A REVIEW OF CATHOLIC CHURCH ...... CILIA and SCHOOL MUSIC

VOLUME 82 Number 5 JULY - AUGUST, 1955

CONTENTS The Importance of Music in the High School Curriculum ______162 John Julian Ryan Achille P. Bragers 1887 - 1955 ______169 Thomas Merton Translates Eucharistic Hymn ______170 New Center for the Art of the Organ in Haarlem ______171 On the History of Organ Improvisation ______171 Bennie Schouten Our Music This Month ______172 Music Supplement ______.. _._. _____ ... ______173 - 188 Excerpts from Settings of the Ordinary of the Mass Mass in the Major Modes - R. Woollen Mass in Honor of Saint Anthony - R. K. Biggs Missa "Te Deum Laudamus" - D. L. Perosi Mass in Honor of the Queenship of Mary - Sr. M. Florentine Reviews ... _..... _... __ ._ ..... _..... ___ ...... _...... _...... _...... _...... 189 Rev. Francis J. Guentner, S.j., Dr. Richard Werder A Mute Cannot Teach One to Speak . __ .... _. __ ..... _...... ____ ... __ . __ ..... 193 Miguel Bernal . Michael L. Nemmers, A Centennial Appreciation .... ___ .... __ . __ ...... 196 Erwin Esser Nemmers Names - People - Doings .... ___ ...... __ ..... ______.... _. ___ ._ .... __ ...... __ ...... 198 Cover design by Gerard P. Rooney "Holy Mary" from Pius X Hymnal 1953, Copyright by McLaughlin & Reilly Company, Boston, Mass.

, Editorial Staff: Louis L. Balogh, Dr_ Miguel Bernal J., Rev. Francis Brunner C Ss R I CA;r:~TS~S'P~s:~;;~;,I?N Rev. RusTsehll Hd . DaMvis, .RevR· FranCcils GuentJnerM, SN·J., RevS' Robert Hayburn, R~v. Cl~t~~ ~ Madsen, eo ore aner, ev. ement. c aspy, .J., Sr. M. Millicent, S.S.A. '" •.• '.~rl·I""'" Rev. Elmer F. Pfeil, Pius T~nth .School of Litur~ical. Musi.c, William Arthur Reilly, Rev: ___l!"~~"'.. ____ ._ Russell ~ooll~n, Dom ~rmm VIt.!)·, .O.S.B., Edzt?T Emerztus. Circulation: James Ring. .~---=.;----.- EstablIshed In 1873, WIth EccleSIastical approbatIOn, by John B. Singenberger, K.C.S.G., A·"·~·;;:':;,:::;:;..:;;,,- K.C.S.S.; (1849-1924). Now issued six times a year (bimonthly) by McLaughlin & WlllJ. ~!'.:-.~ Reilly Company, 252 Huntington Avenue, Boston 15, Massachusetts. New volume be­ gins with the November-December (Advent) issue. Prior to 1941 volumes began with the January issue each year. Entered as second class matter at the Post Office at Boston, Massachusetts. Material submitted for publication in the CAECILIA is welcome, but no responsibility is assumed for loss of, or failure to return safely, any unsolicited manuscripts. Editorial, Subscription and Business Office: - 252 Huntington Avenue 15, Massachusetts. Advertising re­ quest. Subscription rates : - $250 per year in the U. S. A. $3.00 - Canada and all other countries. Remit by Money Order or check, payable at par in U. S. funds. Single copies 50 cts. When reporting change of address, give old and new address in full, and allow one month for change to be­ come effective in our mailings. 162 I CAECILIA THE IMPORTANCE OF MUSIC IN THE HIGH SCHOOL CURRICULUM

by John Julian Ryan WHEN I RECEIVED the invitation to gtve here by sketching very -briefly the functions which this talk on the importance of music in the curri­ the Christian should be able to fulfill in this world, culum of the Catholic High School, I was, to put and then consider how music might enable him it mildly, somewhat startled. Who was I to talk to fulfill these readily. Thereafter, we may con­ to trained musicians about music, a subject in sider what obstacles we face in trying to afford the which I have had little or no formal training? musical training that would seem best, and final­ And I should certainly have turned the invitation ly some few of the guiding principles we may down had it not been carefully phrased. to assure safely follow here in striving to establish or carry me that it was not on music that I was to talk so on a sound program of musical studies. much as on the importance of music in the High What, then, ideally, ought every Christian be School Curriculum.- able to do and do skilfully? Well, obviously, and On this particular subject, I felt I might have first of all, he ought to take his full part in the some few things to say that you might care to hear most important action on earth, the great Chris­ since I have, for some ten years now, been speci­ tian Mystery, the mysterium fidei, the Mass­ fically concerned with the problem of integration especially the Mass celebrated in its ideal form. and since for more than thirty years I have been Secondly, he ought to be able to take part as the concerned with working out a philosophy of art Church wishes him to do in the Sacraments, in all in the broadest sense of that term, as well as with forms of communal prayer and contemplation by the teaching of an art allied to musIc, namely, which all the hours and actions of his life may be poetry. . . sanctified. Furthermore, he is supposed to be able Perhaps, therefore, if I first lay down the cntena to act as spokesman for all others, even for all by which we are to judge the need for a ~ven .art voiceless creatUifes in praise of God their Creator, in an education and then go on to a collSlderatlOn and to cause others by his eloquence to become of the problems to be encountered in teaching members of Christ and to share in those great this art and the methods that may best be adopted works of eucharistic praise and oblation. He in meeting these problems - perhaps I may. be should be able to live Christ throughout all phases able to stimulate you to some useful and practical of Christ's life, sacra:mentally, during the liturgi­ thinking on the subject. G. K. Chesterton once cal year. He should be able to rejoice in bearing said that if he were running a business, he would his own cross as one made meritorious by the occasionally bring in someone from the outside to Cross· of Christ: this in all his daily actions. make suggestions, one who knew very little aboUJt Again, he will inevitably be called upon to rule the exact technique of it, to give to those in and to be ruled. He must, therefore, become pru­ charge the advantage of what has been called the dent in the management of his personal, domestic, "innocent eye." I ask you please to accept my talk social, political affairs, feeling a due loyalty and today on some such- basis as that. . - patriotism - pietas - for every institution and Now, when as Catholic educators we Sit down group with which he is associated. His feelings to evaluate any given subject in' a cu~culum, or must be put to the due service of these loyalties; any given method of teaching it, we ~~t first of he must here be enthusiastic and loving, whole­ all ask ourselves, it seems to me, what It 18 that any heartedly charitable, just and prudent - without truly Christian education should en.able the stu­ being in the least sentimental or passionate. dent who receives it to do and then m what way Then, too, he should be a dedicated scientific the given subject, when properly taught, will e?-­ artist in all that he does; intensely devoted to the able him to do this. Consequently, I shall begtn use of scientific method in the service of the artis­ tic method that is required for the full prosecution Address given by Mr. Ryan at the Music Education Workshop heid November 6, 1954, sponsored by the of any task. He must use his talents, and use them Catholic Office of Education, Washington, D. C. fully, in the service of charity: developing them in ~ULY - AUGUST, 1955 163

