization of POSSible’Other forms are not only allowed boys・ rangmg in age from sik to thirteen. but recommended・ Here I am speaking of At the end of six weeks of daily instruction the average ・Catholic church. For it, the Chant would seem the safer course and one that need never be apoIogized for, When it 豊島嘉藍霊享嵩葦窃 for they were not yet ready to place the is chosen in preference to futile competi- VOWels on their lovely tone. But with that tion・ The work and anxious planning, the tone once acquired, they were prepared to feverish search for suitable Masses, the SCurrying about for singers, the constant 読書豊荒。霊葦悪霊詣 nagging to keep rehearsals vital, SuCh are a rehearsal・ And when their director asked the items that give∴∴Choir-directors gray if they would be on hand the following hair・ Yet, With a11 the labor, reSults fall Summer, eVery hand went up. At the end far short, naturally, Of professionaI stan- dards・ Take the same amount of energy, 許諾葦e隷書k詩誌n †諾 `’next meeting would be next summer.・・

詫df豊露悪雪。謹浩晋1灘 In no way is this a plca for Chant be, gorian・ and the results will assuredly be de- Cent and eventually first-rate, eVen in the Smallest parish. 諾叢話詳詣諾 musi⊂ at best with only mediocre success R霊i書芸霊宝葺豊島謹書 COuld do Chant excellently, and churches 謹書.忠霊帯藍詰。:f悪書 that now boast miserable’ unbecomjng, Performance, because it is within the pow- 霊謹書。浅緑n霊。窮鳥碧 ers of a dozen normally gifted men to sing gorian・ at least “decent’’music. In every Chant well・ If one ferrets them out, eVery instance worship would be the gainer and Parish can muster such a group. Over a there would be practical advantages・ Period of twelve years, a COmmunity not Suppose a Gregorian choir does fall short averagin9 One hundred and forty youn9 Of perfection・ They are falling short of no men’and annually changing, neVer failed to produce a scholar that could do credit. 言霊1豊詩誌ys詳置・。霊霊嵩 able work・ Take the monastery of So]esmes radio just before∴Church time. There is no as another example. It is the very heart immediate standard of comparison for it, Of the Gregorian revival. Yet I never heard In that regard it is not running against that an extraordinary voice was a prere- anything・ It is simply, yOu might say, quisite for admittance to the congregation. Playing against itself like a golfer. Though the community numbers only about With a small select group sin9ing the eighty monks言t has maintained consistently Propers and the schooI chi量dren the Com_ a capable group for Gregorian Propers. mon’there would be no need to gather them in the choir loft・ With =its lurking places 。f豊s霊豊富。窪鴇.龍三 and gossiping:’They would find their nor- I recently heard a small group of coIored mal place with the congregation, Whose rep一 Children, after only four months' trainin9, and these were interrupted by the summer 叢霊浅黒誌蕊盈蒜黒雲 VaCation, Sing a Gregorian Mass. Latin Which, bein9 Sung, WOuld gain new beauty T陣E CAECILIA _十言 J-219

and used it to advantage. But it is rather 宝器詔書e f‡辞書豊麗 astonishing to hear Dr. Carl Price tell the with their translations. And it is not rash annual Methodist Episcopal Conference, in to expect that in the course of time, COn- New York, that “in the New Methodist gregational sin9ing of the Common might Hymnal there is a retum to the old Gre- f0110W. gorian tunes and the. plain song’WOrShipfuト An obvious advantage of the chant is and uplifting in the structure of their har~ its forthrightness. A Mass sung in Gre- mony・’’ This echoes Abbe Dimnet’s con- gorian will not stretch out into hours. For~ viction that言n dealing with children, the ty-five to fifty minutes su鯖ce for a Solemn safest way probably is to let the young Mass in which not a sin9le gesture.need be mind become saturated with the o鯖cial hurried nor a single word sung other than prayers and the songs of the Church∴`the as indicated by the Church. It can ne’ver healthy character of which nobody can happen言n such a Mass, that the celebrant, tired of waiting, elevates the Sacred Host while the choir is still singing the Sanctus, A豊現業諾C蒜。霊講r蒜。t豊 nor will the celebrant have to withhold the be said for the Chant and for not compet- final blessing because the choir is still ing with the world, Who have tried their singing the Agnus Dei・ hand at realizing their ideals, but who are As the Liturgical year tums its leaves of now limping along, WOunded by discour- Sundays and feasts there would be no dis- agement・ They complain that Catholics do ruptive adventures in the way of finding not realize the worth of their music. Con- and introducing figured music. It is easier gregations are lethargic to their efforts・ to please a choir mildly with Chant than Down-right di億culties are placed in their to find figured music which will win uni- way. undoubtedly there are persons who versal approval. More than one organiza~ hate the Chant just like there are those who tion has been on the verge of collapse, in・ go to the other extreme and insist it is duding the director, Simply through violent opposing stands taken in reference to a 霊盈Ⅹ謡豊富註窪重親‡誌 proposed Mass. AIways言t is not so much taste be proved peculiar to the Chant? Ex・ a question of music as of personalities, tradition, Prejudices, and certain interlock・ 慧謹書豊藻豊書記窪ま ing loyalties. ‥ all of which fade and progress along any line of endeavor・ even vanish when a choir tums sincerely When the Chant has been done well and and with conviction to Gregorian. More・ when the people who were listening t6 it over, a Choir devoted to the Chant has no have had a chance to understand what it occasion to distrac白tself with money・rais- ing suppers and parties・ The first cost of 蒜。言霊∴盤詰:‡需悪罵二 music, aS it is compiled in the Liber usualis for use in parishes, is the last・ Besides a 詑読i三豊v。豊,d蕊藷。諾ニ wide variety of Mass chants and the Prop~ ance but about practical problems’Of the ers for Vespers and Compline, the Liber has a wealth of hymns and antiphons, Can- 請,ぎ重電諾Z註請書ざま tides, reSPOnSOries, SequenCeS, Which an a lack of understanding in those who should alert director can use at Mass and Bene~ be foremost in encouragement・ Such dif~ diction. Far from jarr垂g with or opposing the spirit of the Liturgical season or func- tion, this ha11owed music will illustrate it 護憲詮議碧鵠 effectively and brin9 it home to choir and give but an unknowing glance at his exper- iments. The bまoIogist thinks the same way 謂重誓言占。霊誉f慧u霊do藍言 about the visitor who smiles at his absorp・ transcended time, and today is proving its tion in a frog,s backbone. The person try一 catholicity by finding a natural place in the devotion of peoples all over the world. 誓,霊詰盈芋窪請a雑言 It is significant to observe that Catholics interest. Why not boldly and calmly face are not alone in tuming away’from compe- the fact that not everyone ‘is going to be tition with the world and reclaiming their interested in our great interest, nOr, being purer musical inheritance. Episcopalians interested, have our zeal or understanding! have long recognized the worth of the Chant Granted the Catholic congregation is 220 THE CAECILIA

