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Vol. IV. JANUARY, 1918 No. 1.

CONTENTS

Page

Church music in its relation to School Music ...... 2

False quantities in Plain Chant ...... 9

Papal Letter to the Cardinal Vicar of Rome ...... 11

Editorial ...... 14

Notes and gleanings … ------15

Reviews ...... 16

Questions and Answers ...... 18

Programmes ...... 19

List of Approved Music — Harrisburg Diocese ...... 21

Musical Supplement:–

Secundae Vesperae in Nativitate Domini – Rev. Leo P. Manzetti. - 2 THE CATHOLIC CHOIRMASTER §rhuul ſilitair in its ſkelafinit fu (Iluurrb ſituair

by Justine Ward

INCE the publication of the Motu being the alpha and omega of the Proprio so much emphasis has Holy Father's desires, it is in reality been laid on the reform of choirs and but a temporary measure. The ideal the efforts of choirmasters, that we are held up to us as final is not that of almost led to assume that the choir a priest answered by a small group is the sole vehicle of reform contempla of highly trained singers, while the ted by the Pope, and the choirmaster people listen, but of a three cornered the sole official charged with carrying performance between a priest, a group

out his decrees. - of highly trained artists and the whole Singularly enough the Holy Father, body of the faithful. Whether viewed if we can judge by his official from an artistic or from a devotional writings, seems to have regarded standpoint, this contrast of finished the choir in a very different light. art on the one hand, and on the other At best it was a makeshift, “a more the majesty of numbers, is a stirring recent institution, yet a legitimate one, one to the imagination, and it is to replace the original combination of encouraging to think that anything Schola Cantorum and People,” (1) short of this falls short of the Holy “The most ancient and correct ec Father's expressed desire: clesiastical tradition in regard to That we in America are not yet Sacred Music,” he tells us, “encour equipped to carry out the Holy ages the whole body of the people Father's full plan is all too evident. to take an active part in the liturgical In a few isolated instances an effort services, the people singing the Common has been made to introduce congrega of the Mass, while a Schola Cantorum tional singing (usually the singing sings the variable and richer parts of hymns only) and the result has been of the text and of the melodies thus far from satisfactory. But this merely alternating with the people.” (2) proves that we have not yet taken the Consequently the Holy Father in his right means of reaching the Holy Motu Proprio which was addressed Father's standard; not that the “as a juridical code” to the whole standard itself is either undesirable Christian world, directed that “special or unattainable. efforts” should be made “to restore The purpose of this paper is to the use of Gregorian Chant by the * suggest a practical plan by which people, so that the faithful may again the Holy Father's wishes can be carried take an active part in the ecclesiastical out to the letter, the movement being offices as was the custom in ancient one which affects very intimately the times.” (3) life of our whole Catholic people. So far, then, from a reformed Choir Music is one of the Church's most

(1) Rules for the Province of Rome, 1912. (2) Rules for the Province of Rome, 1912. (3) Motu Proprio 1903. THE CATHOLIC CHOIRMASTER 3

powerful means of expression, and aspects of the Church's teaching the Church has always safeguarded method and as such is of universal her means of expression with the same interest. care and solicitude with which she has “The purpose of music,” wrote this safeguarded the dogmatic content great Pope, “is to train and form of her message. Wherever her civili the minds of the faithful to all zation has spread, her dogmas have sanctity.” It was for this reason that been expressed through art, as well he wished to bring it to all the people, as through the written or the spoken young and old, rich and poor; it was word; a special type of building, for this reason that he appealed to a special type of sculpture, of stained every group to help him. addressing his glass, of painting, and above all “Juridical Code of Sacred Music,” not of music developed as the expression to choirmasters and singers only, but to of the Church's message. And this art, “the Clergy, Superiors of Seminaries, this music was the property of the man Superiors of Religious Communities, in the street—it was never reserved Parish Priests, Rectors of Churches and for the specialist. The sculpture on the above all, to the Diocesan Ordinaries,” porches was the poor man's Bible, (4). To all these groups individually and the music was his means of expressing collectively, the Holy Father appealed his love of God, and no-one thought to do their share in restoring music of denying his voice its share in the to our Catholic people, for this great divine worship. Those who broke away Pope realized that lacking the aid of from the Church in the Sixteenth any one of these groups, the rest would Century, indeed, ignorant of the laws be handicapped and the movement of psychology which demand that develop in a lopsided manner. every impression shall be given an The co-operation he expected from adequate expression, suppressed feeling each is set forth clearly in the as an unworthy accompaniment to wor “Rules for the Province of Rome,” ship. They tore down the statues published in 1912 a document which from the altars, broke the stained glass clearly shows that the reform lay in the of the windows, suppressed liturgy mind of Pope Pius X as a popular and its expression in music, and as movement for the re-establishment a result the dogmatic content has all of music as a potent religious and social but died out for lack of nourishment. factor in the lives of the people. To this But the Church, guided by the Holy result each group in authority was Ghost both in her dogmas and her to contribute its quota: Superiors method of transmitting them, has of Ecclesiastical Seminaries were ever realized that appropriate feeling to “treat music as a matter of the is a great aid to the assimilation of highest importance to the clergy” truth. Music is undoubtedly the most and provide if possible a daily lesson direct and powerful form of expression. in sacred chant and music “for all the As such the Church embodies it in her students indiscriminately.” Where liturgy, and desires her children to a daily lesson was impossible a mini use it. Thus the reform of Sacred mum of two hours a week was required. Music desired by Pope Pius X is some Pastors were enjoined to “understand thing more than a movement in favor clearly and familiarize themselves with of sound principles of art. It is the ecclesiastical rules regarding sacred a reassertion of one of the important music,” and to “explain these rules

(4) Motu Proprio 1903. 4 THE CATHOLIC CHOIRMASTER to their choirmasters, organists and glowingly before them. At that age singers;” to see that the music in their “the people” can be as easily stamped churches was “properly interpreted” for life with the divine seal of beauty by a “group of singers sufficient as with the seal of the trivial and the in number and adequate from a litur commonplace. It all rests with the gical and artistic standpoint;” that teacher. One of these remarked re these singers be “brought together cently in my presence that the children at regular intervals for a sufficient in her class did not care for Gregorian number of rehearsals” and that in order Chant, to which her Superior remarked to make this possible, “the choirmaster in a tone of finality: “We all know that and singers be adequately remunera our children like what we like.” ted,” a regular appropriation being The Holy Father knew this too, made for this purpose, even should and wrote: “Parochial Schools are these funds have to be diverted from especially urged to foster the effective other Church activities. But this is training of their members in sacred not all: Pastors were to “explain to the singing.” (1) Appealing directly to people the Holy Father's high inten those in control, he added: “All bodies tions in the reform of sacred music,” of women teachers should make this and “urge the people to co-operate by work especially their own so that the joining in singing the common parts boys and girls who come under their of the Mass (the Kyrie, Gloria, etc.), training may be able to take part in the also the psalms and the more familiar sacred functions and by singing the hymns of the liturgy as well as hymns music allotted to the people may in the vernacular”. Again, both Clergy encourage the rest of the congregation and people were urged to take an active to follow their example.” (2) part in the singing of Vespers, “lest These, then, are the “special efforts” the liturgical functions be reduced to which we can make to restore the a musical entertainment at which the use of Gregorian Chant by the people. clergy and people assist without taking We can cultivate in our school children any active part therein.” a love for the particular type of Among all the groups to whom the music recommended by the Holy See. Holy Father appealed for co-operation, We can give them a solid foundation by far the most important and the in voice placing and sight reading and one in whose hands the ultimate do this at an early age, so that the boys outcome rests, is the Superiors of may be able to contribute their services Religious Communities, particularly the in choirs before the period of vocal Communities in charge of educating mutation. Musical literacy is no more the young. For if “special efforts” are difficult to attain than word literacy, to be made that Gregorian Chant may provided it be as intelligently taught be sung by the people, and if today and be begun as early. Nor is a beauti the people are incapable of singing it, ful voice production any more difficult it follows that they must be taught. to attain than an ugly one; it only At what age can a people be taught.” means that the teachers must know Only during the period of plasticity, how to produce it. during their school days, when they Until a foundation such as this . are ready to respond to the particular is laid in our schools all other efforts type of beauty which the teacher sets at reform will be thwarted. A distin

(1) Rules for the Province of Rome. (2) Rules for the Province of Rome. THE CATHOLIC CHOIRMASTER 5

guished member of the clergy who the first four grades, this time being has charge of the liturgical music spent not in the mere singing of rote in one of our great ecclesiastical Songs, but in fundamental work, which, Seminariés, wrote a few days ago: incidentally, interests the children far “I will have to use up years of valuable more than an appeal to the purely time teaching scales, intervals and imitative faculties. In the first year notation, when if these things were they should master, so as to use them known, I could so much more profit intelligently, the major scale and the ably go into the question of rhythm, tonic and dominant chords. In the history, interpretation, style, etc. etc.” Second year the subdominant chord, In a word, this distinguished priest and the minor scale, with its two chief musician finds himself obliged to put chords, and the modulation into the his Seminarians through First Grade dominant; in the third year, a freer work in music before he can approach use of previously learned intervals, the the liturgical chant. Many a choir direct study of thirds, fourths, fifths master could tell the same story of and sixths, modulation into the sub rehearsals given over to placing the dominant, and from major to minor voices and teaching the elements of and minor to major. In the fourth year solfeggio—an inexcusable waste of his chromatics, modulation into all related time and a needless expense to the keys and an introduction to the Gre Pastor who is employing a specialist gorian modes, (the Gregorian melodies to do work which should have been having previously been learned by covered in the primary grades. The interval). Meanwhile the voice will have relation of the choirmaster to his choir been carefully placed and developed. should be as that of a conductor to his The plan is no pleasant mirage. orchestra. The latter does not spend In one school in which it has been the rehearsal time in teaching each followed for many years, the fourth fiddler to play the fiddle, each oboist grade in the school provides fresh to play his oboe, and the drummer material each year for the choir; and to beat the drum. Each man has out of a class of fifty boys about presumably mastered his instrument forty-five, will usually turn out to be up before he is admitted, and the rehearsal to the vocal and intellectual standard is devoted to ensemble work, phrasing, demanded by the choirmaster, which and details of interpretation. The same is a high one. Thereafter two half should be true of choir practice and the hours a week are all that is given fact that it is not true today shows to music, and the boys learn two new