such a way that he becomes a Christian master of From the earliest times, Christians, being mem­ the arts of living. bers of One Body, have naturally felt and ex­ In all this, he must learn how to treat himself pressed their unity by singing their prayers to­ fairly while exacting of himself that heroism which gether, especially in the form of hymns. (The is, in Christ,the privilege of the Christian. He singing of the Psalms communally seems not to must, to be more precise, know how to indulge in have been the very earliest practice.) The two true recreation, in the pleasure that re-creates him primary communal prayers by which they sancti­ and makes him ready once again for his service fied, respectively, all the hours and actions of the in the army of Christ. Above all, he must make day and of the night - namely, Lauds and Ves­ use of every human aid that will enable him to be pers ---' consisted of hearing and welcoming the willingly one with Christ in the full martyrdom of Word of God in a Scripture reading, praising Him death or the lesser martyrdoms of sickness, frus­ in gratitude by a Psalm or two, voicing their com­ tration, and failure. munal prayer in a collect, and singing a hymn. Now, any discipline that enables a student to The Word of God was received and answered by do these various things well is obviously worthy of the voicing of prayers that were also the Word of inclusion in the curriculum of a Catholic school. God or an inspiration of that Word. And with. And as I have ticked off these desiderata one by their singing they joined voices with others who· one, I am sure that many of you have immediate­ sing the eternal chorus of Heaven. (How better ly recognized what an important part music can could we sanctify the hours of the school day and play in the attaining of them. But merely to make the hours after school than by praying Lauds and assurance doubly sure, let us go over them once Vesp~rs together!) again in relation to musical training particularly. Again, what better way of acting as spokesman. First of all, the Mass. How necessary is music for all the inarticulate creatures of creation, prais­ to the fuU participation in this most vital of all ing God for them as they would praise Him them­ actions - the action on which depends the whole selves could they but do so;· than by singing the salvation of mankind? The answer was given by praises the Holy Spirit has given us in the Psalms the Pope himself when, in Mediator Dei, he de­ ("The Praises")? Or what better way of at­ scribed the sung Mass as the ideal foim of Mass. tracting to Him those who would become one with Consider, then, the implications of the following Christ than by letting them appreciate what it is line of reasoning: The most important action on to pray and praise with the profound, unsenti­ earth is the Mass; the fullest exercise of the priest­ mental piety of the Chant? Just as, what greater hood of the laity lies in active, intelligent, whole­ disservice can we do these souls than drive them hearted participation in the Mass; the form in away from Christ by the almost sickening pietism which such participation is best achieved, ideally, of some of our sentimental music? is the Sung Mass; the only institution in which the And if military songs are often (the M arseil­ required skilI in singing can be achieved by every­ laise, for instance) of incalculable value in one today is the school. Dare we say, then, that a strengthening soldiers for the martyrdom of the school is all that it should be which fails to pro­ defense of the homeland, think how much easier vide as good a training in the art of music as it it is to die for Christ, in Christ, when one has provides in other arts? heard (or sung) properly, - when one has really . Frankly, after that question, I feel that I could appreciated the meaning .and beauty. of - that legitimately enough stop my talk right here. But heavenly chant, the Exultet. What muSlC has done I will go on to a consideration of how music can indeed, both directly or indirectly, to produce the aid the student in other forms of worship and race of martyrs - those "th0 er Chn 'sts'" m th e spiritual activity, as well as in prudential action fullest sense - it would be impossible to say. and artistic. As for the need for music in the conduct of our For just as the Sung Mass is the ideal form of personal domestic, social, military, and political the Mass, so, traditionally, the prayer service of affairs ~ some estimate of this can be gained by the Universal Church, which is the extension of our simply reflecting on how many kinds .of songs the Mass, has always normally included . some we have that determine our basic attitudes here: singing. the songs for social occasions, the Auld Lang Syne, 164 CAECILIA the college songs, the songs about home, the work Grand Opera. This form ot sentimental secular songs, the love songs, the folk songs, the songs art, in which seese is regularly sacrificed to sound, about heroes, the military songs, the national an­ beauty to glamor, the mystery of reality to mere thems, the songs of satire. Consider, too, how dif­ mysteriousness (how many Americans, at least, ferent our lives might be if all these songs were of would enjoy the opera as ~uch as they do if they Christian tone and inspiration - how much more really knew what was being said?) has proved an prudent our actions in the various fields of life almost poisonous influence mystically. would be. Father Bouyer writes as follows: Again, consider how music can give a student "We must remember here that the great cul­ some understanding of the discipline of a scientific tural creation of the period, and its most popu­ artistic training: how it can teach him to think lar one, was the opera. And in the opera an ex­ synthetically as well as analytically; to put together altation of sensual passion is combined with a as well as take apart; to think in terms of pur­ mythological kind of imagery almost completely pose; to respect the requirements of a strict fo~m decorative, flowering in courtly music and ballet: as dictated by that purpose; to respect his matenal So the faithful of the same period sought to find as having. its own rights and inner logic; to re­ a religious equivalent of the opera in the liturgy. spect the limitations, the capabilities of the instru­ Churches came to resemble theatres in plan ment; to see how, if he would change anyone of and decoration. .The liturgical pomps displayed these factors, he must change accordingly every in such churches tended to smother the tradi­ other, and so on. Above all, from music he may tional text of the litmgy under an increasingly learn how even the most inspirational of arts may profane kind of polyphony, the text itself hav­ be, in the strict sense, scientific: in short, how art, ing little more importance either for the per­ while imaginative, is a truly intellectual virtu:. formers or the hearers than did da Ponte's The very same general principles which he finds m poems for devotees of Mozart. And, in the end, a well-conducted course in crafts or painting or the liturgy was embalmed in productions which poetry he will find here manifested in what is per­ treated it as reverently and as indifferently as haps their purest form. Recognition of them an~ the King's corpse at a royal funeral; it became, obedience to them in music make doubly easy his as it were, the pretext for an "occasion" similar recognition of them and obedience to them in all to a soiree at court complete with a divertisse­ other arts. ment by Lully. The chief focus of liturgical Positively, then, there are many reasons why a life, therefore, was no more the Mass, which in­ sound training in music should prove of great va~­ cluded too many elements out of harmony with ue to the Christian student -- aiding him, as It the mentality of the times" [As it does today. does, to perform well his functions of wo~shi?­ What American wants to attend Sacrifice?] ping, contemplating, bearing witness to Chnst ~n "Instead, Solemn Exposition of the Blessed all his actions, suffering martyrdom fo~ ~d. m Sacrament, a ceremony created and developed Him, governing or being governed, ~amtal~mg just in time to satisfy the new tastes of the age, human relations with others, and makmg things managed to assimilate perfectly the courtly cere­ properly. monial then fashionable. In the Presence of the But sound training in music is perhaps even Divine King, a kind of heavenly grand opera more important relatively - a fact liable to could be performed, with all the display of escape notice since the abuse of an art can be more lights, jewels (mostly false) , exquisite poly­ degrading than the proper use of it may be ele­ phonic singing, and pageantry which sommo~­ vating. (And, alas, there is no art more abused, ly accompany a royal reception. ~nd all t~lS put to more degrading ends on all levels, ~han was pervaded with that type of sentlIDental pIe­ the art of music!) As Pere L. Bouyer, m a ty, those pantings after Divine love, ~apable of book which you should all read (LITURGI­ competing successfully with the ecstatic expres­ CAL PIETY, Notre Dame University Press) sions of human love fashionable in the poetry of points out, nothing, for ins~a~ce, see~s. to have the time ..." been more harmful to the spmt of ChnstIan wor­ ship than that product of the Baroque period, the And today we have not only Grand Opera, but JULY - AUGUST, 1955 165