apathetic towards worthier music, it is growing less and less apathetic in con- THRONG MOuRNS demning church music on the score of the WILLIÅM PREDMORE COntraSted excellence of radio and cinema. With Immaculate Conception Church言n Which he had directed the choir for 33

years,糾ed to capacityタfuneral services for CATHOLIC SINGERS BÅNNED Wi11iam F. Predmore, father of the Rev. FROM SÅLZBuRG FESTIVÅL 軍記器言語詰。轟C誌豊 Prague - The name of Richard Tauber, Of St. Joseph, Were held Monday, Apri1 4. l「--iiiiiiiiii「ii. intemationa11y・famous tenor and a Catholic, Mr・ Predmore died Apri= at the∴reSi・ dence of his son in Spencerport, at the age has been removed from the program of the Of#器rf読h M。SS 。, R。qui。m WaS 。,. Salzburg, Austria, Summer Music Festival, according to word received here. Names fered by Father Predmore. Music of the Of other Catho量ic artists previously adver- Mass was sung by the Knights of Columbus tised in connection with this celebrated Choral Society, under the direction of John Paul Bonn. event have a]so disappeared from announce. Widely KnoⅥm ments following Nazi occupation of Aus~ Mr. Predmore was widely known in the tria言t is said. Church and schooI supplies business in The Archbishop of Ljubljana and the Rochester and in Catholic musical and fratemal circles. Bishop of Maribor, Whose Sees in Jugoslav・ ia now border on Nazi-COntrOlled territory, Besides directing the Immaculate Con・ CePtion choir, he was assistant director ot hav? issued proclamations to their faithful the K. of C. Choral Society and an hon~ urging prayers “for the preservation of Orary member of that society at his death.

PeaCe and welfare of nations.’’ He was also an honorary member of Roch~ ester Council and Rochester Fourth Degree Assembly of the K. of C. Mr. Predmore is survived by his wife, CHINA’S LARGEST OIRGAN Mrs. Mary Predmore; three other sons, Paul A. Predmore, financial secretary of Roches- Yenchowfu, Shantung, China - What is ter Knights of Columbus; William J. and believed to be the largest pipe-Organ in all Delbert A. Predmore, Who carry on their China has just been installed by the Fathers father’s church and schooI supplies busi・ Of the Society of the Divine Word in the ness; One Other daughter, Mrs. Daniel Haw・ kins, Of Elmira; tWelve grandchildren and Cathedral here. One brother, Henry Predmore, Of New York City.

ll田富Mus王e This Mo皿t血

“Different’’ Eng!ish texts suitable for English text、 Conductors of Girls’High Catholic devotions are hard to find, there- SchooI Glee Clubs, College Choruses or fore, the “tried and true’, popularity of Sisters’Choirs should be interested. Haller’s music with attractive English words The organ music is from a new book of “one, Two and Three Page Church

豊島露語霊謹諾罵書聖 Pieces’’for small organs, (with suggested Sitions arranged for three treble voices registration for Hammond Electronic In- (SSA) are here presented with new Eng- struments also indicated). 1ish words; and music never be重bre set with 倉名士 Let US Praise Thee

Rev. CELESTINE BI門LE, 0.M.Cap. M.櫨A意表闘恥

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鵬R.Co. 852 Copyright MCMX認F恕盤薄聖輩)Rel11y Co., Boston Made in U.S.A. THE CAECILIA 233

“In the psalm tones of the 4瓜and 8th lem; Please, Call again by September or

皿Odes, there∴are terminations marked `A★ Octobe重. “Wrhat is meant by wise moderation in a and G” respectively・ Will you kindly ex~ Mass ・ COmPOSition?’’ plain the meaning of those astericks?’’ A. - The asterisks (★) referred to by A. - Temperamental and artistic exuber・ our∴COrreSPOndent signify that in place of ance easily prove a pitfall to the composer・ the regular finals A and G, a Substitute The temptation is at hand to overstress may be used, Viz: A★ and G★・ If for the certain situations and to accentuate con~ sake of variation you prefer to use the trasts, muCh in the same way as is done in substitute, the∴entire psalm is to be sun9 secular music. Holy Church bids the∴COm- on this variant. POSer tO Study her own sacred music,.and “please answer in The Caecilia the fol・ to consider: 1owing question; Is it rubrical to sing a that the Kyrie should not admit pictures Latin motet to the Blessed Virgin im皿edi・ of gloom and despair to paint human ately after the O Salutaris at Benediction misery; of the Blessed Sacrament?’’ that the GIoria should not go into ex・ A. - It is quite rubrical to sing a Latin treme jubilations in order to express the motet after the O Salutaris. It is equa11y ecstatic joys of heaven; permissible to sing a hymn in瓜e vernacu~ that the Credo should keep from protesta- lar in honor of the Blessed Virgin, St. tions and adjurations in professing the arti・ Joseph, the Patron Saint of your church, Or cles of faith; the Saint of the day. The rubrics prescribe that the Sanぐtus and Benedicfus be majes- only the Tantum ergo, Versicle and Prayer tic rather than bombastic in voicing a hymn with the response: Amen. The opening of adoration; that the Agnus Dei plead for a peace of 誓書豊精霊S。謹書ction are left strength rather than of sentimentality・ For full information consult “Sacred Mu~ In every High Mass’aCCOrding to the spirit of sacred liturgy, the soul ought to