an imperfect adjustment between the Masses a month. - resources of school and church. It should be possible in every church which maintains a school to have I foresee at once two sets of objections the children trained during the first to such a plan. One will come from four grades to a point where they can musicians who look with suspicion read simple music at sight (all music upon school music. Basing their claims that is suitable for the church) and sing on experience, they will urge that it with well placed voices. This has school music strains and coarsens the been done with marked success wher voices of children by permitting loud ever the work has been properly singing and slipshod voice production; standardized and faithfully carried out. and that so far from guiding the This assumes that not less than twenty aesthetic faculties along lines of beauty, minutes a day be given to music during school music degrades the children's 6 THE CATHOLIC CHOIRMASTER taste by offering mediocre models for or a Benediction service as sung at the of the Sacred Heart, Man their imitative faculties. - Academy I will not attempt to deny that ther hattanville, in New York City. The is ground for such a claim. Music, Religious have recently standardized as it is at present taught in our schools, their music, both in the Academy and has certainly failed to produce the the Parish School, and at the end of one results we have a right to expect. year, every child and member of the Rarely is any scientific voice placing Community can read music easily at attempted. The musical content is apt sight. The Gregorian Masses are sung to be mediocre, due in part to the fact from the Vatican Gradual in modern that our Catholic schools have accepted notation, a group of about twenty-five text books prepared for the public pupils singing the Proper while the schools where religion is excluded. entire Community and all the pupils Now, as we all know, there are only two sing the Common, and sing it with motives intense enough to inspire intelligence, beauty of phrasing, and great music—one is human love, the exquisite tone production. other divine love. Given a situation The Parish School children, while where both are considered unsuitable, not yet able to sing the Mass, have the music cannot be anything but quite a large Gregorian repertoire, and mediocre. Finally, not even the most can read at sight in figured notation ardent advocate of old methods would practically anything that is put before claim that they have enabled our them. At a recent public test the children to “join in singing the Common children, from seven years up, read of the Mass, the Psalms and the more at first sight the Exultet from the familiar hymns of the liturgy,” with office of Holy Saturday, and on another beauty of tone and appreciation of occasion, the Introit from the Feast of their musical and devotional content. the Ascension. In another year they The fact that we have failed in the will be ready to sing the Common of the past, however, does not mean that Mass, provided the Pastor so desires. we need fail in the future. What we Their tone is always true and is rarely must do is to provide better facilities beautiful in quality. The significant for equipping our primary teachers part of the experiment lies in the fact for the work; we must standardize the that the teaching has been done by the musical curriculum, and apply sound Religious themselves, many of whom pedagogical principles to the study had had no previous knowledge of of music. In this connection it may be music. In the Parish School each grade observed that any standardization of teacher handles the music in her own the curriculum which fails to take into room, helped by a bi-weekly visit from account a definite preparation for the the musical supervisor, herself one liturgical music of the Church must of the Religious. A daily period of evidently be inadequate for our Catholic twenty minutes is given, while at the schools. The Holy See has imposed Academy three half hours a week are the obligation upon us of producing considered sufficient, the pupils being not only the beautiful in general, but divided into four groups. All prepara the beautiful in a particular way. tion for the Chapel is carried on in There is nothing so convincing to these classes (in addition to the sight the musician “from Missouri” as a con reading and vocalises) with the excep crete example, and anyone who doubts tion of preparing the Propers which that school music can produce artistic is done at choir practice outside the results would do well to listen to a Mass regular music periods. The work at this THE CATHOLIC CHOIRMASTER 7 school is of a nature to interest and the greatest and indeed the only real impress the incredulous, and to allay problem. a prejudice against school music in the At first our primary teachers should mind of anyone who can be reached be brought together in groups and by evidence. taught (not only the elements of voice The second type of objection will placing and sight reading) but how come from the Religious Orders them to present these things to the children selves. These will be of a practical in a vivid and interesting way. The nature. The majority of their primary tendency in the past has been either teachers have no experience in music, to present the theory of music in a dry, and they cannot afford to employ out uninteresting fashion, or else not to side teachers to do the work. They will present it at all, but to confine the also urge the impossibility of giving music lesson to the dreary learning twenty minutes a day to music in the of a rote song, a totally unproductive present over-crowded condition of the piece of work both musically and curriculum. pedagogically. What we must aim at is to make the children think—in music The last objection is the more no less than in other branches, and this easily met. Music if properly taught the rote song will never do. As a matter is a help and not a detriment to the of fact, the children are far more keenly other branches, as the teachers them interested in working out a musical selves are the first to acknowledge problem for themselves than in having after a few months of experience. it imposed ready made; and each piece An instance of this came to my atten of music learned in a fundamental way tion recently. I had had difficulty in is a help in grasping the next, whereas inducing the principal of a school to the rote song is but a dry and unpro allow twenty minutes a day for the ductive memory load. music lesson. Six months later I met The teachers should be taught: 1) her and asked whether she had been The principles of voice training as able to arrange for that twenty min applied to children. They must learn utes. “I did at first,” she said, “And not to know a pure and true tone; to produce now 2" “Oh, now I give forty minutes one themselves; and to be satisfied with a day to it,” she replied, “because I find nothing less. This will do away with the new method of studying music all shouting and flatting. The music helps the children in their other supervisor should insist upon a high studies.” standard in this particular matter, As a matter of fact, twenty minutes as it depends entirely upon the teacher a day in the primary grades may to obtain it or not. be looked upon in the light of an invest 2.) The cultivation of the child's ear ment, for if a fundamental musical to detect exact differences of pitch and training be given, it will save time in to reproduce them at will; to associate the more advanced grades where the the various tones with a written pressure is greater. The preparation symbol; to produce the tone in response of music for school entertainments, to the symbol, or the symbol in etc., will be accomplished in a minimum response to the tone, one process of time when all the children read music reaching the brain through the eye, the at sight, and the long customary weeks other through the ear. Both are neces or even months of rehearsing will be sary to complete assimilation. At first eliminated. the symbols used should be so simple The preparation of our teachers is and their relation to the various tones - - - - - 8 THE CATHOLIC CHOIRMASTER * so obvious that there can be no danger under these circumstances. The dif of confusion. Later, when the musical ficulty would be to keep them silent. ideas represented by the symbols have It is as natural to sing as to speak, become thoroughly familiar, the child provided we know how ! Song is one can easily make the transfer to the of the most natural means of express more difficult set of symbols used ing our joy and love and adoration. in modern staff notation or in Grego “What is more pleasing to God” asks rian notation. St. Clement of Alexandria, “than to The study of tones and their relation hear the whole Christian people sing can be made intensely interesting to him in unison 2" And St. Ambrose to the children, but only if it is well adds: “It is a great bond of unity when presented, and here again the teachers an immense crowd of people raise their should be helped by a good method voices in a single chorus.” of presentation, correct sequence of Our forefathers raised their voices ideas, etc. etc. On the other hand, in this way. Why should not we if fundamental work is to be accom raise ours? They learned to do this plished, the teachers must be willing in their schools. Why should we not to make a sacrifice, for a few months, learn in ours? They possessed none of the usual accomplishments. To ask of the educational facilities which we a child to sing a whole song with tones possess today, they had no printed and rhythm and words, before he can books to help them, nor so much as an sing a single tone correctly is destruct exact system of musical notation, yet ive of all real musical standard. It can the object, to them, seemed so worth be done after a fashion and often is while that they brought it about at the done, but it creates a low 'standard price of incredible pains. musically and pedagogically. What they have done. we can do, Thus, in order to lay a foundation in a fraction of the time and with in our schools for the revival of a fraction of effort. All we need is to sacred music desired by the Holy See, share their point of view,-feel as they three practical steps are necessary. did about the value of music in the life The first, to apply to the study of music of a child of the Church. Once that sound principles of modern pedagogy, point is established, the rest will follow. grading it as carefully as the other Music will be restored as a precious subjects in the curriculum. The second, heritage to our people; the liturgical to instruct our teachers in the primary offices will be sung as they were in the grades in the theory and practice of golden ages of Catholicism, and the elementary music, equipping them with people themselves, being brought into a method of imparting it which will be close contact with the inner life of the vivid, compelling and suited to little Church as expressed in the divine children. The third, to plan the musical liturgy, will be “trained and formed curriculum of the schools so that it will to sanctity,” > * of that strong type which lead up directly to the liturgical chant flowered in the ages of faith, of faith of the Church in which the Holy See and of art and of music. desires the people to join, led by the All these treasures will be restored children. to us when the Religious Orders Do not let us imagine that it will be devoted to teaching have “made the difficult to induce the people to sing work especially their own.” THE CATHOLIC CHOIRMASTER - 9 3false (Quautities in Hlaitt (Iſlaut

7 ATHER Manzetti has asked me to musical rhythm is of its very nature write a short article dealing with heavy, weak and inclined to rest. It is the difficulty so often complained of by in fact the beat on which the piece is choirmasters: “The composers of the to end : the final resting point of all. gregorian melodies seem to have had Supposing then music in double time, no respect for Quantity; they habitually the word-accent will go better on the give but one note to the word-accent second beat of the bar, and so will keep and assign a group to the following up the movement of the whole piece. unaccented syllable. It's false Quan To force it down always on the first tity.” beat will give to the whole composition This difficulty was felt by the too much of dance-rhythm, or secularity humanists of the 16th century and so and vulgarity for the ideal of Church aggrieved were they, that they wel Music; by placing the word-accent on comed the clumsy “reform” of the the up-beat, however, we obtain that Graduale falsely attributed to Pierluigi swiftness of speech, that suppleness da Palestrina, as a Gospel of New of rhythm, that ethereal expression Thought. befitting the ascensiones cordis that As an example, let us take the should go with prayer. Asperges of the Vatican Kyriale: The reason for this particular light p

u - - ness and speed of the word-accent “. . . et super nivern sings Gregory, is that it is never final: the word cannot Nay, says Erasmus, it should be . . . be completely heard till you get away r from the accented syllable; and so, the niverm. Compromise, chirps the Cheer sooner away, the better. ful Pagan, we'll make a triplet of it, The plain fact is that the word accent is of a nature different to that thus. . . niveia, of the rhythmic accent. The former may be expressed by an upward gesture, The answer is that you may have the like the acute accent of the ancient word-accent on the first note of the grammarians; the latter by the grave group that follows. It is as tho’ the NI accent. The word-accent remains, were sounded on the last beat of a bar, however, quite free to go whither and the VEM fell on the first of the next it will. bar, thus. . . niven. - The freedon of the word-accent can This does not prevent my placing be well illustrated from the great a sufficient stress on the word hymn-writers. Take St. Thomas Aqui accent; on the contrary, adds Gregory, na's well known lines: it helps to bring that accent into O Salutaris Hostia. prominence. The accent is deliberately Quae coeli pandis ostium, taken away from the first beat of the bar and placed on the preceding final Bélla praemunt hostilia beat. The result is a gain to the accent Da robur, fer auxilium. and a relief to the hearer who easilv tires of the heavy effect of the accent Unitrinoque Domino on the down-beat. Sit Sempiterna gloria, Besides the very nature of the Qui vitam sine termino word-accent makes for swiftness and energy; and the down-beat of the Nóbis donet in patria. 10 THE CATHOLIC CHOIRMASTER