almost all dance music disposing us against the ly, for the love of God, let us not confirm this proper understanding and use of music for sacred fatal delusion by our choice of music also. purposes. On this point, let me quote from the Not only will saccharine or melodramatic music work in the series GREAT RELIGIOUS COM­ repel the more intelligent of our students, it will POSERS on Guillaume de Machaut, by Sigemund make their task of converting others, or of witness­ Levarie. In the chapter called, "Problems of a ing to Christ, doubly hard. Religious Composer," the author has this to say Especially will it be hard for some of them to in commenting on the Motu Proprio and what it resist the substitute religion which is provided by identifies as profane music unsuitable for sacred the higher forms of musical entertainment, the rites: concert or the symphony, or to deal with those outside the Church who are addicts of those sub­ "The. holiness of music permitted in church stitute religions. For a symphony or a concert is has been defined by the Motu Proprio as that often very dangerous in that it can put its listeners quality that excludes all profanity, not only through what seems to them a profound mystical from the score, but also from the manner of per­ experience-all without adverting to a single Chris­ formance. The given examples of profanity tian reality. They can go to Mass by listening to seem to come from apparently unrelated realms. Bach's Mass - and moreover, in doing so feel But theatrical style, pronounced rhythm, con­ superior to the poor Italian fruit vendor around ventionalism, secular language, improvisation, the comer who really goes to Mass, because he solo pedormances, exhibitionism, supremacy of cannot appreciate what they appreciate. It is for instrumental over vocal expression, and preva­ this reason (and I remind my audience that I my­ lence of noisy percussion instruments - these self lived in Boston for many years and taught in characteristics reveal a common root to the criti­ Cambridge) that many well-educated Bostonians cal musician. Although the Motu Proprio does are almost impossible to convert or make truly re­ not single out or even name the constitutional ligious: they have gone from Puritanism to Con­ antagonist of church music, we recognize dance gregationalism to Boston-Symphonyism, gaining, music as the carrier of all the profane qualities they think, by each step, a purer and purer reli­ listed before and as worthy of our special atten­ gion. What they have gained has been, of course, tion." at the Joss of one Christian truth after another. I am not saying here that the music they gener­ Worthy of very special attention, I might add, ally listen to cannot be listened to profitably by Since for most modem young Americans, real mu­ Catholics. Far from it. Rightly, Catholics should sic now means dance music - anythit;tg else is for be able to find the good wherever it is in any form the long-haired boys. of thought or expression - the grain of truth in . So long, then, as we are concerned with getting every lie, the goodness in everything defective . our students ready for active participation in the They should be able to respond to the joy of Mo­ Mass, which is best done by the right singing of it, zart, to the appreciation of man's indomitable and certdnly not by passive listening to the wrong will as expressed by Beethoven, to the deep sense kind, we must see that sound musical training is of the lacrimae rerum in Tschaikovsky, and so on. a vital necessity if only as, shall we say hygienic - The Catholic should be led to contemplation, in­ as at l<>ast preventing our student from falling in­ deed, in three ways: by what the music says; by to erroneous habits of prayer and worship. How the marvelousness of its structure; by its manifesta~ else ar e we to protect these students from being tions of how much in the image and likeness of predisposed against good sacred music and from God a great composer can be. But he must know identifying piety with so-called "corny" or how to see and respond to these things duly - "schmaltzy" music? that is, not in any sense worshipfully or sentimen­ There is enough of a tendency to identify tally, in a mood of pseudo-mysticism. dumbness with goodness and alertness or sophisti­ As for the enervating, the demoralizing effect cation with worldliness, sloplPY sentimentality with of the wrong kind of music on those who might sanctity, already -as we see in the horrible plastic otherwise be strong enough to witness to Christ in and pictorial art in most of our churches. Literal- all they do and willingly to suffer martyrdom in 166 CAECILIA and for Him - who that has listened to our pop­ persons who do our work unthinkingly and are ular music (or, for that matter, our contemporary content with the routine, sub-human tasks of mass­ classical music) would say that it is suited to main­ production. (Music has, indeed, become a sop to taining the morale of the members of the Church the machine-tenders, one more lure for those who Militant? If we do not allow our athletes to break would destroy craftsmanship by bribing men to training and live on creampuffs, ice cream, coca­ become machine-like morons in order to "enjoy" cola, and cigarettes, neither should we allow those a leisure of mindless dissipation.) who are to be athletes for Christ to do likewise. Can we in any way cooperate with this sort of Think what is meant by taking up one's Cross joy­ thing? Must we not, if only for these negative rea­ fully, by making an oblation of oneself and one's sons, strive valiantly to teach our students how to sufferings in the Sacrifice of the Mass, by doing guard against these dangers that lurk in apparent­ all things well in the spirit of obedience to God's ly "pure" and innocent forms of art? Will (like the Little Flower); and then think of the music which we allow to be fed to those who So far, I have spoken of what might be called are to do these things. the specific, direct effects of music, both positive and negative. Now, I shall try to make clear why, Moreover, that music can have a negative effect even ignoring these, an educator might reason­ on the Catholic in performing his duties in all de­ ably be led to conclude that music is a necessary partments of his life is very obvious; for what discipline. would our civilization be like if the songs we have already mentioned - the love-songs, the college For an educator should see immediately, I be­ songs, the military songs, and the rest - were truly lieve, the validity of the following line of reason­ Christian in every sense of the word? How many ing: The student whose heart does not enable him divorces, for example - to cite but one evil - to act readily in accordance with the dictates of are directly or indirectly the result of that senti­ his head, may know many, many things and yet, mental view of romantic love, that set of false ex­ for all intents and purposes, act like a far worse pectations, fostered by Tin Pan Alley? And what fool than someone who knows far less than he. is true of romantic love and marriage is also true The disciplines which, as it were, harness together of other things: music can so induct its subjects in­ the heart and the head are the fine arts. Of these, to a world of fantasy and day-dreaming as to rob the one that does so most directly, as Aristotle them of all readiness in dealing with reality­ pointed out, is music. Therefore - I let you draw that readiness which is, as the psychiatrists tell us, your own conclusions. the sign of maturity. The connecting of heart and head is all the AS for the effect of bad music, or music abused, more necessary since we are not only subject to the on the virtue of art, it is obvious that it can en­ disruption of original sin (which the Pope calls courage all kinds of incompetence, on the one the main obstacle to education) but are inclined hand, and a false appreciation of mere technical not to be anything like as intellectual as we like to competence on the other. believe we are. Incompetence and distraction from the true joy The unhappy truth is that we deceive our­ of craftsmanship and of work are fostered by the selves when we suppose that most of our thinking common habit of listening to music at all times, is as consciously reasonable as it is supposed to be. not only during conversation, but during hours of As a learned friend of mine once shocked a good work and study as well. We have come to adopt - or rather a poor - Thomist by saying, "It is the habit of doing everything to a musical obbli­ only in textbooks that man is a rational animal." gato - like a child who can't work without a To bring this fact home to you, let me ask you gum-drop in his mouth. What this means is that to perform a little experiment, one which I have we no longer look to our work as affording the performed with interesting results more than once, challenge and joy of craftsmanship or to any work with groups like yourselves. If you have paper as something enjoyable in itself. It must all be and pencil handy, put down the following list of sweetened up by melody. What it also means is statements; if not, just keep them in mind. I will that we are gradually becoming over-stimulated repeat them later anyway. JULY - AUGUST/ 1955 167