託霊、荘重宝器i壷豊詳n吉董 go throu9h a process of purification・ No Co., Rostonタ1936). matter how great the depression that weighs “I live in a srmll, Out・of・the・Way Pla∝ us down as we∴enter the House of God, We and probably for this reason am more cu, are comforted and uplifted by the mystery rious血an other pcople. I just wonder how of Holy Mass and depart in peace, en・ II胞ny Con血unications you received giving dowed with new vigor・ “Is it correct to say that music is primar・ infom息tion on the `yellow book of Lecan’, which intimates that St. Gregory the Great ily concemed with entertainment?” was an Irishman?” A. - To put it bluntly: there’s music for A. ._ It seems the readers of Caecilia the head and there’s music for the feet・ have thus far been too busy to make any The music for the head is true art, COn・ investigations. No doubt, they are just sisting of intellectual forms, Called themes waiting for the summer months’in order to get right deep into the matter・ Caecilia 震輩霊u豊。S蕊e t豊葦葦 is pleased with your interest in the prob- by instruments or sung by voices. The

○○ Smd yo調q巾estious to Very Rev. Gregory H的Ie, O.SB・, Prior’Con・ ception Åbbeyl Conc印lionJ Mo・ They w田be answered in this colum叫Without referemce to your nane. 234 THE CAECII,IA

SymPhony is the most elaborate and most “Beautiful s香nging in church - in what

highly intellectual instrumenta重composition; does it consist?タ,

it is followed in descending order by ever so A・ - Professor E. J. Mheller of CoIogneノ

-many kinds of composition until we reach SayS: “Beautiful singing in church is the re・

the most simple piano piece; but in all these Sult of good toneイomation, Warmth of COmPOSitions there is contained a melodic feelin9, and a deep interior sense of rever・ thought or theme・ The vocal compositions ence∴ Such singing spreads devotion and likewise represent enormous variations fervor, joy in God and reverence for things from the highest combination to the lowest. divine, mOVeS the soul to repentance and The music for the head pleases man for CreateS a longing for Heaven: Mere vocal beauty, Culture and extemal charm may 磐豊島描悪書監嵩 reach the senses, thrill the nerves, and even value. PrOduce sentimental tears, but deep down in In the music “for the feet’’, the intellec_ the heart there is no reaction. In the final tual value is overruled by an appeal to the analysis言t is the accent of the Holy Ghost SenSeS and the lower instincts. In this kind and the sweet rhythm of His Divine unc- 'Of music, We discover no melodic thou9ht or tion that makes the spiritual contact and thematic development of a musical idea. PrOduce fruits of sanctity. What we hear is a series of startling phrases in jerking movement with prominent stresses Review;

On the weak beats. The violin has no THE GREGORIÅN ORGA.NIST meSSage tO deliver; it has been doomed to Modal Voluntaries for use at SCratCh away at a madman’s speed; the Liturgical Functions by SaXOPhone and the trombone endeavor to DOM ALPHEGE SHEBBEARE, O.S.B. bring some slurred melody to the surface, Monk of Downside Åbbey -but no sooner they seem to hold the field, Vol. 2., London: Cary 8 Co.

Whenタ′ lo!-they receive a death-blow from Boston: McLaughlin 8 Reilly Co・, 1938 the angry drum and cymbal. The jazz〆 $1.00 band may be defined as an orchestra gone The first two numbers of this co11ection . craZy◆ of twenty・five pieces are speci丘ed for Holy Thursday, and number three for Holy Sat- And now for an answer: urday, aS Preludes for the GIoria; Other Since man is a rational being, muSic is numbers are marked for the Asperg‘es and Primarily concemed, nOt With entertainment, Vidi aqua皿, and six numbers lead up to but with refinement. The element of joy, the Preface, marked “per ormia saecula appeal, and pleasure which is inseparable, sa eculorum.’タ

from. music言s to make man virtuous, nOble, The average organist′ Who has never Chivalrous. Such was the teaching of the played such pieces, Will say: “But where’s ancient Greeks. If Christians reject this the music? I find no tune!’’ - “Faith teaching, they evidently fall below the level comes by hearing・,, Holy Bible says・ and Of pa9anS. we venture to say in regard to these “In what capacity has music been ad・ pieces =music comes by frequent playing’」

一mitted into the Sacred Liturgy?” The term ’’modal’’voluntaries implies that the home of these pieces is not in the realm A. ._ Music has been admitted into the of every~day music but in thei ei9ht Gregor- 詩嵩霊宝霊宝岩盤露盤謹 ian modes. It implies also that the move- Music thus admitted is not to play the role ment is ruled by w‘ord-Phrases rather than by time・Signatures. Take (for instance) of a mistress, but of a humble handmaid. ‾Its office is to dothe with suitable melody number six, Which takes its motive from the beginning of the Preface: Per Ormia the sacred words used in the solemn per- SaeCula. Familiarize yourself with this formance of the divine mysteries・ theme and play the first four measures over Sacred music occupied a place of honor and over again until you get the swing of in the{urriculum of studies _until it was de. th珪m古山en play the next four me圭sures-_耳n-

throned in the time of the Reformation. til you establish “one ’grand phrpse’, with The reformers rejected sacred liturgy, and them; do the same thing over with the fol~ rconsequently, they also struck sacred music lowing measures・ and then gently glide from the curriculum of the universities, al- -喜eging “i子was no occupation for -SCholars down to the same tone from which the piece st甜ted. Ⅵ栂rk ‾’Patiently; Slowiy; a .and gen(le皿en!” (Continued on page 235) THE CAECILIA 235