Here the word-accent. while more lest any one still doubt of the legitimacy frequently coinciding with the met of this manner of treating the word rical accent, is nevertheless free. accent, let him scan the poets in any How shall we sing these lines without language, the English not excepted. doing violence to one or the other of the Milton, in his “Paradise Lost,” for rival accents? Remembering the prin instance, has many such liberties, ciple just enunciated: that the word although he is sensitive to metrical accent is of a nature different to the rhythm, he never hesitates to place the metrical accent, we beat steadily on word-accent on the up-beat of the through the verses, keeping always 1 hythm. Here is an example taken to the iambic rhythm ; and, when the at random : word-accent happens to rise on the

------he up-beat, put the stress on that beat. Whose image thou art, him thou shalt As another example, take this couplet enjoy from the Matins hymn of the Ascen Inseparably thine, to him shalt bear sion: Culpat caro, purgat caro, Mültitudes like thyself, and thence be Regnat Deus Dei caro. called Need I add that these lines are Möther of human race. in iambic metre 2 Nor should we have far to seek other The most complete illustration and such instances in the words of poets triumphant vindication of the free of the first rank. dom of the word-accent in all sorts and In conclusion therefore, let me urge conditions of music, is given by Dom the singer to approach this question Mocquereau, O.S.B., in his Treatise without prejudice; and, in his plainsong on Gregorian Rhythm, in the seventh studies, to treat the rhythm of the volume of the Paleographie Musicale. melody as one thing, that of the text He is at pains to cite some hundreds as another. Then, let these two rhythms of examples from the works of com marry sweetly, not contend for the posers, beginning with the fifteenth mastery. century and coming straight down Fra Ambrogio. to our own times. Anything more convincing no one could desire. But Caldey, England, Oct. 1917.

NOTES AND GLEANINGS

It is related of an organist of a Catholic Holy Name—“Jesus the very thought of thee.” Church in a suburb of Philadelphia—that he :: :: :: resigned his position—rather than play the Another story (vouched for as absolutely one time popular song “Sweet Genevieve” true) is that told of a Camden, N. J. organist arranged as an “O Salutaris Hostia"—for the who while on his way to Church bought offertory of the Mass. The soloist supported a New York paper which contained a supple by the director insisted that the music was ment in the form of the music of one of the pretty and it did not matter whether the con latest popular ballads. The organist confided gregation recognized the original love song to his companion his intention of “trying” the or not. In this particular church one may new piece on the organ at the first opportunity hear the Sextette from “I lucia di Lanner in the Mass, and surely enough the paper was moor.” Sunday after Sunday sung to the text placed ºn the stand and the entire ballad of Tantum Ergo--while Verdi's operatic mel (in waltz time) Was played during the odies are also in great favor and "Drink to me Offertory. only with thine eyes" is sung as a hymn to time THE CATHOLIC CHOIRMASTER 11 PAPAL LETTER TO THE GARDINAL WICAR OF ROME "

The carrying out of the regulations for the special way annong the clergy and faith restoration of sacred music is laid upon Cardi ful of this Our be oved City of Rome, the nal Respighi, Vicar-General of Rome, in the ('entre of Christendom and the seat of the following letter from His Holiness. Sul) reme Authority of the Church. Indeed it would seen, but natural that none should Lord Cardinal, - A desire to see the feel more deeply the influx of Our word than decorum, dignity and holiness of the t", ose who hear it directly from Our mouth, liturgical functions flourish again in all places and that the example of loving and filial has determined U's to make known by submission to Our fatherly invitations should a special writing under Our own hand Our be given with greater solicitude by none more wiil with regard to the sacred music which than by that first and most noble portion of is employed in the service of public worship. thr (lock of Christ, the Church of Ronne, We cherish the hope that all will second U's which has been specially entrusted to Our in this desired restoration not merely with pastoral care as Bishop. Besides this example that blind submission, always laudable though is to be given in the sight of the whole world. it be, which is accorded out of a pure spirit Hishops and the faithful are continually of obedience to commands that are onerous coming here from all lands to honour the and conti ary to one's own manner of thinking Vicar of Christ and to renew their spirit and feeling, but with that alacrity of will | y visiting our venerable basilicas and the which springs from the intimate persuasion tombs of the martyrs, and by assisting with of having to do so on grounds duly weighed, redoubled fervour at the solemnities which are clear, evident, and beyond question. her o celebrated with all pomp and splendour

Even a little reflection on the end for tº roug out the year. “Optarmus ne moribus which a lºt is admitted to the service nostris offensi recedant,” said Our predecessor of public worship, and on the supreme fitness X3enedict XIV, in his own time in his Encyclical of offering to the Lord only things in then Letter Annus qui, speaking of this very selves good, and where possible, excellent, subject of sacred music: “We desire that they will at once serve to show that the prescrip An ay not return to their own countries scan tions of the Church regarding sacred music dalized by our customs.” And farther on, are but the immediate application of those touching on the abuse of instruments which two fundamental principles. When the clergy thon prevailed, the same Pontiff said: “What and choirmaster's are penetrated with them, opinion will be formed of us by those who, good sacred music flourishes spontaneously, coming from countries in which instruments as has been constantly observed, and continues are not used in church, hear them in our to be observed in a great many places; when churches, just as they might in theatres and on the contrary those principles are neglected, cther profane places? They will conne, too, neither prayers, admonitions, severe and from places and countries where there is repeated orders nor threats of canonical (singing and music in the churches of the same penalties suffice to effect any change; for kind as in ours. But if they are persons of passion, and when not passion a shameful and sound judgment they must be grieved not inexcusable ignorance, always finds a means to find in our music that remedy for the evil in their own churches which they canne hither of eluding the will of the Church, and to seek." continuing for years in the same reprehensible Way. In other times the contradiction between This alacrity of will We look for in a very the music usually executed in the churches

(*) Translated by Justine Bayard Ward. 12 THE CATHOLIC ('HOIRMASTER and the ecclesiastical laws and prescrip pletely extirpated, and that the solemnity of tions was, perhaps, far less noticeable, Vespers should be celebrated according to the and the scandal caused by this contradiction liturgical rules indicated by Us. The Pa was doubtless more circumscribed, precisely triarchal leasilicas will lead the way by the because the evil was more widely diffused ( xaluple of solicitous care and enlightened and general. But now that so much study has zeal of the Lord Cardinals who loreside over been enployed by distinguished men in them, and with these will vie especially the explaining the liturgy and the art used Illinor basilicas, and the collegiate and in the service of public worship, now that | arochial churches, as well as the churches such consoling, and not unfrequently, such and chapels of the religious orders. And do splendid results have been obtained in so yotſ, 1.0, d Cardinal, neither accept excuses many churches throughout the world in the nor concedo delays. The difficulty is not restoration of sacred music, not withstanding diminished but 1 at her augmented by post the very serious difficulties that had to be honement, and since the thing is to be done faced, and that have been happily overcome; let it be done in mediately and resolutely. now, in fine, that the necessity of a complete Let all have conſidence in Us and in Our word, change in the order of things has come to be with which heavenly grace and blessing are universally appreciated every abuse in this united. At first the novelty will produce some hl atter l, econnes intolerable, and naust le wonder among individuals: here and there I enhoved. ;: leader or director of a chºir may find hin sº If son ( what unprepared ; but little by little You, therefore, Lord ('ardinal, in your high office as Our Vicar in Ronne for things will right themselves, and in the perfect spiritual matters, will, We are sure, exert harmony between the music with the liturgical rules, and the nature of the psalmody all will yourself with the gentleness that is charac teristic of you, but with equal firmness, to the discoln a beauty and a goodness which have end that the music executed in the churches pel hal's never before been observed. The and chapels of the secular and regular clergy V s]) ºr service will indecd be notably short of this City may be in entire harmony with ened. Hut if the roctors of the churches desire Our instructions. There is much to be cor on a special occasion to prolong the function lected or removed in the chants of the Mass, s: one what, in order to detain the people who of the Litany of Loreto, of the Eucharistic are wont so laudably to go in the evening to hymns, but that winch needs a thorough the particular church where the feast is being renewal is the singing of the Vespers of the celebrated, there is nothing to hinder them— feasts celebrated in the different churches nay, it will rather be so much gained for the and basilicas. The liturgical prescriptions piety and edification of the faithful—if they of the Caeremoniale Episcoporum and the have a suitable sermon after the Vespers, beautiful musical traditions of the classical closed with Solemn Benediction of the Most Roman school are no longer to be found. For Holy Sacrament. the devout psalmody of the clergy, in which Finally, We desire that sacred music be the people also used to join, there have been cultivated with special care and in the proper substituted interminable musical composi way in all the seminaries and ecclesiastical tions on the words of the psalms, all of them colleges of Rome, in which such a large and modelled on old theatrical works, and most choice body of young clerics from all parts cf them of such meagre artistic value that of the world are being educated in tile sacred they would not be tolerated for a moment sciences and in the ecclesiastical spirit. even in our second-rate concerts. We know, and We are greatly comforted by ('el tain it is that Christian piety and the knowledge, that in some institutions sacred devotion are "not promoted by them; the \music is in such a flourishing condition that curiosity of some of the less intelligent it may serve as a model for others. But there is fed, inut the majority, disgusted and scan are some seminaries and colleges which leave dalised, wonder how it is that such an abuse much to be desired owing to the carelessness can still survive. of the superiors or the want of capacity and We therefore wish the cause to be com the imperfect taste of the persons to whom 7'o f/, e Se/io/a 0am forum of ASf. Mary's Seminary Æa /// more, Md.

Secundae Vesperae in

Nativitate Domini.