1) Never overeat. and imaginatively: The crucifix; an image of Our 2) Action and re-action are equal and opposite. Lady; the flag; the statue of Liberty; all arouse in 3) Honesty is the best policy. us - or should arouse in us - true and deep 4) Every act of self-denial stops some wheel sentiments. So, too, should every prayer in the from turning. Mass, from the K yrie on, especially when sung or 5) The price of liberty is eternal vigilance. intoned.) 6) Blessed are the meek for they shall inherit I couM go on to show you how, if you do not the land. have music foster sense, it will be used to foster Now, I should like to have you perform the ex­ nonsense: become, indeed, a source of de-edu­ periment of. evaluating these statements as wisdom cating the student by habituating him to become excited over nothing much, or over some senti­ - as applying to all people at all times and as mental foolishness. I will merely say, however, leading to ultimate happiness. Put the most im­ that if anyone doubts this fact, let him read the portant first; the next most important next; and so on. words of most of our college songs. The senti­ ments which young men and women who are be­ Now, since we are all of the same religious be­ ing given intellectual training are supposed to lief, general political belief, culture, tradition and utter willingly and whole-heartedly! Mostly, they even occupation, we should all come to essentially are such stuff as no High School teacher of Fresh­ the same evaluation here. For we are all trying man English would let his or her pupils get by to instill in our students the same sense of values with. - enable them to have recourse naturally and So far, I have been talking about what might easily to the right principles in the right order of be called the direct value of music. If I had time, preference so as to live wisely and Christianly:. I could, I believe, go on to show you its very great And yet what have we? I should like a show of value, as I have come to appreciate it, to the hands on how many have followed my line of teacher of English: how it can be used to make preference: - students aware of what can be called in a very ex­ 1) Blessed are the meek. act, rather than an analop-;cal sense, word-music; 2) Every act of self-denial. how the knowledge it affr 'of the difference be­ 3) The price of liberty. tween quantity and accent can straighten out our 4) Action and reaction. otherwise unbelievably mistaken prosody; how an 5) Never overeat. ("Honesty is the best policy" understanding of cadence will not only make clear should not be on the list at all, since it is a fundamental difference between prose and poet­ basically a false statement. Honesty is not a ry, but also - and I really wish 1 had time to policy; it is a virtue.) dilate on this topic - the fact that our Lord was Yet, I believe I can show mine to be rationally not in any metaphorical sense, but quite literally, the right one. a poet, as also was Our Lady. (Of one thing I But the important thing is how we arrived at am sure: The person who has no sense of mea­ this evaluation, not merely that our evaluations sure, rhythm, tone, and cadence, should never be differ from one another. What I should like to allowed to teach English, certainly not English have you ask yourselves and answer honestly is: composition or the appreciation of poetry.) how did you arrive at your evaluation? Did you not There are other subjects, of course, with which feel that one of the statements was a more im­ music has a close and illuminating relationship portant truth than another? On both scores, (think how a chord, f~ instance, can be used to then, is it not wise for us to assure, not merely suggest the unity of the Hypostatic U mono ) But I similar assents to truths, but similar consents - must leave this subject aside, and go on to a not merely similar basic notions, but similar basic final and practical consideration. sentiments? And can we neglect the most directly If music is anything like as important as I make emotional of the fine arts in assuring these senti­ it out to be, what should we do about it? And ments? (A sentiment, let us remember, is a feel­ how hard will it be to do this? ing about a truth or a profound reality which is Well, without trying to lay down any set curri­ understood and appreciated both intellectually culum for aecomplishing these ends, may I sug- 168 CAECILIA gest that you should try to make sure that every­ thing unnatural or something perfectionist; unless one of your students can make reasonably good it is great classical music, it is not music; the fail­ use of his or her voice; can think and feel sensi­ ure, finally, to realize that music need not be ex­ tively in musical idiom; can pick up a simple pensive - unless we wish to tum out geniuses and chant and sing it after humming it over a couple aesthetes; we all have voices, and there are plenty of times; will know by heart the most important of halls. chants of the common and of the Liturgical Year, And yet, I believe that if you simply keep these as well as a number of such excellent hymns as dangers and delusions in mind, and begin by mak­ you will find in the Pius X' or the Westminster ing full use of the Motu Proprio, the Mediator Hymnals. Your student should know a fair num­ Dei, the Mystici Corporis, and the Gradual, with ber of traditional songs for various occasions; be all its undotted notes which free us' from Greg­ aware of the technical excellence but relative orian controversy, as well as the Pius X and the emptiness of modem dance music; and aware also W est minster Hymnal, and any good collection of of the dangers of music as discussed here. Above the best traditional songs and the beSt records of all, it should seem to him that music is a natural Bix Beidebecke and Glenn Miller, you will go far way of saying some things - whether prayers or indeed to solve your very great problem, and give congratulations or whatever - much more effec­ music its due place in your curriculum. tively than they could be said in any other way. Mr. Ryan, author of An Idea of a Catholic College And he should have heard enough good music to (Sheed and Ward 1945) and Beyond Humanism (Sheed Ward 1950), over a period of some 30 years has taught feel the rightness and depth of it. English and related subjects at Harvard University, Not that I believe these moderate objectives Holy Cross College, Boston College, and Conception are easy to attain, despite the fact that one might Seminary. For five years he has been advisor to the Workshop Program at Catholic University of America think that a good course in solfeggio for two years and has participated in and co-directed the Secondary and some regular practice in the Sung Mass, as School Workshop and participated in the Art Workshop. also in general community singing, might be He is a director of the National Liturgical Conference and is consultant to the Notre Dame University Press on enough here. If such a course were conducted Liturgical Studies. rightly, the ends sholAtd .. be easi1*~ attainable; but I have no delusions abvWlwha,W. it will be to get SACRED MUSIC SERVICE them so conducted. Providing all types of sacred music materials, There are, alas, many obstacles to overcome Products and services What do you Need? here, such as, the general lack of knowledge of the We know Where to get it! true spirit of the Liturgy (and how can a boy or Bells ~ Books ~ Chimes - Choir Music ~ Choir StaDs girl sing properly?): the failure to distinguish the Employment • Service ~ Gowns ~ Organs ~ Organ art of singing prayers to God from singing songs Music ~ Robes ~ Risers delightfully to man; the failure to prefer having ADDRESS inquiries to: everyone gain a knowledge of the grammar of mu­ SACRED MUSIC SERVICE sic to having a few gain some slight mastery of 8 E. Prospect St. Mt. Vernon, N. Y. the art of music; the failure to realize that there are hardly any tone-deaf people; the failure to realize that this art is not for the favored few; the THE CHOIR BOY INVESTITURE failure to realize that polyphony should be taught CEREMONY only after the chant and should never be set up in by Paul Hotin the student's mind as the oorm for chant; the fail­ Complete text and rubrics for admitting ure to realize that basic understanding and appre­ choir boys into the choir. ciation follows best from the practice of an art, Choirmaster's manual contains numerous whether the student becomes a great artist or not; photos and suggestions for planning the failure to meet the threat of dance music, the the program (octavo size) $2.00 threat which can only be met by showing (as St. Choir boy's manual contains text and Thomas would) a just appreciation of it and en­ music only (pocket size) 50 cts. abling the student to get such an appreciation of McLAUGHLJN & REILLY CO. it himself; the general belief that music is some- 252 Huntington Ave., Boston 15, Mass. JULY - AUGUST, 1955 169

" ACHILLE P. BRAGERS I

1887 - 1955

ON MAY 29th OF THIS YEAR, ACHILLE P. BRAGERS died in New York City of a heart con­ dition. With his p~g, Church musicians and the work of the church music apostolate have suf­ fered a great loss. As organist, teacher, composer, counsellor, and friend, Achille Bragers helped to shape the careers in church music of countless or­ ganists in the United States. His quiet and un­ flagging devotion to his vocation in the field of church music was and will be a source of inspira­ tion and encouragement to all who came in con­ tact with him personally or through the medium of his published works. In the picture shown on this page Mr. Bragers is receiving the Catholic Choirmaster's Liturgical Music Award given him by the Society of Saint Cardinal Spellman, Father Selner and Mr. Bragers Gregory on March 12th, 1951, the Feast of Saint Gregory. HIS EMINENCE, FRANCIS CARDINAL cialization in the field of Gregorian Chant accom­ SPELLMAN of New York made the presentation. paniment. The skills which he himself· acquired With His Eminence and Mr. Bragers is shown in this phase of his professional life he passed on REV. JOHN C. SELNER, S.S., President of the S0- to the many students who came to the school for ciety of Saint Gregory. This award, presented instruction. His method of accompanying the shortly after the announcement of his retirement, chant has been preserved in a book on the subject was the last distinction to come to Mr. Bragers which is widely used as a teaching manual. What during his life. is perhaps more significant than his class and Achille Bragers was born on Saint Valentine's private teaching of chant accompaniments from Day, 1887, in a small town near Brussels, Belgium. the point of view of the number of people who At the age of 15 he accepted the post of organist have been helped by his contributions is his list of in his native village. In 1907 he graduated from published chant accompaniments (See list be­ the Lemmens Institute at Malines which was then low.) The volume and quality of these are un­ under the direction of EDGAR TINEL. The same matched. In the aggregate they have helped to year he moved to America and became organist make the singing of Gregorian Chant acceptable and choirmaster at the Cathedral in Covington, and functional wnere otherwise chant might never Kentucky, where he worked for some three years. have been used at all and they have been instru­ In 1918 he became a naturalized citizen of this mental in eliminating from general use the old country and in 1922 he was invited by MOTHER style romantic-type accompaniments that former­ GEORGIA STEVENS, R.S.C.J., to become a mem­ ly were so harmful to the chant. If he had com­ ber of the faculty of the then newly-formed Pius p[eted the K yriale and Proper of the Time alone Tenth School of Liturgical Music at Manhattan­ his task would have been considered gigantic. ville College of the Sacred Heart in New York. Before he died he completed all but 40 pages of At this institution for the next quarter of a century the Proper and Common of the Saints, the first and more he dedicated himself to a work that was volume of which (Advent through June) will to be the most fruitful of his career. appear in published form in November of this The start of Mr. Bragers' tenure at the Pius year. The unfinished portions have been com­ Tenth School marked the beginning of his spe- pleted by fbrmer pupils of his. 170 CAECILIA