So細田D園はece田嶋 Pu血量ica書ioⅢ S

94与‾講書豊『謂無缶詰H地.25 984-Mass血Bb (TTB)

(Old favorite in Europe) ,Åntooio Lotti .60 946-Jesu Salvator Mundi (SoIo or Duet)

(Requiems) ……………. Valmond H. Cyr .25 986-Exultale Deo (SATB) 947-Panis Ångelicus (SATB) (For Choirs with Boys) ... T. N. Marier .15 巴vαe請 Titco皿b .宣う 987-Veni Crcator (SATB) 948-Seven Hymns (O the B. V. M. (Unison) Rree皿.15 Å9a吐息 P登e舶錐.20 949-重Phce My Trus(血Thee (SoIo) Åve Ma五a (2 vcs.) D. L. Perosi 5。_能d。慈rtl竜詰諒章・ M・技量a ◆40 .1与 Wackenthakr .40 Åve膿e9血a (SAB) 952一地軸Pa皿pⅢet (1, 2, 3 0r 4 vcs.) I. S血genbe重ger

(Communion) ………… Sisters of Mercy, 99う-Re9血a C∞1i (2 vcs.) Otto Singenberger and Fr. Zulueta, S.J. .20 J. Singenberger .15 959-GIoria (重ntrod・ ``O Sanctissi血a,タ) (SATB) Ave Maris Stella (2 v⊂S.) Ko重Ⅱ細山.1う L Pe重osi 960-GIoria (Introd・ “O Sanctissim”) (2 vcs.) .15 Salve Re9im (SAB) (Good: COnCluding Chorus) …… K調an .15 965-Requiem Mass (Accompaniment) …………………………‥ I. S血純血ber9e重 手 …………‥・………・・…‥ G画an ・助a邸質S .80 1002~嵩豊s讐‡rY慧) 。。y (As used at Pius X School, New York) 966-Missa de Ångdis (Accompaniment) Or Anniversary) .. Rev. C. Flyrm, O.M.重. .〇〇 …………………‥...…・・・・・・.・. ・Gregorian・Bragers .80 、しノ (As used at Pius X School, New York) Ådoramus Te (TmB) 968-To Chris( The King (SATB) …………………………‥.. W. J. Marsh 【口-ヽ一 1006_ Sister M. Rafael .15 O Donine Jesu (TTBB) 969-Missa Jesu Redemptor (SATB) Palestrina (A Cappella) ∴.… Å. Kai血.60 101O-Heavens Åre Dleclaring (SATB) 97l-Ave Maria (I 8 II) (2 v⊂S.) (Famous Chorus) ………………... Beethpvin .12 Stephen Å. Erst 、15

972-Mass in honor St: Thomas More (SATB) 101l-Lovely Åppear (Abridged) (SATB〉 …………………‥.………… E農d繍iぐk T. Sho富を.60 (For First Mass and Anniversary (Easy - for Choirs with Boys) Celebrations) …..…………… Chas. Gounod .12 973-Mass of St・ Vincent de Paul (SATB) …………………………,…... Å競hu重 C. Beぐker .60 1012-Jubilate Deo (SATB) W. A. Mo乞a重く.15 (Brilliant-for Cho些Erith Boys’Voices) 1016-Hyms (O lhe Sacred Hcart (Unison) 孟霊u主菜(簿罫書。盤 M. H種le重.20 976_ Laudale Dominum (SATB) Viadana .重5 1017-HylmS tO theあcred Hear〔 (Unison) (Complete Benediction Service) 手 M. Halle重.20 979-Åve Maria (STB) 1018-HyⅡmS (O the Sacred Heart (Unison) ………・・…………… McG脚(h, Op. 22, No.重.15 M. H血le重.20 980‾薄豊}許婚親併薯)‰. 2.重5 1019-Hymns to the Sacred Heart (2 pts.) M. Halle重.20 981-Tulerunt Jesum (10紐ertory) (SATB) 1020-Hyrms (O the Sacred Heart (3 pts.) (2nd Sun. Jan.上McGra(h, Op. 2l, No. 3 .15 982~嵩h#書菩誌s(諾ki。h. K. Bi。。S.。。 M. H種le重.20

1021-Åve Maria (SSA) ………‥ Å. C. Becker .15 983-Maぉ(in honor of the Holy (SÅTB) 1022-The VⅣaystde Sh血鳩(SATB) Name o白he B・ Ⅴ. M.) …… Ign. Mitterer .80 雪諾諸藩詰れb, R。Wlands.,5 THE GREGORIÅN ORGÅNIST 1023-He Is Our King (SATB) (Continued from page 234) (Bright Rec. Chorus) .. Parke V. Hogan .15 new tonal world wilI gradually reveal itself. Do not mind dissonances; they are the spice Of life. The enharmonic signatures make it NOW IS THE TIME TO ORDER POSSible to play the same piece at hi9her or lower pitch. FRENCH PuBLICATIONS We heartily recommend these pie⊂eS tO al] ambitious organists for incessant study; The present low rate of foreign exchange they fumish the ideal music for the litur_ makes the splendid Organ Music and gical High Mass. Church Music of France available at very Dom Gregory Hdgle, O. S.B. low prices. Conception, Mo. Order a selection now for fall use! 236 THE CAECILIA