“Domine, ad adjuvandum,“ Psalmos et Cantieum B. M. V.

ad modum falso -bordomi ad quatuor aequales voces. alternatim concinavit Presb. LeO P. Manzetti Deus in Adjutorium LEO P. MANZETTI

^ L A TA 1 • „ \ ■ \ \ \ A- -\-—=—■—n caa- £======De - us, in ad- ju - to - ri - um me - um in - ten - de.

fe sti ma.

..--^ fe | Chorus myf Domine, ad adjuvandum | me f -

* -- 1 e - -

.f* Gloria Patri et Fi1io et

mjf Sicut erat in principio,

ru m A - sae - cu - la sae - cu - lo - - .

ur - et 1m sae - cu - la sac - cu -

m tc m . men, A - -

.f A1- le -

mem. 1o - rum. A - Copyright, 1917, by Leo P Manzetti Dixit Dominus

Antiphona “Tecum principium” ex libris Vaticanis

t=

A. -a A A L li l - I E-I - I NA li - e I I

– I LI e) r 1. Di - xit Dominus Do - mi - no me - o :

8. Virgam virtutis tua e emittet Domi - nus ex Si - on :

5. Juravit Dominus et non paeni - - te - bit e - um :

7. Judicabit in nationibus, im - - ple-bit ru - i - nas: 9. Gloria Pa-tri et Fi - li - o :

= A Ia l I l a LA I E-I I A I - a l a I I # fort I - I T I -

1. Sede a dex - tris me - is :

3. dominare in medio inimico - - rum tu - o - Tum .

5. Tu es sacerdos in aeternum secundum ordi-nem Mel - chi - se - dech.

7. conquassabit capita in ter - - ra mul - to - r unl ,

9. et Spiri - - , - tu - i San - Cto.

. Donec ponam ini - - - - . Tecum principium in die virtutis tuae”in splendori Dominus a ; De torrente in . Sicut erat in principio et

scabellum ex utero ante luciferum . confregit in die irae propterea exal 10. et in saecula saecu

l R e nati 111r A r 4 i ral. --- - Confitebor

Antiphona “Redemptionem”

I =

() º - a l A sr – Ha ri-- I rV

è (eff EHEFE -. I l TTTT II Li I Il

e) r r T -

1. Con - fi - tebor tibi Domine in toto cor - de me - O : 3. Confessi o et magnificentia e - pus e - jus:

5. Memor erit in saeculum testa - - men - ti su - i : 7. Fidelia omnia mandata e jus: º con firmata in sae - cu-lum sae-cu - li :

9. Sanctum et terribile Il 0 - mt. Il e - jus: 11. Gloria Pa-tri et Fi - li – o : l

I = A –i 1 L ## E P e A I - I-A I I i E Fi el V S

1. in consilio justorum et congre - - ga - ti - o - me . 3. et justitia eius manet in sae - cu - lum sae - cu - li .

5. virtutem operum suorum annuntiabit po - pu - lo S ll - 0 -

7. facta in veritate et ae - qui - ta - te . 9. initium sapientiae ti - mor Do - mi - ni .

11. et Spi - - - ri - tu - i San - Cto .

- -

- I + l E -

E - I v- - E-I I

I- | º

2. Magna o - pe - ra Do - mi - ni: 4. Memoriam fecit mirabilium suorun., misericors et mise ra - tor Do - mi - rius :

g 6. Ut det illis here di - - - ta - tem gen - ti - um: |

5 8. Redemptionem misit po - pu - lo Su - o |

5 10. Intellectus bonus omnibus faci - - en - ti - bus e - um

12. Sicut erat in principio et n un C et Sem – "

2. exquisita in omnes volun

4. escam dedit ti - 6. opera manuum e jus veritas 8. mandavit in aternum testa 10. laudatio ejus manet in 12. et in saecula saecu Beatus vir

Antiphona “Exortum est”

ſe-e-t I TA -Il li o =HipHEpif-i 1. Be-a - tus vir qui ti - met Do-mi-num: 3. Gloria et divitiae in do - mo e - jus: 5. Jucundus homo qui miseretur et commodat, disponet sermones suos in ju - di-ci-o : 7. Paratum cor ejus sperare in Domino, confirmatum est cor e - jus: 9 Peccator videbit et irascetur, dentibus suis fremet et ta - be - scet:

11. Sicut erat in principio et nunc et sem-per:

A. A la A I Il li IA la I li a–a I I II I I I

I I I I -

ITv I I - e) V 1. in mandatis ejus V o - let ni - mis.

3. et justitia e jus manet in sae - cu - lum - sae - cu - li.

5. quia in aeternum non C0m – mo - ve - bi - tur.

7. non commove bitur donec despiciat ini - mi - Cos Sli - OS .

9 desiderium pecca - - - to - rum per - 1 - bit.

11. et in saecula saecu - - - lo - um. A - men .

# - I I» - I A-A - Is I E I I I-I u-T-TI I

2. Potens in terra e rit semen e - - jus

4. Exortum est in tenebris lumen re - - ctis:

6. In memoria aeterna e rit ju - - stus:

8. Dispersit dedit pauperibus:” justitia e jus manet in saeculum Sae - Cul - li : ;

10. Gloria Patri et Fi - li - O

L-I I E I -

I I E

generatio rectorum bene di misericors et miserator, et ab auditione ma la non ti cornu e jus exaltabitur in 10. et Spiritui

Repetitur Antiphona De Profundis

Antiphona “Apud Dominum” I`-=—

EGEEEEEis; i=EE I—w * EEEg=t=HE ΤΤ/ E==i e) r 1. De pro - fundis clamavi ad te Do - mi - ne:

3. Si iniquitates observa - ve - ris Do - mi - ne:

5. Sustinuit anima mea in ver - bo e - jus :

7. Quia apud Dominum m i - - se - ri - cor - di - a :

9. Gloria Pa - - - tri et Fi - li - o :

-—= _— ^ — i 1 - I ^ - -E-N I.V -H R\ -K- + -H E$E$ HEHEHEa -HCH-H- -H e) r τ-7 w

1. Domine exau - - - di v o - cem me - am .

3. Domine - quis - u - sti - n e - bit.

5. speravit anima nu t* - a in Do - mi - no.

7. et copiosa apud e - u nl re - dem - pti - o .

9. et Spi - - - ri - tu - i Sam - cto.

Fiant aures tuae - den

. Quia apud te propiti - - 0

A custodia matutina s ad n 0 -

: • Et ipse - m et I - - ra

. Sicut erat in pr in cipio et • emm -

in vocem deprecati - . et propter legem tuam sustinu -

. speret Isra - - -

• ex omnibus iniqui - -

10. et in saecula saecu - - Memento Domine 7 Antiphona - phona 44 De Fructu” f) L A N A - 5-N-NEPEI ITTTTTI

- P- I TT- N-I II CJ v- II l

1. Me - men-to Domine Da - vid: 3. Si introiero in tabernaculum domus me - ae: 5. Et requiem temporibus meis 'donec inveniam locum Do- mi - no: 7. Introibimus in tabernaculum e - jus:

9. Sacerdotes tui induantur ju - - - sti - ti - am: 11. Juravit Dominus David veritatem et non frustrabitur e - am: 13. Et filii eorum usque in sae - cu - lum: 15. Haec requies mea in saeculum sae - cu - li:

17. Sacerdotes ejus induam salu - - - ta - ri:

19. Inimicos ejus induam confusi - - - o - ne : 21. Sicut erat in principio, et nunc et sem - per

- I = A i A. L II I A - Ia La- I - I =# IT-I f=EFE

e) - - r- -

1. et omnis mansuetu - - - di - nis e - Jus.

3. si ascendero in lectum stra - ti me - i .

5. tabernaculum De – o Ja - cob.

7. adorabimus in loco ubi stete runt pe - des e - jus.

9. et sancti tu - - - - i ex - sul - tent

11. de fructu ventris tui ponam super Se - dem tu - a In.

13. sedebunt super se - dem tu - am ,

15. hic habitabo quoniam e - - - le - gi e - a In -

17. et sancti ejus exsultatione ex - sul - ta - bunt

19. super ipsum autem efflore bit sanctifica - ti - o me - a .

21. et in saecula saecu - - - lo - rum. A - men

l a o f Ea I a - P - E E-E E –E º I – I r-I T I

2. Sicut juravit Do - mi - mo

4. Si dedero somnum oculis me - - is.

6. Ecce audivimus eam in E - phra - ta . n 8. Surge Domine in requiem tu - - am .

2 10. Propter David servum tu - - um .

è 12. Si custodie rint filii tu i testamentum me - - ulm .

- 14. Quoniam e legit Dominus Si - - O n .

16. Viduam ejus benedicens bene - - I di - - Cam .

18. Illuc produca m cornu Da - - vid.

. Gloria Patri et Fi - li - O -- = zº a FH =

ESE-Eſ- - E - r I | | I =r

Lsº | E - ri - C – E

- - E –LE – – E- I– - T I I- T

2. votum vovit Deo Ja - - - cob.

4. et palpebris meis dormitati - - O - - - nem

6. invenimus eam in campis sil - - - Va e

8. tu et arca sanctificationis tu - - - a e

10. non avertas faciem Christi tu - - - i.

12. et testimonia mea haec quae docebo e - - - | o S.

14. elegit eam in habitationem si - - - bi.

16. pauperes ejus saturabo pa - ni - bus.

18. paravi lucernam Christo me - - - O,

20. et Spiritui San – - - Cto

+- I- I I la Resi 19 I-I TSEP Repetitur Antiphona Magnificat - Antiphona “Hodie” #=HEErt= EHEE

e - - 1. Ma- gni - ficat 3. Qui - a respexit humilitatem an - cil - la e Su - ae: 5. Et mi - sericordia e jus a progeni - e in pro-ge - ni - es:

7. De - po - suit po - - - ten - tes de Se - de:

9. Su-sce - pit Israel pu - e - rum su - u m: 11. Glo- ri - a Pa - tri et Fi - li – o :

A 1 i–i = # l Eù=N=NEEEEEE Tur f=HEHEE

1. anima me - a Do - mi - num

3. ecce enim ex hoc beatam me dicent omnes gene-ra - ti - o - nes.

5. ti men – - - - - ti - bus e - u In.

7. et exal - - - - - ta - vit hu - mi - les.

9. re cordatus misericor - - - di – ae su - a e .

11. et Spiri - - - - - tu - i San - Ct O .