Although his written accompaniments are wide­ THOMAS MERTON TRANSLATES ly used, admired and consistently provide a EUCHARISTIC CONGRESS HYMN prayerful background and support to the chant melodies, these are. but a faint reflection of the Leaflets containing a translation of the official mood of prayer which he himself through his or­ hymn of the 36th International Eucharistic Con­ gan playing could produce during a liturgical ser­ gress which opened in Rio de Janeiro this month vIce. When he joined his skillful accompaniment were distributed to the pilgrims in attendance at of the chants of a mass, for example, or of vespers, the Congress. The translation was made by with his inspired transitional improvisations, the THOMAS MERTON (Fr. Louis, O.C.S.O.), of resulting total ex;perience of the service became un­ Gethsemani Abbey, Kentucky). forgettable. Composed in Portuguese, the English transla- His published compositions in a modern idiom, tion of the hymn is as follows: though nbt nearly so numerous as those of chant, o come, 0 hasten are like his other works well-known and used. From every side, Both the Reginae Pacis and Sacred Heart Masses The royal table n~~~ appeared in several arrangements for differ­ Is richly spread. ent combinations of voices. l' AChille Bragers' imitators and pupils are many; Waters fall from heaven, hisfricndship was precious. Musicians found him Soak the earth with rain. a keenly sensitive artist whose self-effa~ work Vines bring forth their clusters; was .pis prayer. His friends knew this too and in Wheatfields give their grain. addition loved him for the mild and gentle per­ son that he was, a true Christian soul at peace The rough-handed farmer with God. Gently strips the vine May the choirs of angels sing in joy to welcome Bread comes from the wheatfields, thee Grapes turn into wine. And with Lazarus who once was poor Grace comes down from heaven May thou find eternal peace at last. To Our Lady's breast. "In Paradisum" Mary, like a monstrance, Published Works of A. P. Bragers McLaughlin & Reilly Co. Publica\inns Passes, bearing Christ. Gregorian Chant Accompaniments Christ at mortal tables 1000 Kyriale Comes and takes His place. 1004 Chant Sennce Book 1400 Proper of the Time, Vol. I In His Blessed Hands 1401 Proper of the Time, Vol. II Signs are charged with grace. 1402 Proper of the Saints (In Prep.) 1460 Standard Gregorian Chants Bread becomes His Body 1270 Compline Sexvice Wine is changed to Blood 1354 Confirmation Sexvice 1995 Easter Vigil Sexvice His the Cross and Passion 966 Missa de Angelis Ours the grace and food. 907 Missa cum Jubilo and Missa alme Pater 1440 Missa Lux et Origo March, 0 holy people, 1965 Requiem Mass and Libera Strengthened by this Bread; 1320 Proper of the 1st and 3rd Christmas Masses and Feast of Circumcision In life, in death, victorious, 1321 Proper of the Easter Mass March home to your God. 1803 Proper of Mass for Our Lady of Guadalupe 1838 Proper of the Mass for the Assumption of Other translations of the Congress hymn have B.V.M. 889 Christus Vincit been prepared in Spanish, French and German. 1945 Christus Vincit -Christ Lord of Glory The original hymn was composed by FATHER 1960 Te Deum Laudamus MARCOS BARBOSA, O.S.B. of the Benedictine (Continued on Page 195) monastery of San Benito in Rio de Janeiro. JULY - AUGUST/ 1955 171

New Center for the Art of the Organ in Haarlem, The Netherlands

THE FIFTH INTERNATIONAL ORGAN Improvisation Contest took place at Haarlem, The Netherlands, July 6th through 14th of this year. In the great Church (see organ casement picture on this page) an improvisation contest took place on the first day. This was followed by a concert given by the participants of the impro­ visation contest in a program of their own option. Members of the jury which included MLLE. JEANNE DEMESSIEUX of Paris, PROFESSOR JOSEPH ZIMMERMANN of Cologne, and GEORGE STAM of Utrecht, gave a concert on July 7th. In the Muni­ cipal Hall on July 8th, a concert for organ and orchestra took place. The winners of previous years gave an improvisation concert on July 14th. Starting on July 9th and continuing through July 30th, organ courses were held at Haarlem under the supervision of internationally famous masters. During this period the students had the opportunity of studying with some of the finest leaders in the organ world. In addition to the opportunity afforded students of practicing and studying with acknowledged masters, the summer school acted as a meeting place for a young gen­ eration of growing organists, who have an oppor­ tunity here to exchange ideas and enthusiasms with one another. Certificates are issued to all the par­ ticipants. In organ playing the teachers were Organ of Great Church MLLE. JEANNE DEMESSIEUX, and MR. FRIEDRICH BIHN of Hamburg; in improvisation, MR. AN­ On the History of Organ Improvisation TON HEILER of Vienna and GASTON LITAIZE of When the Organ, in old ages a secular instru­ Paris. ment, made its entrance in the churches, a devel­ The fact that the organ courses stress improvisa­ opment started, which would lead to an age-long tion is evidence of the seriousness of purpose which flourishing of organ building, organ playing, organ prompted the founding of this annual summer composition and improvisation. course. In the Middle Ages already the art of improvis­ ing was industriously practiced. And in the six:. The following is an article on the history of or­ teenth century rather high demands were made gan improvisation by HENNIE SCHOUTEN, and is upon the spontaneous creations of the organists. reprinted from the announcement of the inter­ A "Regolamente" of 1541 mentions that the national organ improvisation course for 1954 candidates for tire situation of organist of the San which took place in Haarlem. Marco at Venice had to improvise a fantasia on 172 CAECILIA