G鵬EGO鵬量AN CⅢANT INSP重職A音量ON

The Fortieth Amiversary of Perosi’s Great Oratorio “Res町r∝tion・タ

by MSGR. ENRICO PuCCI T聖書詰ま書芸器r悪霊 replied most gratefully to the fatherly in- “Resurrection of Christ,,タ by Lorenzo quiries of the Bishop, but he∴∴COuld not loose the knot in which he seemed to be Perosi. held. When the great maestro, nOW Permanent Father and son wended their way home,・ director of the Sistine chapel choir and Stj]l seemingly鮒ed with dismay and me]- member of the Royal Academy of Italy, ancho]y・ But・ aS the carriage passed near. gave the world that marvelous creation of an ancient vilIa outside of Cassano Spinola, his geniusタhe was barely 26 years of age, Lorenzo Perosi suddenly grasped the coach- but he had already shown his ability as a man by the jacket and cried: “Stop! Stop!’’ great composer. Then he tumed to his father and embraced He lived at Venice, at the side of the him, eXdaiming, “I have found it, I have. Patriarch Guseppe Sarto who five years found it!’’He got out of the carriage, drew later became Sovereign Pontiff and who a piece of paper from his pocket and began Called him to Rome to conduct the∴Choir to scribble notes of musicタleaning against that accompanied the Pope in the majesty the wall of the Bridge of PollaroliタWhich Of the Sistine∴Chapel and in all the other the carriage was just about to cross. Mean- PaPal functions・ He was already famous While he hummed a melody・ for his magn嵐ent compositions and, among others, for his oratorios the “Passion Father understood An9uish Of Christ’’and the “Resurrection of Christ,, Lorenzo Perosi’s father understood. The・ Which had a量ready been so admired by the anguish which had for so many days制ed POPulace and by eminent writers of sacred and religious music. The Patriarch of Ven. the heart of his son was caused precisely ice’Giuseppe Sarto, WaS amOng his most because he could not find the way to give fervent admirers and had earlier called him adequate expression to the sentiments that_ to Venice from his native Tortona to con. 即ed his soul. On arriving home, Lorenzo duct the choir of the Basilica St. Mark. Perosi rushed to the piano and began to Play, StOPPing every now and then to write《 Oppressed by Melancholy down his notes on sheets and sheets of PaPer. In vain his mother called him to- In 1898, Lorenzo Perosi became quite ab~ SuPPer・ He did not want to leave the piano・ SOrbed in the composition of his new ora・ Everyone in the house went to bed and he= torio. But when he reached a certain point, still remained at the instrument. In the he seemed to be profoundly preoccupied and moming his mother found him asleep at the OPPreSSed by a heavy melancholy・ He Piano、 In the night the famous Alleluja of’ SuSPended his work and appeared burdened the “Resurrection of Christ’’had sprung jn- by some secret thought which he would not to being. COnfide to anyone・ His father, mOther, Sis・ The great anguish of Lorenzo Perosi in ter and brother, Carlo Perosi _ Who after. the days of his deep melancholy was, Wards became Assessor of the Holy Office CauSed b-y the fact that he could not find and Cardinal - SOught in vain to distract adequate expression for the joy which he him and dissipate his sadness. One mom_ felt should greet the resurrection of the ing in September, 1898, his father took him Lord. He had finished the first part of his to visit the Bishop of Tortona, the Most OratOrio, that which describes the tragic Rev・ Igino Bandi, Who was spending sum~ hours of Calvary after the death of Jesus. mer holidays at a villa in Stazzano. The emotion created by the death of the The Bishop expressed his solicitude for Redeemer, the∴COnSternation of those who the young priest and begged him to confide Were aSSembled on Calvary, the agony of’ in him so that he might calm and comfort the pious women, the request of Joseph of him, but quite in vain. Dom Lorenzo Perosi Arimathea for permission to bury the body (Reprinted from the Cleveland Universe Bulletin, Apri=5, 1938) THE CAECILIA 237

Of Jesus in his own sepulchre, the action ot gives the first announcement of the resur- the enemies of the Redeemer who had the re,Ction and that, always accompanying the sepulchre sealed and guarded by soldiers, same word, Alleluia言s then repeated by the the lament of all the good: “Behold how choir in a new supreme and triumphant re- the just man dies:’had all been expressed affirmation of joy at the end of the whole by him with magnificent musical accents. oratorio. Thus Lorenzo Perosi, in this ad~ The moment had come when he needed mirable page of music, Shows not only the a passage to go from the tone of extreme power of his genius, but also the fruitful- sorrow to that of the utmost joy. After ness of the musical tradition of the Church the words of grief and lament had to come which endoses in itself so many treasures the cry of joy of the “Alleluia’’′and the of harmony and of beauty su億cient to ex- musical genius of Lorenzo Perosi felt power- press any very noble and lofty sentiment less to ‘achieve it. And then, PrOfoundly which may touch the human heart. imbued as he was with the sacred beauty The memorable circumstances under of the Gregorian Chant言t occurred to him which Lorenzo Perosi received the inspira- that just the notes he wanted would be tion of this wonderful page of his music found in this Chant. The magni6cent sym・ is recorded in the place where it happened・ phonic passage that opens the second part The bridge near which he stopped to write of the oratorio the “Resurrection of the the first notes of his “Alleluia’’ has now Lord’’is fully interwoven with Gregorian changed its name and no Ionger bears the melodies. humble name of “Ponti dei Pollarolir (the bridge of the poultry vendors) but the glori- Å11 Creation Trembles ous name of ``Ponte dell ’A11eluia:’ The scene that the musical passage∴reP・ resents is the hour of dawn. A very slight hurried murmur of the orchestra describes the trembling of all creation as if [t were GREGOR漢AN M▲SSES impatient to hear the words of reactjon af~ ter the infinite sadness the death of Jesus IN MODERN NOTA丁ION had poured over the world・ And whilst this murmur of the orchestra continues more from the Kyriale Romanum and more intense, a Pure joyous blast of Missa De Angelis and Credo III 2d・ trumpet launched to heaven and over thc 12/6 pe重100. earth announces that He Who had been moumed as dead had retumed to life, Vic- Ditto. Printed on Card …………‥ 、3d. torious in death over His enemies. 20/・ per lOO.