-l La sai =F si EE ver RSI I

l ==i E H l S -

2. Et ex - sul tavit spiritus me - - - I us:

4. Qui - a fecit mihi magna qui po - ten S est:

6. Fe - cit potenti am in brachio Su - - - I O : ; 8. F - Su - rientes implevit bo - - - nis: 10. Sic – ut locutus est ad patres 1n O - - - Stros:

12. Sic – ut erat in principio, et nunc et | sem - - - I per:

º la va a 2- -. t-- EEEEEEEfs =EEEE T T- I r- I

in Deo salu -

et Sanctum dispersit superbos mente et diviteS di . Abraham et semini e jus et in saecula S a e Cu

Repetitur Antiphona THE CATHOLIC CHOIRMASTER 13 the teaching of chant and the direction of delight of past generations in the fairest days sacred music is entrusted. of Christian piety. And as in former times that chant was spread abroad over the whole You, Lord Cardinal, will be good enough Western Church from Rome, so We desire that to provide a remedy for this also with soli Our young clerics, educated under Our own citude, by insisting especially that Gregorian eyes, may carry it with them and diffuse it Chant, according to the prescriptions of the again in their own dioceses when they return Council (ºf Trent and of innumeralle other thither as priests to work for the glory of God. councils, provincial and diocesan in all parts We are overjoyed to be able to give these of the world, be studied with particular regulations at a time when we are about to diligence, and be as a rule preferred in the celebrate the 15th centenary of the death of public and private functions of the institute. the glorious and incomparable Pontiff St. It is true that in other times Gregorian Chant }regory the Great, to whom an ecclesiastical was known to most people only through books tradition dating back many centuries has which were incorrect, vitiated and curtailed. attributed the composition of these sacred *But the accurate and prolonged study that has melodies and from whom they have derived been given to it by illustrious men who have their name. Let Our dearly - beloved youths done a great service to sacred art has changed oxercise themselves in them, for it will be the face of things. Gregorian Chant restored sweet to l’s to hear them when as We have in such a satisfactoly way to its early purity, been told will be the case, they will assemble as it was handed down by the fathers and is at the coming centenary celebrations round found in the codices of the various churches, the tomb of the Holy Pontiff in the Vatican is sweet, soft, easy to learn and of a beauty Basilica during the Sacred Liturgy which, so fresh and full of surprises that wherever please God, will be celebrated by Us on that it has been introduced it has never failed to au: spicious occasion. excite real enthusiasm in the youthful singers. Now, when delight enters into the fulfillment Meanwhile as a pledge of Our particular of duty, everything is done with greater benevolence, receive, Lord Cardinal, the Apo alº crity and with more lasting fruit. stolic Henediction which from the bottom of Our heart We impart to you, to the clergy, and It is Our will, therefore, that in all semi to all Our most beloved people. naries and colleges in this fostering city there be introduced Once more the most ancient From the Vatican on the Feast of the Im Roman chant which used to resound in our maculate Conception of 1903. Clurches and basilicas and which formed the Plus x., Pope.

GREAT INTEREST IN MUSIC Like all spiritual things harmony has its psychology. Mole, it has its grammar and its Educators Now recognize its Far-Reaching rules of analysis and construction. Melody Cultural Value that stirs the emotions is the unadorned language of the soul. Harmony is intellectual An intelligent interest in music of the to the last degree, but melody and harmony higher order is everywhere increasing. Well united contribute to the true and the beautiful as no other educational force does. rounded educators have long since recognized Hence it is that all institutions of learning the far reaching cultural value of musical art. are giving so much attention to the serious There is no complete education without music. study of music, especially theory and compo That is an outstanding fact in the most sition. Some of the choicest literature publish enlightened countries of Europe. Music is now od in recent years has been on musical topics. coming to be appreciated by all individuals The universities are making a feature of identified with school or college work in lectures on music more than ever—Birming America. han Age-Herald. 14 THE CATHOLIC CHOIRMASTER

Far West, Rev. Dominic F. Waedenschwiler, Ullr (Lathulir (Ilmirutagter O. S. B. Pastor of St. Mary's, Mt. Angel, Oregon. Central States, Rev. S. M. Yenn, Diocesan The Official Bulletin Director of Church Music, 1140 Clinton St., of the Ft. Wayne, Ind. Society of St. Gregory of America Treasurer, Rev. James A. Boylan, D.D., St. Charles' Seminary, Overbrook, Pa. Secretary and Editor of the Society’s “Bulletin” NICOLA A. MONTANI...... Editor Mr. Nicola A. Montani, 1207 Walnut St., Philadelphia, Pa. Published Quarterly by the Committee on Reviewing Church Composi Society of St. Greqory of America tions and Compiling Catalogue: Rev. Leo P. at 1207 Walnut St., Phila. , Pa. Manzetti; Rev. John M. Petter, S.T. B., Mr. Nicola A. Montani. Printed by The Salesian Press Executive Committee: Very Rev. E. R. Dyer, 507 S. 9th St., Philadelphia, Pa. S. S., D. D.; Rev. E. M. McKeever, L.L.D.; Rev. Leo P. Manzetti, Mus. D.; Rev. James A. Boylan, D. D. : Rev. J. M. Yearly Subscription ...... $1.00 Petter, S.T. B. : Mr. Nicola A. Montani. Single Copies ...... 25 Cents

VOL. IV. JANUARY 15th, 1918 No. 1 NOT I C E : It may be well to make clear the attitude Entered as second class matter at the P. O. of the Society with regard to advertising matters, programmes of music rendered in Philadelphia, Penna. under the act of March 3 1879 liturgical functions, concerts, organ recitals and the like. —The Society of St. Gregory cannot stand sponsor for all the Music advertised and mentioned in its programmes THE SOCIETY OF ST. GREGORY published in its “Bulletin.”—While we rely upon our patrons to offer for advertisement OF AMERICA only such music as they believe to be in An Organization of Catholic Organists and conformity with the rules of the “Motu Choirmasters, and those interested in the ad Proprio,” we cannot engage the good offices Vancement of the Cause of Sacred Music. of our Society for recommending music which has not been submitted to our Committee for examination and approval. Moreover it would be quite in possible for the Committee to OFFICERS: pronounce upon all the music issued by publishing houses. No publicity will be given President, The Very Rev. E. R. Dyer, S.S., however either in advertisements or pro D. D., President of St. Mary's Seminary, grammes to any music composition which is Baltimore, Md. judged to be out of harmony with approved Spiritual Director, Rev. E. M. McKeever, ideals. The “Bulletin” publishes a list neces L L. D., St. John the Baptist Church sarily quite limited of music approved by its 3454 Penn Ave., Pittsburg, Pa. Committee. It can be easily ascertained if the First Vice-President, Rev. Leo P. Manzetti, music mentioned in advertisements and pro Mus. D., Musical Director, St. Mary's grammes appear on the approved list. Seminary, Baltimore, Md. The task of the Committee is often a deli cate one. While very many compositions of Vice-Presidents representing respective sacred music clearly accord with the principles districts: laid down in the “Motu Proprio” and others Canada, Rev. Louis J. Bouhier. S. S., 66 clearly do not, there are still others about Notre Dame, West: Montreal, Quebec. which even those whose judgment must be respected will differ in appreciation. South, Rev. Louis Evers 2310 Robertson The Committee would gladly have attention Ave., Cincinnati, Ohio. called to any questionable musical composi South West, Rev. Theo. Labourè, O.M.I., tion mentioned in the advertisements and Theological Seminary, San Antonio, Texas. programmes published in the Society's North, Rev. J. M. Petter, S.T. B., St. Ber “Bulletin.” Its great purpose is to aid effect nard's Seminary, Rochester, N. Y. ually in the selection of Church Music of an East, Dr. James Reilly, 100 Boylston St., unquestionable religious character. Boston, Mass. Middle West, Mr. Aloysius Rhode, 430s A. South Compton Ave., St. Louis, Mo. 15 THE CATHOLIC CHOIRMASTER -

NOTES AND GLEANINGS

CATHOLIC PUPI LS SING LITU RGICAL fact that the reforms in sacred music desired MUSIC by the Holy See are not by any means impracticable but are easy to conform to, of school music, planned A demonstration provided the proper preparation be given the of the full ideal to lead up to the realization children in our schools. of the Holy See that the people should join At the closing of the exercises, His Emi in the liturgical singing, was given on Thurs nence congratulated both teachers and pupils, day Oct. 25, at the College of the Sacred saying: “In all my experience I have never Heart, Manhattanville, in the presence of His heard a tone so sweet or such clever and Eminence Cardinal Farley and many of the intelligent reading of music. I would like to prominent priests of the diocese, as well hear such singing in all our classrooms from Sisters from the various as many of the the Atlantic to the Pacific, and as a result teaching orders. I hope to see the day when all our people In opening the demonstration, Mrs. Cabot will join in singing the beautiful and inspiring Ward explained briefly the purpose of the Gregorian chant.” of music work, namely, to reassert the value Many of the teaching orders who attended as a basic part of Catholic education and to the normal course given at Manhattanville work out a simple and practical plan by which last summer were among the audience. music can be restored to the true place in our Among them were Sisters of St. Dominic, of Catholic classrooms, with the ultimate result St. Francis, of the Divine Compassion, of of enabling the faithful to take an active part Mercy, of St. Ursula, of St. Agnes, of St. liturgical music of the Church, according in the Joseph and of the Holy Child Jesus, all of to the wishes of the Holy See. whom are using the system and obtaining The demonstration showed this plan as excellent results. worked out in every detail by the Religious Among those who attended the demonstra from the of the Sacred Heart. The children tion were: Monsignor Thomas G. Carroll, parish school, from the ages of seven to nine Monsignor John P. Chidwick, Monsignor which the method showed the solid foundation Henry A. Brann, the Right Rev. Bishop gives in reading music at sight and in forming Cantwell, of Los Angeles; the Rev. Charles the voice. The hearers were impressed, not J. Powers, C. S. P.; Thomas F. White, S. J.; only with the fluency with which the children John J. Wynne, S.J.; J. B. Young, S.J.; read music, but with the great beauty of their J. R. Heffernan, Father Cahill, Father tone. A request was made that some one in Harmon, Michael Shea, and Fathers Cogan, the audience should write a new melody for Dugan, Spina, Minogue, McGrath, and read, which was done, the the children to O'Leary. melody selected being the “Exultet,” which There were also present: M. Bonnet, the the children read instantly and memorized. famous organist of St. Eustache, Paris; Dr. The work was then shown in a more ad William C. Carl, organist of the First Pre vanced stage by the students of the academy, sbyterian Church; George Fischer, Mrs. who rendered several Gregorian melodies, Herbert D. Robbins, Mrs. Outerbridge Horsey, every pupil joining in the singing, although Mrs. W. Bayard Cutting, Dr. and Mrs. Jesse many of them had had but three weeks of Albert Locke, and many others. previous training. Once more what stood out The Catholic News—New York. was the beauty of tone and musical intelli :k k :: gence shown by the pupils. The occasion ended with Benediction of the In a special issue of the Indiana Catholic, Most Blessed Sacrament, at which the music Mr. Elmer Andrew Steffen, the choirmaster sung was entirely Gregorian and was rendered of the Cathedral of SS. Peter and Paul, by all the Religi) is of the community as well Indianapolis, contributes an illuminating article as the pupils, with exquisite beauty and on the subject of Sacred music under the title devotion. of “Developing a taste for better Church The occasion bore striking witness to the Music.” – Mr. Steffen reviews the work of 16 THE CATHOLIC CHOIRMASTER the Auxiliary Committee to the Pontifical Virgin Mary—by Dr. Nicholas Elsenheimer Institute of Sacred Music and cites the was listed under the heading “Masses in documents of His Holiness Benedict XV polyphonic style” unaccompanied (as were as proof of the present Pope's interest in the also Masses by Al Rhode—and B. O. Klein). great question of Liturgical Music. These masses should have been under the Mr. Steffen is advancing the cause of Sacred heading of “Miasses for four part chorus with Music in his locality not only through his work organ accompaniment." as director of the Cathedral Choir, but also HANS M ERX LECTURES through his liturgical compositions. The ON CHURCH MUSIC activity of a number of well-equipped and enthusiastic supporters of the cause in various Hans Merx has resumed his duties as sections of the country, who are working for diocesan musical director and choir director the advancement of Sacred Music—is one of of the Holy Name Cathedral, Chicago Ill. the most encouraging signs of the eventual During the week, Professor Merx gave success of the movement. - a course of lectures on Catholic Church music