a musical phrase, taken from the liturgy ("With­ out confusing the voices, as if four singers were singing") and besides this to join three imitating OURMUSIC voices to a given cantus firmus. It stands to rea­ THIS MONTH son that only organists, who had made profound studies, were able to meet such requirements. It In this Music Supplement will be found excerpts from is, however, obvious that the masters of the 16th four recent settings of the Ordinary of the Mass. Each century taught improvisation to their pupils in a is for a different voice grouping and each bears the very methodical manner. In a book, published in stamp of liturgical propriety and skillful craftsmanship. 1557, the Spanish composer Tomas de Santa MASS IN THE MAJOR MODES by Rev. Russell Maria gave the advice to take from a composition Woollen; for Congregation or Unison Treble Voices and any voice, to place this in the soprano and to im­ Choir of Three Equal Voices and Organ; Cat. No. provise three voices against it. Only when the 2065; 32 Pages; Score $1.00; Voice Part for Populus and Treble Voices 20 cts. net. pupil mastered this technique was he allowed to place the cantus firmus in the other voices. Motifs drawn from each of Modes 5, 6, 7, and 8 form Bach, the great organ composer, was a master the bases of this unusual composition. The Treble Voice part - especially written for boys' voices - is optional. in improvising too. His improvisations, to praise Free rhythmic formations and major triad parallelism which his contemporaries vied with one another, are strong features of the musical framework. (Kyrie have, of course, been distinguished by a wealth of only printed here) brilliant ideas. But he was certainly not the only MASS IN HONOR OF SAINT ANTHONY by composer of his time who mastered the technique Richard Keys Biggs; For SATB Voices and Organ; of improvising in a perfect manner. Every or­ Score 80 cts. net; 20 pages; Soprano Voice Part 20 cts. ganist, who, with a chance of being successful, net. Cat. No. 2073. wished to compete for a vacant place as organist Published some time ago as a Mass for SATB Voices of an important church, had to be proficient in and Organ, this well-known composition now makes its the art of improvising. Mattheson described a appearance in an STB setting thus bringing it within the grasp of newly-formed choirs of boys and men. The competitive examination at Hamburg, where the melodic line of the Kyrie offers the dominant musical candidates had to improvise a choraltrio, a fugue material for the entire composition. (Kyrie and a por­ and a passacaglia. And Telemann, on such an tion of the Gloria printed here.) occasion, set for elaboration no fewer than four MISSA UTE DEUM LAUDAMUS" by Dom Lor­ chorals and four fugue-themes. enzo Perosi; for 2 Equal or SATB Voices and Organ; But during Bach's lifetime already the art of 28 Pages; Score 80 cts. net; Two-part Voice Part 30 ets. organ playing and so the art of improvising too net. Cat. No. 2061. declined. It is characteristic that old Reinken, The first American edition of a mass that was once who had heard an improvisation upon the choral widely used in Europe. On its merit it deserves to be bet­ "An Wasserftiissen Babylons" played by Bach, ter known in this country. Its stately and majestic strains render it especially suitable for feast day perfor­ commented: "I thought this art had died out, but mances. The melodic strands taken from the chant "Te I see that it is still living in you." Deum" will be easily recognized. (Kyrie and Sanctus The church began to lose importance as a cen­ only printed here) tre of musical life. The great composers of the MASS IN HONOR OF THE QUEENSHIP OF 19th century were hardly interested in the organ. MARY by Sister Florentine, P.H.J.C.; for Three Equal Many magnificent organs, which in former years Voices and Organ; 16 pages; Score 80 ets. net; Voice had inspired real artists to masterly improvisa­ Part 35 ets. net. Cat No. 2078. tions, were played by mediocre organists in the A composer whose music always registers favorably 19th century. The average organist did not aim especially among convent choirs has given us a mass in at a well-founded technique of improvising, but honor of the new feast of the Blessed Virgin Mary. A special feature of the composition is the short-form tried to compensate his incapacity by a surplus of Credo. (Kyrie and portion of Credo only printed here) sentiment. (Continued on Page 192) JULY - AUGUST, 1955 173 MASS .IN THE MAJOR MODES For Congregation or Unison Treble VOi08S aDd Choir of Three Equal Voioes and ()rgan KYRIE

Rev. RUSSELL WOOLLEN

, TUTTI., , 1 .• I • .-..:;-- - ... KY- ri - e e - Ie -i _ 800,_ Kf - ri_ e e - , I I I

~ t II I 1J ~;:~-~;:~ .,;r·... . "'-, r I"' t ~ r·wrr r ~ r"r ~ .... .J. ~ I .. J ... ~ . I I -I I -

...... , ri _ e ____ i _ 800.------.- ~ _____ .-

,

-.,...... _. II ~ ------Ie - i - 800. \ . • ~ ,lI .I~ r -~ft f"-'r .,.. ~ f-1"'r r~' r r rr~ , -. :e IL'''' ".. ~ I 11 I . I . - I r 'ir~r r

Approved by A.1'chd!ocelaa MUltc' Oommis8ion of B08ton. Dee. 10 It" Conr1,ht )lCIILV'7 ][oLaughlin. Reill7 Co,. BOlton, )lall. )I..... CO.I06&- •• IateJ1l&Uoul COP7l'lght Seeve' )lade in U.S.A. 174 CAECllIA

.f! meno I Congre­ gatIon ,. .., -~ '.~ -"" ---.."'" Chri - ste_-- e - Ie - i - SOD. Chri ~ meno.! ..- Treble Voioes • I I I Chri - ste_ e - Ie - i - SOD. Chri - ste_ e - ~I~ meno.! ...-... I , I f Chri - ste_ e - Ie - i - son. Chri - ste_ e - f! ...... II I I I ~ Chri - ste_ e - Ie - 1 - son. Chri _ ste_ e - II III ~~ ...... P ,. "'--- ~ ,. ---.."'" Chri- • ste_- e - Ie - i - son. Chri - f! I , .. T '''r-r r 'T - r-r f 'r r if r ... ,.. "leno" hi j J J~ F2. L I t r I1j-j 19- I r I I1r r I Ped.

~ . ,., " ___" l'"" ste_ e - Ie - i - SOD. II ...--- --. J6-."" -...... : J6 .

~ 16 - - i - SOD. If! ..- ~£...... ~H. .., Ie - - - i - SOD. ~ ..- ...... - Ie - - i - 80n. f! I

~.., ,. ,--- " ste_ e - Ie - i - SOD.

l! 1 1 ~bJ 1 ~-. . ~. ~ 11" j"-'j I I I r "I .if cn1SC.~ .. .U J--.l b~ t I eI 1'.'U". JULY - AUGUST, 1955 175

J 1 .p

411 " .,..; '-" Ii ' Chri--- - ate_ e - Ie - - SOD. ~ .. 'I ~~ - -...... l' , I , I _ Ie Chri - ste e - i - SOD. ~ -- -..... l' • I I., Chri - 8te_ e - Ie - 1 - SOD. I 1 l' ,-., , ~~ " ..; '-" ..,-"" Chri - ste~ e - 18 - i - SOD. f! ~l 1-1 I I I

I " -r I--r . I~l\ dt.m. VI\; /I~ p < \.~..JJ~.J ,., ..--1'2 ~ ( -J.J. - " ......

m d I - - '- w.I Y I Ky _ rLe e _ 18_ L 800._ Ky - rl_e.' e - Ie - i _ 800. ~m.f I - - I w.I I. I. I i _ Ky- _ rl_ e e - le_i _ 800._. Ky - rt_e e _ Ie - SOD. ~fj m.l ".- ~.

w.I -;- I Ky - ri - e. e - Ie - i _ SOD. fj

w.I K~ - ri _ e '"e - Ie - i _ 800. ~ ...... ~. ~'" .. Int ... :;: ~ InJ' .. Ky _ ri _ e '----.!f!-/ e - 1:: - i - 800.--

f! I 1 J I_I I I I I L 1 L I II

I-I , , I'lil J I I I r I t I , I ! ~ /1 J"I ~~

~. I .. - V?7 -,; ~ ~~ .. ~. =s;p. - T r r~ 176 CAECILIA

,--... fj . ~ I- -- • K~ ri 8 fj- y - - 8 - --=-. J/j.~ (... n-fSl-) ....--- n...--...... n. ..~- ., -- -- Ky - ri - 8 8 - Ie - i - 800,_ 1- ...... --- - ,...... -t,... 41 . , - Ky . ri - 8 e - Ie - i - 800,_ fj - ,..,:.. Ky , , - ri - e e - 18 - i - 800,

fj ,J I I I ~ ~ .J I .. ~ I 1 , .., i r - I I I I I I ~ ~I:j. .. .J. II. .r'~ != ~ . ..- Ij~. tr • b.~ ~ ~ 'I II'" I - Pad.

fj .., - 18 - i - 80n. .. ~r."I ~ f.r- --...... - - 41 . • 8 - - - Ie - i - 100. ~ \ .f..- ---... ..-.... Ijr."l ..

41 • e - - - Ie - i - 800. f_ -r--. r."I

l' I I I e -- - Ie - i - 80n. , ;I --- r."I ,III • e . - - - 18,- _ i - 80n.

fj ~ .J J I I. I I Hp. I , , .., I .. I . rit ~~ J 1,. J L~ ~ .J ~:-. I "J d ~ .. I , 'V. ... I r JULY - AUGUST, 1955 177 MASS In Honor of St.Anthony For Soprano, Tenor, Bass and Organ

RICHARD KEYS BIGGS Andante con moto KYRIE 1Iff TUTTI ====- -=::: AL :;=.:: "'iiiO;...... ~;:::... ~ J , , ~ Ky - ri - & & - Ie - i-son." Ky - ri - & & - Il, , ...... I ,..,..,...----r--. I I --r I ""'" ---- ~ I -- ~ 1"'- 1-1 mf r r--r r~ I'r r I .,g- J. ..L -- , .J r~IIJ .n"-- , II -==: -==- fj I. - '- ...... ---..... -= ~ , , 1~& - j - son. Ky - ri - & & - Ie - i - son. ,..., ,..., Il I .------r I .-.- I I --I ~ I II ~ r r ''r r:- ~r-r r- I I I f"- 'f"t. r Ilr" ~ ilo J ,J L J ..a- :d 1 J ,.J;;== ~,J" '.