The blast of the trumpet rises, makes it・ Ditto. Organ acc. by R. R・ Terry l/6 self heard sweeter and sweeter and clearer and clearer, PauSeS With some suspended Missa Pro De.functus 4d. notes andタlittle by little, fades away・ And 2う/・ pe富lOO. then the choir in unison, With solemn ac~ cents, Sings Alleluia three times and im~ 藍告諾詰襟・謹言㌢ 1/6 mediately afterwards the whole orchestra Virginis (Cum Jubilo) ………・ 2d・ bursts Ioudly into a rapid and sweet rhythm 12/6 per lOO. which expresses in a most e鯖cacious man・

ner the∴eXultation, the joy, the infinite joy Ditto. Organ acc. by R・ R・ Terry l/6 that創Is the soul of every believer when he knows that He in Whom he has believed Missa Orbis Factor 2d、 12/6 per lOO has triumphed. Ditto. Organ accompaniment by The notes empIoyed by Perosi are the Rev. Dom L. M. Zerr....…..… pure and simple Gregorian notes of a pas- Missa RegiaタMissa Primi Tone,

chal antiphon with which the∴Choir sings H. du Mont ..…..…...…….……… the three A11eluias in the symphony that 12/6 pe章lOO. opens the second part of the oratorio of the =Resurrection of Christ:’ And it is also J、 W. CHESTER, Ltd・ the Gregorian melody of the Alleluia of one of the Masses after the Pentecost which 11 Gt. Marlborough St・, London, W・1◆ is repeated in the note of the trumpet which 238 TH単 CAEC∴重Ll牟∵∴

二二 、 ∴∴∴∴-一 言 喜 一二一∴ 喜一臆・一岬 富田圏O鵬GAN賞S冒S,鵬細お皿鵬富O量鵬細

day・ WouId you like to eat sweet 鷺柴嵩諾e藍f窮霊芝葦 POtatOeS for a meal each day? Of course every ambitious organist. Alas _ We find Only too many underpaid positions, Which 豊島器蒜s詩誌。轟露 Seem tO be the alibi of many organ pIayers, Which each organist must perform, that cer- and due to’that condition we find little or tain sweet potato組avor. no new organ music being purchased. If this should be the state of a player, For years the writer has collected and then he has drifted into a rut and to elim. inate that false and tricky enemy, he must

SeCure‘new ideas and music to overcome this se脆sh imposter・ He must leam to 護欝藷護輩 travel new roads. ‥ he should leam to CeSSive year and new numbers are added improvise, mOdulate and build new cadences instead. On]y in this manner can one be in a more harmonious and ski]lfu丁manner. able to p量ay something without everlasting Go and listen unobserved to a neighbor repetition・ It raises the standard of play〆 musician, aS it will add to your understand. ing and, at the same time, bujlds a better ing and power. However, this I recom, and more substantiaI repertoire. mend only to thoie who have absolute Practically every organist will have a Pitch・ Anyone who can hear (without see. Chance to sell the old numbers to one or in9) jn which key the organist p]ays, the other of his organ students, Which en- Where and how he moIds his modulations, ables him to order new and better music etc., has absolute pitch. (The radio is one for his purposes. great medium in which the ear can be Why shouId not the Catho量ic or9anist trained and if this feat can be acquiredタ do like his fellow musicians of other de. you sha]l be able to judge and either to nominations and play the works of Bach, Praise or condemn.) Widor, Rheinberger, Guilmant or other The surest, Safest and shortest way to enlarge your organ repertoire is by buying 慧霊#嵩S土、盈u霊na悪霊 new music. Here you can examine and

Writers should a]so be encouraged, aS those Study, eVen memOrize parts for churこh use. by Borowski, Rogers, Matthew, Kinder, In this way, yOu Will soon be able to travel Mauro-Cottone, Biggs, Becker, Nevin, at will, heretofore untrodden roads on your Kreckel, Noble, Stewart, Dethier and keyboard with better and more e任ective hundreds of others. It seems incredible that har血onies. an善悪葦豊言霊霊雪塁藷 Another sad feature prevails still in many churches. ‥ the use of semi.classics. “Spring Song’’∴`S誓g of India∴ =Minu~ With an organist whd used only =Kem・・.

Others have three or four books, but per・ ets’’・ eVen `’Souvenlr ’are frequently used haps Qnly one-fourth of their contents are used・ In such a case, the poor organist can 言論豊n諜轟書誌宝器謹 do nothin9 else than repeat his ]imited or・ gan repertoire. 話n霊等細島霊1葦!s盈S筈と There is no excuse for such indifferent _ abandoned and not allowed to be used. We have among our own Catholic∴COmPOSerS さt嵩軍需詰露語霊鳥霊 Sufficient, gOOdタ Church~like music which not endure, Or at least wi量l reject, the idea WOuld add devotion, and not distraction. Of hearing mere reproductions. How barren The object of every organist is to praise and uninteresting will such playing sound the Lord with sound, but not to show his in this time of progress! In such a sad Sentimentality or his skill・ Remember, =My State, nO Organist can cultivate his or his House is a House of Prayer,,・ Perhaps you Parishioners’taste for better music. have made it into a showhouse, Or maybe This is also true of improvisations. Of you have lacked the right spirit for elevat- COurSe’eaCh player has a dever way of ing the hearts of men with reaI, Sincere, doing thin9S - eaCh man,s fingertips have devotional playing. a certain pecu量iarity of self・rePetition, a Now you may ask, “What shall we play Self-POSed mamer of modulating day after before or after Mass, Or What can be used THE CÅEC・IL重A . 239'