-k - :k + for organists and choir directors at Cathedral It is reported from Rome that the authorities College. have condemned the use of tubular chimes The subjects were: 1. History of Gregorian at liturgical services. Chant. 2. Rendering and Interpretation of This probably means that altar chimes Chant. 3. Accompanying of Gregorian Chant. (tubular) and organ chimes will have to be 4. Training of Boys and Church Choirs. 5. eliminated. Palestrina and His school. 6. Congregational Singing. 7. Liturgy of the Church. 8. Latin A CORRECTION Language. Hans Merx has been ably assisted In the list of music of the Harrisburg by the Rev. Paul Smith, professor at Cathedral - Diocese given in the last issue of the “Catholic College. A similar course of lectures will be Choirmaster” a mass in honor of the Blessed given in January.

R E V I E VVS

SECUNDAE VESPERAE in Nativitate Domini a good purpose in relieving the monotony of the longer psalms. by Rev. Leo P. Manzetti, Pub. by the composer In his setting of the Vespers Psalms for Baltimore, Md. Christmas Father Manzetti has preserved the traditional form but has invested this form This latest composition by the well known with the newer harmonic devices. These authority on Plain Chant, and Director unconventional progressions fall gratefully of Music at St. Mary's Seminary Baltimore, upon the ear. The composer has not found it is something more than a perfunctory setting necessary to confine himself to the tonic of the Psalms in falso bordone style. Father do; ninant and sub-dominant chords ex Manzetti has taken an almost absolete musical clusively, but has developed the final form and has succeeded in infusing new life cadences in a free manner and by the and vigor into it through the legitimate use use of legitimate materials created an of modern materials. To many musicians the effective and artistic contrast to the severe falso bordone seems a hybrid form and it is mold of the Psalm tone. The composer utilizes to be confessed that most compositions of this with excellent effect the imitative style. Parti type are unsatisfactory from an artistic point cularly fine are the phrases which occur in the of view. Many prefer the psalm tones "Domine ad adjuvandum” where a series of unadorned by an uninspired succession of ascending scales in each voice alternately intervals at the end of each half line. leads to a highly effective climax in the However, this particular church style has “Alleluia." This same imitative form is received the sanction of the Holy Father adopted to good advantage in the Psalm

(Motu Proprio of Pope Pius X) and serves “Confitehor." - THE CATHOLIC CHOIRMASTER 17

New ideas introduced in the initial phrases phrase in semi-polyphonic style. of the “Magnificat” and in the development This imitative style, so appropriate for in the final sections of the alternate verses devotional compositions has been adopted by are to be heartily welcomed as they indicate the composer to good effect and he heightens an earnest effort to break away from the use. this effect by a judicious use of phrases in less severity which has surrounded this parti homophonic style. While the melodies under cular type of church composition. lying the text “I laetentur Coeli" etc. are The Vesperae is intended for chorus of happily conceived, not so much praise can be male voices (Two Tenors and two Basses) accorded the musical ideas wedded to the but through transposition of the voices Alto text “Quonian qui venit”. (The interpolation singing the first Bass part and the Tenor of “qui” in this final phrase is doubtless an taking the 2nd Tenor part in their respective oversight; the Vatican Graduale gives octaves, the work can be sung with good “Quonian venit”). effect by four mixed voices. (S. A. T. B.) In his setting of the “Apparuit” Mr. Deis has made a beautiful arrangement for four part chorus of an old hymn which deserves TANTUM ERGO No. 2–By J. Lewis Browne to be widely sung. The work can be rendered Published by J. Fischer and Bro., New York either with or without accompaniment.

SIT MEN'S LA ETA VOX SO NORA NEW HYMN BOOK FOR CHURCH AND by J. Lewis Browne SCHOOL Published by the Gilbert Music Co., Chicago, Ill. A collection of Hymns in new English trans Two compositions by the gifted organist of lations for the entire ecclesiastical year. Edited by Hans Merx, Superintendent of St. Patrick's Church, Chicago, the first of Music for the Archdiocese of Chicago, which is written in Chorale style for four part Published by Benziger Brothers, New York, chorus of mixed voices and the second being (36-38 Barclay St.). a hymn in honor of St. George also in chorale Melody Edition (Prayer book Edition) Cloth form for unison chorus or mixed voices. The . 25 net. Organ Accompaniment (Imitation “Tantum Ergo” is devotional in character and leather) net $2.00. is pleasingly melodic as well. This is the hymn book which has been The composition is representative of Mr. authorized by His Grace, Archbishop Munde Browne's best work in the field of liturgical lein, for official use in the Archdiocese composition and stands as a vivid contrast to of Chicago. that type of “Tantum Ergo” still heard in our The Archdiocese of Chicago is one of the churches in which the soloist vies with the first (if not the first) to adopt an official chorus in an effort to be heard throughout the hymnal. The plan is bound to be productive first stanza and which culminates in a grand of great good in eliminating the trashy hymns riot of speed and operatic climaxes, in the from the school and church. Genitori and Armen. The book compiled by the scholarly Mr. The Hymn in honor of St. George is like Merx will serve a great purpose in making wise written in devotional style. Mr. Browne known to many the beauties of those devo has succeeded admirably in fulfilling the tional hymns which are not used sufficiently liturgical requirements in so far as these in our churches in this country. particular compositions are concerned. An examination of the contents of this comparatively small volume discloses the fact LAETENTUR COELI–Christmas Offertory for that there are but thirty-nine hymns in all. four part chorus (S.A.T. B.) and organ. The last forty pages of the volume are taken APPARUIT-Christmas Hymn for four part up with prayers and devotions. This feature chorus.-Published by the composer, 218 will do doubt commend the book to many Wabash Ave., Chicago, Ill. who desire to have hymns and prayers in one Mr. Deis gives us an effective motet in his small volume. setting of the “Laetentur Coeli.” The spirit The volume intended for the use of children of Christmas radiates throughout the work and the congregation contains the music and is reflected in the melodies allotted to the (melody only) and for this one should feel voices which alternately take up the original grateful, for the day is past when we can put 18 THE CATHOLIC CHOIRMASTER into the hands of our children the words only Both volumes are very attractively bound. of a hymn and ask them to learn a melody The organ accompaniment is issued in oblong in a parrot-like fashion, and sing it from form, while the volume for use of the chil Innen, Ory. dren is in the usual prayer book size. The improvement of our hymnals is keeping It is to be hoped that the example set by pace with the improvement of the church the Chicago Archdiocese will soon be followed music conditions and the slow but gradual by others. There is need of definite construct improvenment of our school music. ive action in this matter or otherwise we can These melodies are devotional and, for the expect that the whole fabric of Church music most part, are taken from German sources. We reform will disintegrate through the false find such traditional melodies as: “An Dich conception of sacred music which our children glaub'ich, auf Dich hoff ich" (Lord I believe will have acquired through the use . of un in Thee), “Heiligste Nacht" (Holiest Night), worthy and scandalous hymns found in the “Zu Bethlehem Geborer" ( In Hethlehem is St. Basil type of hymnal. lying), “Maria zu leben" (O Mary, to love thee), “Deinem Heiland” (To thy Saviour), QUESTIONS AND ANSWERS “Wunderschoen Praechtige” (Thou Wondrous heavenly Flower), “Gegruesset seist Du Koe (Culled from letters to the Editor) nigin” (We revere thee, Mother Heavenly Q. — Will you please explain the term — Queen), “Heb, die Angen, (Lift thine eyes), “Proper of the Mass"? “O Jesus, liebster Jesus" (O Jesus, dearest Jesus). A.—The Proper of the Mass can best be de The type of hymn, made popular in this scribed as those portions of the Mass which the country through the use of such hymnals as choir is supposed to sing but which it usually St. Hasil's and like collections, will not be ormits. The Proper consists of the Introit found in this volume. There are no “jigs" (sung before the “Kyrie"), the Graduale and and operatic adaptations and no distorted or Alleluia, (Tractus instead of Alleluia during garbled versions of Gregorian Chant. Lent) sung after the Epistle, the Offertory— Here are melodies which are solid and and the Communion. The Choir should sing churchly in their dignity and at the same time the music of the Mass on Sunday according tuneful and spirited. ' Mr. Merx has used the to the rubrics, in the following order: — editorial file in some instances and made Asperges, (or Vidi Aquam) Introit, — Kyrie, changes from the commonly known versions — Gloria, – Graduale, and Alleluia Credo, of some of these tunes. When a work of such Offertory, (a liturgical motet can be sung importance has been undertaken it is rather after the proper Offertory if time permits) a pity that little details—such as the names Sanctus, Benedictus, Agnus Dei and Com of composers of the melodies—(or their munion. origin), and the authors of the original texts The Proper parts of the Mass are different were not given. Even children like to know for each Sunday and Holyday while the something about the origin of the melodies Ordinary parts remain the same throughout they are singing. One important feature is the year. The Ordinary of the Mass comprises: the arrangement according to the seasons Kyrie, – Gloria, – Credo, - Sanctus, Bene

and the solemn feasts of the ecclesiastical dictus and Agnus Dei. - year. The Proper of the Mass should be sung to The inclusion of a number of hymns the Gregorian melodies as given in the Vatican suitable for Holy Hour devotions and for the Graduale (Transcription into modern notation rendition during Low Mass at the Introit, can be obtained ). An easy setting of the Gospel, Offertory etc., is another valuable Proper is published by J. Fischer & Bro., New feature. York, for four part chorus, by Tozer. Only four Latin Hymns are included viz: It is also permitted to recite the Proper “O Salutaris,” “Tantum Ergo,” “Pange Lingua". of the Mass (recto tono) in case it is im and “Stabat Mater." - possible to sing the proper Gregorian melodies. The translations are the work of the Tho organ in this case accompanying the scholarly editor who combines sound musician singers with a series of chords,-(the reciting ship with literary ability of a high order. tone being considered as an organ point). THE CATHOLIC CHOIRMASTER 19