, , I SOP•. mfI' II t Mn~ crtISc. I'l '- , , --- 8 ., - Chri "" st& e - Ie - i - son. Chri - ste e - ""T BN..:-.:-... crtIsc. ~ t .....---:. .---...... T - .., , , , , Chri - ste __ & - 1& - i - son. Chri - - ste & - BAS8 "lf ".--.. " . ~~ ,-. B -, , Chri - ste __ e - Ie - i - son. Chri - ste & - lI-tMn~ A t 1 1-- J--t J. I J- I ,- m} r r r I r crtIsc. I 1 \~ :;. j 10 J .n ,.J.. 1- :,l:J.JJ-' 4lhJ~ :.L ~I..l r - 1 . I ' ,

Copyright lICMXXXVI by lI~aughlin &: Reilly co •• BOiten, .&"1. Arr.CopyrigM MClILV by JlcLaughlin &; Reilly Co., BO,'OIi, Mau. •• &; R.Co. :&0'71-1'7 In\ernaUonal CopyrigM 8enred .&de in U.S.I.. 178 CAECILlA

t • .f , :: ~. - ...--...... =--- , W I • I. I Ie - i - 80n. Chrl - 8te e - Ie - i - 80n. ::::::=- ,.f, ___ ill .1 --::::.. -. ~

tJ 1 1 I , Ie - i - son. Chri - - 8te e - Ie - i - 80n.

.::=:..- .f ..--. n :::--

-1e - i - 80n. Chri - ate e - Ie - i - 80n. . ..-- Ii I. 'I I ----I J---r 1,..-.....1 I J--.-..

I 1 r I I I r-rr I I 1 . \~ :::J- .f < 1 ::::=- -.i 1..J J Jl ~ J.~J ,J ~J 12- .~. ~ I 1 ::: L ,.. ,.-, 1 Ii 1- ......

WI I , , , 1 ICy - ri - e e - Ie - i - 80n. Ky - ri - e e - ,...,..,...-...... ftl ---r L ,,"",J ~ I ~I I I --... ~ ... I I r M r~ 1"- "1-1 Ilr r I ~ tiff ~ 1. .1 I l.J-~ .. J 0- ~ - -- I 1 I I I

i - 80n. Ky - ri - e e - Ie i-son.

)I.A: R.Co. 2078-1'7 JULY - AUGUST, 1955 179 GLORIA Allegro COD spirito

iii ~ s. " , - ., • I Et in ter-fa pax ho - m~i' ":' ~f - bus bo-nae vo-b~n - ta. - _. ,... "_. ~ T. ," I ". Et in tar-ra pax ho-mi' - of - bus bo - naa YO - lun - t8. - .p...... -~ .- B. r " Et in ter-ra pax 110 - mi' - of - bus bo-au vo -lun - ta - Allegro COD spirito lit --'- .I-r I- I L-

I r ' I ,,~ '.J. JJ' w J..L .w ~..LJ..l .J.J.i.J ! ~~- -=. - I I

n ____ Ii L • - .... I .. ., - Lau _ d& _mus teo Be-ne - dt'- of - mus teo Ad-o- tis. .I. __ .... "". _ " t .. eJ , , • ';.... I tis. Lau - da - mus teo Be-ne - df-of - mus teo Ad-o- ,r.fL ...... ~.."" ~ .".:;;,. ~- ... , - A L • -I .- I I ..... I I I .... --..:.... I - eJ I m ,,1 I rj It I"" r t ""'-"" .D; 11 r ~ f; f!:: .. 1--..fL ""1 ~;.. :s "t- I , I

fj L h.. =- 111- "". I

I , " Wi . n' , ra - mus ie. 010 - rf - tl - oa-mus teo Ora - ti-as A L = t I ....--- " "" I • ~ ra - mus te. __- 010 - rt- fi - oa-mus teo Ora-tl-u ...-.--.. -,...... --== - ".,. .

I

I I ..-- , I j::;;-. " .. - J --nl I J h.J ~ ...L_ -I r I,,~ "'1 I I S. r -- ..l .J. :!!:. 2- !w I I JioJ ~ .!L""- .... - I I , 180 CAECfLlA

., I I I

' .., I, a .- gi-muB ti -:- - bl pro-pter ma - pam glo- rl - am IJ L I I

., , a - gl-mus ti -- - bl pro-pter ma - pam glo-rl- am ". - - ,...., IJ t --I ...... I ,;....~I --. I I 1 ""7- I'" I I r r r'- 'r r Ifr'1'" r -~ ..L -- - !.L-~.J~J ~

I

IJ I n' "., Moderato ., ., t "--' -,-, r I I, 1 U - am. Do-ml-ne De. - UB, Rex: cae - Ie - IU8, De - UI rit "9 " 1

.. "-- .... I tu - am. .,.Do-mi-ne De - UB, Rex: oae - Ie - BtiB De - U8 rit_ . I

I I Moderato . , - I I I - t .., J.vt: .A. l' .J 1~- .A. F' ~, ~S~~ .~ I I I

~ I I " t I

I , . I , r I .. I, 'I I, Pa-ter 0 -mnl - po - tenB. Do-mi-ne FI-1I U -01 - ge-.n -te, • L • --... _0

I • Pa - ter 0 - mot' - po -tenB. Do-ml-ne 1'1-11 u- nl - ge - u'-te, I 11'2

I I , I

, I I ,-:-, ~ - • J - I r I I...... (Lo A. .~ F' I 1 .J llNL on. • I JULY - AUGUST, 1955 181 MISSA"TE DEUY LAUDAMUS" (Por 2 Equal or SATB Voices and Organ> LOBBRZO PBB08I Kyrie Arranged by A.)(.Poriel-.nce Maestoso ;~j6 ! J

I [80PBA!fO ., ';-""' , (*) Ky - rl - e re -let - - ~ ... 11 ALTO "" ~ ~ t Ky - ri - e ~ -lei -

~ ... I TENOR (ad llb.) -.., "" , r,- K~y - ri - e e -lei - "fl- BASS • • • (ad lib.) - ~ Maestoso(fte• a) ,Ky - ri - , e -lei - ,I "'... . G"--I I -r-. - ..

(8.1) ,----- '"1 r I- I I r "" ...... OBGA!f . "'r- r .J !. J-~ .J-- ~..J..J.J ~. I I I J I I . r

'Aj6 ...--...... , SOD. , (Xi - rl-. • - lei - - 8oa.) Ky - ri- ~ ...

~ "!...; " ., ( .', SOD. K!, - rl • e e - . 181 - - 80a.) Kj - ri- ~j6 ,-...... ,

.t " r, • , • 80n. Kj e - 8011. Kj- , - ri-e - lei - rl - --. .I , SOD. Kj - ri - e e - ·18i - - - 8OD. Kj - ri- /} ...... I I I~' 1""""""-:-1 r r r Ir\ I 1....r:.I / !. J .J. ~ .no »J~J .no ...... , r c.r r I I ,*)Whezt.tJung by I Iq1la

, ~~ I

.. .. i I e e - lei - 80D, e --iei - - 800. t}~ ..