∴● ^ COMPLINE IN ENGLISH ‾AT ’ on occasions. of festivity?’’ Here again r must say’Stay in the atmosphere of the . THE N. Y. PÅuLIST CHuRCH church. A prelude should not be used for A departure from the usual Catholic prac- entertaining, nOr a POStlude. to cover the tice in rendきring of liturgical prayer has noise while dispersing at the cIo§e of the been effected in the regular臆Sunday even- 、SerVice. The organ prelude should put the ing compline service at the P討list Churchタ worshippers in a devotional frame of mind New York City. In order to enable the 霊s謹告。霊豊h藍辞書豊 congregation more readily to recite aloud those prayers which they say in.unison,・ is customary at the dose, Play something the entire office is said, and sung言n En9- well prepared from a larger kind of com- 1ish. POSition. Perhaps a Fuge or a movement The pastor of the church stated that this from a sonata would be in place here, but strive to maintain dignity and add artistic procedure is not at a11 unorthodox・ Canon law does not proscribe the∴reCitation of any temperament, SO that your work re偶ects the best and highest marks of musicianship! part of the Division Office in a native tongue by lay people, though tradition has Semper Fideles not exactly embraced the practice・ How〆 ● ever言t was pointed out that, Since litur:

WHERE TO STuDY CHuRCH MuSIC 悪書需h霊霊詳i謀i請詰誓 American tradition in the matter. The use (Not including courses /given to special Communities of Religious) 誤聖霊議書霊霊霊di霊 quickly a service with which it is not very NEW YORK familiar. Liturgical prayer, Of which Com- ● Pius X SchooI of Liturgical Music Summer Courses. pline is a part言s that o飴cially prescribed CINCINNATI, OHIO 岩盤慧h 。三請S誤認誓,譜 ● Cincinnati Conservatory of Music prayers and exercises written or instituted Marie Pierik, Director of Summer by pious individuals・ There is a sIow but Course in Gre9Orian. steady movement back to liturgical prayer ST. LOuIS, MO. in this country. ● Organists, Guild - Monthly Meetings・ When Compline was instituted at the ● National Center for Ward Method. Paulist Church, Father Finn, Well-known Edmund M. Holden, Dir. Summer Paulist choir master and organistタ WaS Course at Webster Co11ege, Webster G重oves, M0. 霊宝霊岩盤まま霊蔀議鷲 CHICAGO, ILL. for that portion of the service assigned to ● De Pau量SchooI of Music, Arthur C. his choristers. His answer was a Pure Becker, Dean (Pius X SchooI Faculty). Gregorian psalm tone on the part of the DETROIT, MICH. 豊書誌霊霊評語ご討 ● Pius X SchooI Summer Course. choristers' role. In composing the lattef, ROCHESTER, N. Y. Father Finn did not lose sight of what he ● Pius X SchooI Summer Course. calls one of the dominant notes Of this SYRACuSE, N. Y、 ● Pius X SchooI Summer Course

PFTTSBuRGH, PA. 薫霊鵠嵩薄墨葦 ● Duquesne University, Rev. Carlo Ros- sini, Mus. Doc. 請黒岩讐謹話箪笥p霊 SCRANTON, PA. young soprano and alto voices・ ● Marywood Co11ege- 1。詣請聖霊豊富豊書聖 NEWARK, N、 J. ● Monthly Meetings - Choimasters’ 芸執豊y書芸豊i蒜s詰 Guild. BuRLINGTON, VT. 霊諾9岩島藷討蕊善書 ・ Joseph F. Lechnyr, (10 Russell St・・) noting the o岱ce that completes or cIoses Director of Summer Course. the hour of the day. 24O THE CÅECILIA

StrictlyLiturgicalMasse§forCatholicChurchServices

(ÅPPROVEDST・GREGORYWHITELIST) PublishedbyMdÅuGHLIN 8 REILLY COMPÅNY_roSTON

SÅ冒R uN重SON ARENSBERG, P. E. BECKER, RENE L. 352-Missa Victimae Paschalis ……………….$.60 564-Mass in honor of St. Francis Xavier….$.60 BECKERタRENE L. CHERuB量M, Sr. 615_Mass in honor of St. Francis Xavier .60 518-Mass in honor of St. Alfons …………… .35 BIGGS, R. K. MÅNDL, I. 915-Mass in honor of St. Anthony 11-Mass, Opus 16 …… .00 BONVIN, LuDWIG, S. J. PREDMORE, Rev. G. V. 780.-Festive Mass 362-Mass in honor of the Good Shepherd .40 SINGENBERGER, J. 冨uRMÅNⅨタI. 449.-Mass in D 54.一Missa Brevis GRuENDER, H. 欝ニ盤霊宝詰。筆耕壷・・:::: 512-Missa Salve Regina HÅ患LERタM. TWO.PÅRT 87l._Missa Tertia BOせyIN, Rev. LuDWIG, S. J. JOHNSON, WM. S. 780_Missa Festiva 510.-Mass in honor of St. Francis of Assisi .75 CHERuR皿I, Sr. KÅIMタ Å. 518-Mass in honor of St. Alfons 969-Missa Jesu Redemptor DOREタM. KRETSCHMER, E. 508-Mass in G 49-Mass, Opus 23 ………..i GRuENDERタH., SJ. (Rev.) KuMIN, J. D. 515-Missa Eucharistica Mass in D 513-Missa Salve Regina 糊ぐGRÅTHタI.事. HÅLLER, M. 77l-Missa Parochialis ……..……..….... 87l.-Missa Tertia