FROGRAMMIES

Cl NC IN NATI. O. Christmas Program Christmas Program—St. Francis de Sales' Proper of the Mass — arr. by Tozer Church Ordinary of the Mass — Missa Pontificalis Choir of boys and men under the direction Perosi of Alois Bartschmid, Organist and Choir Our Mother of Sorrows Church Inaster. Choir of men and boys 1st. — High Mass 5 A. M. Rev. Wm. B. Kane, Choirmaster — Mr. Proper of the Mass — Gregorian Chant Alfonse Heuermann, Organist. Ordinary of the Mass — Mass in G. for four part chorus (M. S. ) — Alois Bartschmid. Christmas Progrant Solen. In Pontifical Mass. 2nd. — Mass 10.30 A. M. Ecce Sacerdos Magnus ...... Filke Proper of the Mass (for male voices) — Introit ...... Puer natus est ...... Gregorian A. Bartschmid. Ordinary of the Mass — Mass in D. for four Kyrie and Gloria Missa S. Joseph O. Ravanello Gradual Viderunt Onnes Gregorian part chorus — A. Bartschmid.

Alleluia ...... -- Vespers Psalms, Antiphons, Hymn and Magnificat Credo . . . . Missa Sancti Josephi . . . . Ravanello Offertory . . . . . Tui sunt coeli . . . . . Gregorian Gregorian Chant Motet ...... A deste Fideles . . arr. by Novello Alma Redemptoris for two part chorus male Sanctus . . . . . Missa Sancti Caroli . . . . . Filke voices ...... ‘...... A. Bartschmid Benediction ...... Congregational Henedictus . . . . Missa Sancti Caroli . . . . Fillse The rebuilt organ was used on Christmas. Agnus Dei . . . . Missa Sancti Caroli . . . . Fiſke Benediction It has 4 speaking stops and all modern inn Ave Maria ...... Mozart provements. Thirty stops from the old organ Tantum Ergo ...... E. Tinel were retained. The estimated cost of the organ as it stands is about $11.000. CINCIN NATI, O. - FT. WAYNE, IND. On the Occasion of the dedication of St. Cathedral of the lmmaculate Conception Mary's Church Hyde Park — the following Rev. Simon M. Yenn, Diocesan Director of musical program was rendered, under the Music. — Mr. Francis MacVeigh, Organist direction of Mr. Edward Fehring: and Choirmaster. Pontifical Mass: I. Adoremus in Aeternum, Choir of twenty boys and sixteen men. Pearce. St. Mary Choir; II. Proper of the Christmas Program Mass, “Terribilis” Commune Ded. Ecclesias, Solemn Pontifical Mass Seminarians and Choir; III. Ordinary of the Ecce Sacerdos male chorus Perosi-Manzetti Mass, In Honor of Immaculate Conception, Silent Night men and boys Gruber Elsenheimer: IV. After Regular Offertory, Introit, Graduale and Alleluia male chorus Jesu Dulcis, Vittoria; Recessional,Salve Regi S. M. Yenn na, S. P. Waddington, St. Mary Choir. Kyrie, Gloria, Sanctus Benedictus and Agnus Evening, at 7.30; Organ Dedication. I. Dei ...... L. Perosi Gothique Suite, Boellman; II. Fantasie Buck: Credo ...... Missa Festiva ...... F. Vranken III. Elevation (in A-flat), Guilmant: IV. In Offertory ...... Gregorian Chant Paradisum, Dubois: V. Fiat Lux, Dubois. Offertory Motet ...... A deste Fideles Vespers of Blessed Virgin Mary, at 8 o'clock: Communion ...... Gregorian O Salutaris, Dethier; Panis Angelicus, Franck; Carols after Mass Men and boys Traditional Unison Tantum Ergo in F, Boex: Psalm 150, Pontifical Vespers C. Franck. Antiphons and Psalms ...... Fregorian Chant The organ and choir stalls are in the chancel. The organ is an Austin and cost $8.000. There are 33 speaking stops w PHILADELPHIA, PA. St. Patrick's Church — Choir of men and boys Rev. Wm. Murphy, Choirmaster — Miss NEW YORK CITY Norah Burke, Organist. On the Sunday within the octave of the 20 THE CATHOLIC CHOIRMASTER feast of St. Cecilia, patroness of sacred music, performance was hailed as an event of more that is, on Sunday, Nov. 25, the Vesper service than local significance. The Review, in its in the Church of St. Ignatius Loyola, Park criticism of the concert says: avenue and Eighty-fourth street, was transfer “The completeness of this first performance red to 4 o'clock in the afternoon, and at 8 was a matter of surprice to many; the well o'clock in the evening there was a special balanced chorus, the precise attacks, the fine musical service. The exercises were preceded phrasing, the perfect intonation which marked by a brief address on “Music in Religion,” every number gave ample evidence of skillful delivered by the rector, the Rev. J. Havens direction and of notable talent and ability on Richards, S.J. Benediction of the Blessed the part of the singers.” Sacrament followed. The program was of “A program of rare beauty and wide a varied character, illustrating various interest was presented in a manner that schools and periods of religious music and reflects unbounded credit on the new organi bringing out the qualities of the organ and of zation.” the mixed choir of boys and men. Mauro Among the patrons of the Choral Club are Cottone presided at the organ and the entire His Eminence James Cardinal Gibbons, Rt. service was under the direction of the Rev. Rev. Owen B. Corrigan, Hon. Chas. J. Bona Francis P. Powers, S.J. parte Mrs. Thomas W. Jenkins and many others prominent in the religious, social and PHILADELPHIA artistic circles of the City. At the Convent of the Sisters of the Holy The programme was in part as follows: Child Jesus in Philadelph pia—the Christmas Panis Angelicus A Cappella chorus program for the Midnight Mass—included G. P. da Palestrina Antonino Mauro's Mass in honor of St. Rita Tota Pulchra Es Maria (Arranged by Rev. for two part chorus. L. P. Manzetti ...... Perosi This Mass was also sung at the Convent of Ave Maria . . . . A cappella . . . . Tschaikowsky the Sisters of Notre Dame — Rittenhouse The Pilgrimage to Kevlaar Square, Philadelphloia — Christmas morning. Cantata for Chorus and soli Humperdinck CINCIN NATI, OHIO Organ and Piano Acc. Meditazione Invernale A cappella Casimiri Choir of St. Lawrence's Church (Arranged by Rev. Leo P. Manzetti) J. Alfred Schehl, Choirmaster and Organist Le Moulin for chorus a cappella Weyts Choir of boys and men The Brooklet for a cappella chorus High Mass: 5 A. M. — Christmas J. Rheinberger Introit, Credo & Communion ...... Chant The Star Spangled Banner Gradual Tecum principium Foerster - Schehl Chorus and Audience Offertory Laetentur coeli St. Saens

After the Offertory Adeste Fideles Novello PHILADELPHIA, PA. Jubilee Mass Op. 105 ...... Jos. Gruber After the Mass Anthem: And there were Christmas Programme — 5 A. M. Shepherds ...... Barnes and 11 A. M. Masses High Mass 10 o'clock. Church of St. John the Evangelist Prelude Christmas Fantasie for Organ Schehl Processional A deste Fideles Introit, Credo, Offertory & Communion Chant Introit ...... Dominus Dixit ...... Chant. . Gradual Vider unt omnes . . . . Foster - Schehl Kyrie Missa Solemnis . . . . N. A. Montani After the Offertory Tollite Hostias St. Saens Gloria . . . . Missa Solemnis . . . . N. A. Montanl Mass in hon . of the Blessed Virgin Mary Graduale ...... Chant Dr. Nicholas Elsenheimer Alleluia...... Chant Postlude Hosanna Dubois Credo . . . . Missa Solemnis . . . . N. A. Montanſ The newly organized Catholic Choral Club Offertory ...... Chant of Baltimore, under the leadership of Rev. Leo Motet [Dies Sanctificatus G. P. da Palestrina P. Manzetti, gave its first concert in the Sanctus, Benedictus and Agnus Dei Missa Peabody Conservatory Auditorium, Nov. 25th. Solemnis ...... Montani According to the Baltimore Review the Choral Communion ...... Gregorian Club achieved a great success and the first Processional ...... Holy Night THE CATHOLIC CHOIRMASTER 21

Vespers and Benediction — Celebration of ,Justus ut Palma . . . . Choir . . . . (1940) Haller the Patronal feast Sunday Dec. 30. Mirabilis Deus . . . . Choir . . . . (1839) Stehle Psalms and Antiphons, Gregorian Chant, Jesu Dulcis memoria Choir (1540-1613) Alternate verses arranged by N. A. Montani Vittoria Alma Redemptoris 4 part chorus O bone Jesu Choir (1514-1594) Palestrina N. A. Montani Benedictus Choir and Chorus Palestrina Tollite Hostias ...... C. St. Saens Convertere Domine Choir (1532-1594) Tantum Ergo ...... Martin G. Dumler Lassus Laudate ...... Gregorian Chant Exaudiwit Donninus . . . . . Choir . . . . . Lassus Choir of 30 boys and 12 men under the I aetamini Domino ...... Choir ...... Lassus direction of Nicola A. Montani, Organist and Tibi laus ...... Male Choir ...... Lassus Choirmaster. Drei Koen'g Male Choir 1824-1874) Cornelius Christmas Program Apparuit ...... Oscar Deis Cathedral of the Holy Name — Chicago, III. Laetentur coeli ...... Oscar Deis Christmas morning Christmas Chant “In Bethlehem”, from New Solemn Pontifical High Mass. Diocesan Hymn Book. English translation and four part setting Proper of the Mass ...... Gregorian Chant by Hans Merx. Kyrie, Sanctus, Benedictus, Agnus Dei from Psalm 150 ...... (1822-1890) C. Franck. “Missa Papae Marcelli” ...... Palestrina Gloria ...... Mitterer, Op.6 Program sung on Sunday November 25 Credo (for double choir) Nicola A. Montani High Mass St. Alphonsus Church, Offertory ...... Tui sunt coeli ...... Haller Chicago, Ill. Christmas evening service Asperges ...... Witt Solemn Pontifical Vespers and Benediction. Antiphones of the 2nd Christmas Vespers Proper of the Mass ...... Plain Chant Kyrie (1st time) ...... Nekes Gregorian Chant Psalms (Falso Bordone, 4 parts) Gloria ...... Haller Afferentur regi ...... Peter Piel Mitterer, Op. 147 O Salutaris ...... Perosi from “Missa Exult et” Credo (1st time) ...... Witt Tantum Ergo and Genitori (in 8 parts) Sanctus ...... Witt Fr. Nekes, Op. 54 Choir at both services consisting of double Benedictus ...... Palestrina Agnus Dei ...... Nekes male quartet, boys voices and chorus of sixty Cathedral students. – Musical direction: Laetamini Domino ...... Lassus Hans Merx. Program rendered by the Choir of St. HARRISBURG DIOC ESE Alphonsus Church — Chicago, Ill, under SELECTIONS RECOM M ENDED AND AP the direction of Prof. Oscar Deis, Organist PROVED AS BEING IN ACCORDANCE and Choirmaster. WITH THE REQUIREMENTS OF THE Feast of St. Cecilia — Nov. 22, 1917 MOTU PROPRIO OF POPE PIUX X. at the Athenaeum Note—All music markod with X, is recom Emitte Spiritum Festival Chorus Schuetky mended as being serviceable and not too O Doctor optime Male Choir Mitterer difficult. Afferentur regi . . . . . Choir . . . . . (1835) Piel Publishers names are added. Their addresses Salve Regina—Antiphon to the Blessed Virgin will be found at the end of the list. Choir ...... Plain Chant Requiem Masses Victimae paschali laudes—Easter Sequence Choir ...... Plain Chant (Continued). Agnus Dei ...... Male Choir ...... Nekes Improperium . . . . Choir . . . . (1771-1837) Witt D. Thermignon — Complete Requiem (S. A. or T. B. ) — J. Fischer & Bro. Angelus autem ... Choir . . (1560-1636) An erio X—C. Ett — Complete Requiem arr. by Dixit Maria . . Choir ... (1564-1620) Leo Hasler Hanna — J. Fischer and Bro. Ave Maria . . . . Choir . . . . (1514-1575) Arcadelt G. Griesbacher — Requiem Mass (T. B.) 22 THE CATHOLIC CHOIRMASTER

F. Pulstet. + + J. G. Meurer — Requiem Mass – (Capra) JUST PUBLISHED J. Fischer and Bro. J.or T.Singenberger B. ) — (Fischer — Requiem or B. & Mass H. (S. A. EOOk O Three

X—Antonino Mauro — Requiem Mass (S. A. of the or T. B. ) — Ross Jungnickel 15 White w hall St., New York. PROURESSIVE MUSIC SERIES 3. Masses for three-part chorus (Equal voices). X—L. Hottazzo – Op. 119, Missa Defuncto- CATHOLIC EDITION rum (S. S. A. G. T. T. B. ) – (M. Capra) Edited by Rt. Rev. Joseph Schrembs, .J. Fisciner. Hº: § s'g''." º º: ºreº J.Defunctorum B. Marabini (T. O. T. F. B. M. ) —– Op.J. Fischer. 41 Missa ception ºf Abbey, ººººººººor. Conception, MO. " J . Tamagnone — Easy Requiem Mass (T. Covers, the work in vocal music for the T. B. ) — (M. Capra) J. Fischer. sixth and seventh years, embodying the

X — º is..." - ~ Requiem iéº Mass --- (T. T. B.) nedagogicalthe Series so principles successful. that have made

-- - “. ... Presents also systematic training in X-1. Perosi Requiem Mass (T. T. B.) – G. Greqcrian Chant, basing the instruction Ricordi & Co. upon the same steps that are used in C. Casciolini — Requiem Mºss (T. T. studying the secular songs. H. : ) — J. Fischer. º ºi. º J. !". i. - Requiem - Mass (T. T. B. ) indistinctively accord wi Catholic "atholic selections. ideals. also many

X-Antonino. Mauro — Requiem Mass (T. T. 224 pp. Price 44c B. ) Op. 100 – Ross Jungnickel, 15 White

hall St., New York. - - 4. Maszes for three-part chorus S|E} B|EII & (OMPANY ( [ nequal voices). y --

J. Gruber – Missa pro Defunctis Op. 71 Boston New York (Alto, Tenor and Bass) – Pustet. Chicago San Francisco

(To be continued). - * --

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ſ A serviceable and Practical Hymn Book NEW HYMN-BOOK THE For Church & School CHOIR MANUAL For Cathedral and Parish Church A COLLECTION OF HYMNS IN NEW ENGLISH TRAN SLATIONS COVERING Juvenile or Adult Choirs THE ENTI RE ECCLESIASTICAL YEAR In accordance with the Motu Proprio. Suitable for Congregational Singing Compiled with a view to meet the princi. during Low Mass, Benediction of the Blessed Sacrament and other Devotional pal requirements of the ecclesiastical year. Exercises, as also for the Use of Church by Choirs and Children's Chorus. G. BU RTON! Melodies and Text Selected from The contents of this excellent choir-book Approved Sources and Re-edited by answers for all ordinary requirements; HANS MERX it consists of 2 Masses, Requiem Superintendent of Church Music for the 2 Vespers (psalms, antiphons, and Archdiocese of Chicago Hymns), Complin for Sunday, Miscel AUTHORIZED BY laneous Latin and Cnglish Hymns. HIS GRACE Motets etc. ARCH B | SHOP MUN DELE IN The Chants given are all according to the for Official Use in the Archdiocese Vatican version. of Chicago Vocal part, bound in cloth, net .80 Prayer-book size, 54x34 inches Organ accompaniment, net 2.00 Cloth, $0.30; Am. seal, qold edges, $0.70 A copy of the CHOIR MANUAL will, upon ORGAN ACCOMPANIMENT request, he mailed on approval. Oblong, size, 104 inches wide, 73 inches hiqh, imitation leather, net, $2.00 J FISCHER & BR0. BENZIGER BROTHERS NEVV YORK Cincinnati New York Chicago 7, 8, 10 & 11, Bible Horse (Astor Place)

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* REcoMMENDEDT. + It - Oſgålkſ in all tiſſiſſiläältſ -

by the Music committees and Directors A mid-monthly musical magazine is in leadir q Dicceses sued on the 15th of each month, of BOTT.AZZO special interest to Organists, Choir masters, Organ Builders, Musicians, UNISON MASS and all interested in Music. It con tains many interesting Articles In “...º. "...... ” Proprio". contributed to its pages by spe soecially suited for inse in cialists in all Branches of the Art CONVENTS and ACADEM | ES likely to be of interest to its readers. VOCAL SCORE 20 CENTS NET sy. º ºſs The price of the magazine is four pence, and subscribers will receive it | POST FREE direct from the Pub lishing office.

18 BERNERS STREET, LONDON, ENGLAND

PUBLISHERS $1.20 per Annum.

THE BOSTON MUSIC (0. Subscription paid in advance.

26 West St. Boston. Mass. A special copy will be forwarded to + # any address on receipt of a post card. 24 THE CATHOLIC CHOIRMASTER Whe sariety ºf st. Greguru OF AMERICA

Qualifications At the second meeting of the Society, held in Baltimore, Md., April 6th to for Membership 8th, 1915, the following resolutions regarding fembership were adopted: Active Membership “The active membership of the Society shall be composed of those Catholics who are actively engaged in the promotion of Catholic Church Music, and of those who are willing to lend their sympathy and moral support to the principles laid down in the “Motu Proprio” of Pope Pius X on the subject.” “Active membership alone shall have voice in the Government of the Society.” Life Membership All those qualified for active membership can become life members upon the payment of $50.00. Life members are subject to the same conditions and privileges of active members. The payment of $50.00 releases them from the obligation of further payment of dues, and is considered as an evidence of unusual interest in the work of the organization. Women Eligible Although, in accordance with the provisions of the “Motu Proprio," to Membership women may not take part in liturgical functions, they are eligible to membership in the Society of St. Gregory, as set forth in the following article of the Constitution: “Recognizing the important part that nuns and lay teachers have in the education of children, and realizing that succeeding generations will receive their first musical impressions at the hands of sisters and lay teachers who have charge of the musical work in the parochial schools, convents, academies, etc., it is resolved that women be admitted to membership.” Application for Application for membership may be made by filling out the attached Membership blank and forwarding same to the Secretary, or to any of the Officers of the Scoiety. Dues Active members pay the sum of two dollars ($2.00) per year. $1.00 for dues and $1.00 for subscription to the official Bulletin, “The Catholic Choirmaster,” which is issued quarterly. Dues should be forwarded with application. Subscription Non-members may subscribe for the Bulletin upon the payment of the amount specified ($1.00 per year, in advance). 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. All donations will assist materially in furthering the work and will be greatly appreciated and duly acknowledged. Application for membership in the society of St. Gregory can be made by filling out the attached blank, enclosing remittance for dues and subscription to the Bulletin, ($2.00) and forwarding to... the Secretary or any of the Officers. (Kindly note the qualifications neces sary for active membership.) List of officers given on Editorial page.

APPLICATION For MEMBERSHIP Úhe sariety of st. (Sregurg OF AMERICA I desire to make application for membership in THE society of St. GREGoRY OF AMERICA Enclosed please find remittance for annual dues ($1.00) and yearly subscription to the “ CATHOLIC CHOIRMASTER" ($1.00).

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