620-Missa Pontificalis …..….…...….… S重NGENBERGER, J. rmTTERER, I. 449_Mass in D 983ノーMass in honor of the 448-Mass in honor of St. Anthony -Holy Name of Mary ………….. 451-Mass in honor of The Holy Ghost …. .60 447-Mass in honor of St. Francis ………‥ 、60 PÅLESTR重NÅ, G. P. da 767・-Missa “Aetema Christi Munera’’ PREDMORE, G. V. STEE散isg sa,v。 R。。ina …….………………….。。 360-Mass of Christ The King.....… TAPPERTかH. SCHÅEFERS, P. R. 505-Mass in honor of St. Rose of L血a … .60 631-Mass in honor of The Holy Ghost …. .60 506-Missa SS. Ång. Custodum ……………‥ .60 SCHWE富TZERタJ. WHEELER, V. 1-Mass in honor of St. John Baptist... .60 340-Mass in D Major ……. .60 S重NGENBERGER, J. 451-Mass in honor of The Holy Ghost …. .60 T HREE.PÅRT 447-Mass in honor of St. Francis …….…. .60 霧ニ盤霊器諸富霊:書生:蕊 ÅRN胃ELSER, F. STEHLE, J. G. E. Rぷ誌薄講読窪重i (ⅡB) 780-Festive Mass (SAB) ….... 66-Missa Salve Regina ………‥.……………… .60 TÅPPERT, H. CHERuBIM, Sr. 505-Mっss in honor of St. Rose Lima …‥ .60 518-Mass in honor of St. Alfons (SSA)... .35 、 ○○ヽ 〇〇 〇〇 WITT, F. X. DORE, M. ‾ 、‾- 669.-Missa Exultet 509-Missa Jesu Christi Regis (SAB) .60 ○○TT事, ,Å、 T冒RB 984-Mass in Bb (TTB) ……………‥.. .60 McGRÅTH,事.事. GRuENDER, Rev. H.タS. J. 939-Mi呈Sa Lyrica (STB) .…...……. .80 Soprano voiこe parts .25 謹蕊認識譜等‥雷 SINGENBERGER, J. .35 棚O患ITO膿, I. R. 肇9-Mass in_D (SAB).… 448-Mass in hon6r of St. Anthony (SAB〉 .35 89l-Mass in honor of St. John Baptist... .60 SINGENBERGER, J. 緩聖霊蕊烏龍)車高壷∵蕊 452-Mass in honor of St. Peter ……………… .50 ′l○○“▼′〇〇〇〇でヽ ヽ (TTB) ノ GREGORIÅN ACCOMPÅNIMENTS by Åchille Bragers Prop雪Ol争e Mass (Unison).……… ‾ ‾葛‾-▼ . ‾ “-‾「“‾ ▼ ● 〇〇 〇〇ヽ“ ) ◆ 〃○○′場〃ノヽノum.ヽ一V. Rev. Theo. Laboure 耽quiem Mass ………………‥ (lルSingenberger - (2月os・ Murphy THE CAECILIÅ 241

8,000 CHILDREN FROM THE NEWARK, N. J、, PAROCHIAL SCHOOLS IN GREGORIÅN MuSICAL PROGRAM

Tenth Century Chants Sung by Huge Choir

The Fifth Annual Demonstration of Li_ lington, N. J” Which recently presented such turgical Music in Newark was given under OutStanding musical programs for the Ponti・ the auspices of the newly installed Arch- fical Ceremonies incident to the conferring bishop of Newark, The Most Reverend of the Pa11ium on the Most Reverend Arch. Thomas Joseph Walsh, S.T.D.タJ.C.D., bishop Walsh, the Consecration of Bishop Monday, May 30th (Memorial Day) at Gri鯖n as Auxiliary Bishop of Newark, the =.00 A. M.タD.S.T. The music was sun9 Installation of Bishop McLaughlin of Pat・ by 8,000 children representing every paro~ erson, and the Installation of` Bishop Eu~ chial School and Mission in the Archdiocese StaCe Of Camden, Sang the “ECCE SA~ of Newark and the Diocese of Paterson, CERDOS’’タby Reyl, at the begiming of N. J. Gre90rian Chant, dating back to the the Ceremony. The Schola also rendered tenth century, featured the Musical Pro- POrtion of the “CREDO’’and the “PANGE 9ram・ LINGuA’’at the Recessional. Rehearsals have been conducted for the PaSt few months under the supervision of Villa Lucia Schola Cantorum Nicola A. Montani, Director of the Arch・ Renders the Proper diocesan Institute of Music, and Mr. Jos- eph Murphy, Who provided the organ ac- The SCHOLA CANTORuM, Of Villa companiments at the Demonstration. Hun- Lucia, Morristown, N. J” under the direc~ dreds of teachers, rePreSenting every reli- tion of Sister Carolina Ionata, M.P.F., gious Order in the Archdiocese, also as- Mus. D.タrendered the Proper of the Mass sisted materia11y in the preparation of the in Falso Bordone style. This portion of the Liturgical Music Program was com~ A platfom, 12 feet high, WaS uSed by the Director who utilized a bamboo pole, 認諾露盤五誌議書霊審議 four feet in length, tO direct the vast con~ Novices, Postulants and Religious of the Order of the Maestre Pie Filippini. gregation. 700 High SchooI Students Sing New Organ Introduced “A Cappella” Compositions A new organ, built by the renowned Over 700 students from the various Arch_ inventor and scientist, Captain R. Ranger, diocesan High SchooIs, Academies and Jun・ was utilized for the accompaniments. This iorates sang three ``a cappella’’ composi〆 Instrument is called the “RANGERTONE’’ tions during the Solemn Pontifical Ceremo- and is particularly adapted to the accom- nies: - “LAUDATE DOMINUMタ by Paniment of ]arge groups. Grassi; “JESu DuLCIS’’タby Joseph Mur- Archbishop Walsh Provides Lunch for Phy, and “TANTuM ERGO∴ by Breiden・ Stein. Entire Group These Annual Demonstrations have an The Seminary “Schola’’Participates interesting feature in the distribution of The SCHOLA CANTORUM from the nearly lO,000 lunches to the Children at Immaculate Conception Seminary, Dar- the dose of the Ceremonies. 242 THE CÅECILIA

CHOICE MELODIES from the MASTER COMPOSERS

Å Collection for Ele皿entary SchooI Orchestras Orchestrated by R. E. HILDRETH All String Parts Bowed and Fingered Contents

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