I • e e - lei - 800. e - lei - - - SOD. I}»

., I I e e - lei - SOD. e - lei - - - SOD. ;;-,.. • .. n ~ , .". ~ - e e - lei - 80D, e - tei - - - SOD. ...6.- I I I

., I I l--f'- ..eo I U r - e:rr r J J I I 1 III ..1...- ~j II ~ 1 ..... ~ "- """"' ...;...... , r I r , I "u ALTO SOLO- , , eJ -~ .. (Ohr! - ate e - - lei - SOD_ Ohr! - ate e - 181,- - - BASS 80LO -- :> , , ~

I I ~ Chri" - ste e - lei - SOD. Chrl - ste e - lei - - I fj~ ~ . ,., 'U' ;.-rr t]' (8) 'IJ~r- r'{ r r r -r J I r-. I, "'U_ "'U' "'U' r I r ---- ...... - r i I fj ~ , ,

Q r" SOD. chrl' - ste e - lei - SOD.) , ...-;--... , . -- , I SOD. Chri' - ste e - tei - SOD. I --...... fj~ - I ,--- ~ ,-- 1 r J . I 1 r If" ~r fi f'- 1 r !~ r-. ,.., J "F'Z ~ (~ ~ J J--- :i.J.J.J i I .... r r r 1 I

If.&. B.CII. IOU-U JULY - AUGUST, 1955 183

}fj~ ~ .....--....

ei , , I Ky - ri - a a - lei - 800. (Ki - ri - e e -lei -

~». .

eI Ky - ri-a a - lei - 800. M ...... --..

eI , Icy - ri - a a • lei -

~ .

,l'J ~. I I I I

,. ~ eI ttr r r I r r r r ttj T r < r r r

~ ~ 1/11 J .k--~j ->11 J ~ I I I I I I

lfj/j - roo.. eI , ------1IOIl.) Ky - ri - a a -lei, - -- - 800. fj~ .- ~ roo..

eI ~- "r~ fl'V Ky - ri - a a - lei -- - 800. f1/j - ...... roo.. eI I , .... - - 800. a - lei - - - 800. .7- n- ...... roo.. , a - tei - . - - 800.

fj/j I I I I I I I I I I roo..

'U' \ eI r L..[ ro ~ 'U" 'r~1 i tr ) .rl J n ~..I J I_ I ~ I I I 'I 'U' '.;.I

v AD Co 9084 '8 184 CAECILIA Sanctus

Maestoso ".1& sop. .., .(Su - ctus, San - ctus.) ".1& ALTO ...,

".1& 11 TBN. .., I San - ctus, San-ctus,

BASS

. Maesioso ___ A.I& ~.J .!J J----Jn· I , , ,lJ'1

.:J I r I , I t, (8) L..I I ORGAN ~ ~ J. JJ ~ J..! ~. - ~-- ..! JJ:J?J .no JiJJ t I

.A..it .f I

tJ I I I Pte - ni sunt coe - Ii et p ".1& , .f I I

.., • I

.f I I " .1& .., PIe - ni sunt coe - Ii et Pn • , .f " • ... •

' r San -ctus DO' - mi-nus De-us Sa - ba - oth. PIe - ni sunt coe - Ii et

/ ~.I& -J ,." I I I I I I I I , I . \ ~ I I , I J r r" ~r r- (8.4) < J. iQ. ..l J. 1 »J ,l 10 J I J .I J ~ • I , r r I JULY - AUGUST, 1955 185 MASS in honor of THE QUEENSIDP OF MARY Sr. II. PLORENTINE, P.H.J.O. KYRIE

I II

i-son.

III

~i e-le - i-

Imprimatur: tKost Rev. John F. Noll. D.D. Archbishop-Bishop of FDrt Wayne,IJId. ~19t·.t86l

Copyrfillt HCHLV by McLanlblin '" Reilly Co., Boston,Mass. 186 CAECILIA JULY - AUGUST, 1955 187 CREDO

fJ I Recitativo I I

, " 1"1 r-r tul te"1 Patrem omnipotentem, fact6rem coeU et ter - rae, viBibtuum 6mnium, et invisi -

I I I 1"1 r r • 'I II

'11 t:\ ., • ,f, r - 1-r- um. Et in unum DOm:inum Je-llum Chri-lltum, FWum Dei uni - iJ-ni- tum.

~ 1 t:\ I J I I 1.... 1 ~ J' j • r r r I I I I ."- tal l .J-.J bl:t 4- .p.

I \.:I \.:I

fJ I I

II 1"1 r r"" tu1 ~ ~ Etex Patre natum ante omnia ~~, .lIt- DeumdeDeo,lumendehimine,Deumverumde

Ii I I I j

~~~~~~~~~~~~~.. I 'I 1'·1 r r I '/1 , '-,

_~_ ,.. I..,.' I~ I..,

111 I .~.

'/ • "I r rr~r r De-o ve - roo Genitum, non factum, consubstanti- a-lem Pa-tri: per quem omnia I I J 'j ..J .. " I J ,I .... ' 188 CAECILIA

It I t:'\ I I I I ., I.... ' r fa - eta sunt. Qui propter nos h6mines, et propter nostram sa - lu tam,r de-r-

iii ~j J J I I

., I I -, \ 1""1 r r r I iJJ. J ..I ..I " '.:I

iii I I ~ ., __ I I -, f srn-~ ~e eoe - lis. Et in- ear - na- tus est de Sp{-ri- tu San- eto f:j' ,....,/ , Ii I I "- \ ., I I-I- t r r· r:...... r ); ) ~~ .,.. iI'!J ~ ~ J oJ t '.:I I I

fl, .....:::",....--= ,.il.

., r ~ r r f ex Ma- ri' - a Vlr- gi- ne; ~ ~o - m~ t- Jus 1st. Crueifi'xus etiam pro ~ ... b _~ _~ j.. ~ I I ~ IIAI ( .. f"':'" ...... r p p ) p _r r p J J ~ =,.il. l#I I"

fl L

"-'" I -, • II 1""1 no - bis, sub P6ntio PilAto passus, et se- pUt-tus est. Et resurrexit tertia

,fll.lj,J I ,J~

\ ., I I I I I 1"'!'I

) r ....p.. I:a:I :f.;. .po t(~~~~~~~~~'.:1~~~~

M • R Co; 20"8.16 JULY - AUGUST/ 1955 189

Wedding Music. Organ music and easy compositions for unison or two voices. McLaughlin & Reilly. $2.00. Our Father and Hail Mary. C. Alexander Peloquin. SATB, organ ad lib. McLaughlin & Reilly. 16c ea. Cantate Domino. Rene Quignard. 2 equal and organ. REVIEWS McLaughlin & Reilly. 18c. Five 111 olets. (3 BVM, 0 Salutaris, Tantum Ergo) Joseph McGrath. 3 equal a cappella. McLaughlin & which have been either composed or arranged by Reilly. 30c. Father Selner himself. A few Gregorian Chant Indulgenced Prayer Songs. Jan Nieland. (I set of three prayers for unison and organ; I set of four prayers tunes have been included (notably the four for SA TB and organ). World Library of Sacred Music. Marian antiphons in English dress,) and other 30c ea. well-known pieces such as Lambillotte's Panis An­ Adoremus in Aelernum. J. Deschamps. World Library of Sacred Music. gelicus, Maher's Soul at My Savior, Gruber's Asperges and Vidi Aquam. Carroll Andrews. Greg­ Silent Night, along with anonymous favorites like orian Institute. Adeste Fideles, Hail Queen ot Heaven,. Dear Guardian at Mary, and so on. Practically every Weddings we have always with us, and M. & season and major feast is represented by one or R.'s compilation should fit the needs of many more hymns; the use of English words has been smaller parishes whose choir directors are search­ given preference wherever possible, with Faber, ing for liturgically fitting music. The contents are Caswall, and other sources used for the verses. sixteen Latin numbers, ten English, the proper of Though Father Selner's original tunes are "tra­ the Nuptial Mass, and four organ pieces (Raffy ditional" in their harmony and general melodic and Biggs). All of the songs and hymns are more features, a number of them contain enough char­ or less well known. Like his other recent composi­ acter and individuality to deserve a place in the tions, Peloquin's Our Father and Hqil Mary dis­ repertoire of American hymns. Tunes like Holy, playa respect for tradition as well as an imagina­ Holy, Holy, or Evening Hymn, and 0 Godhead tive freshness; passing dissonances weave in and Hid, keep coming back to mind when one has out within the prevailing diatonic texture. Both sung them several times. pieces will repay investigation. Quignard's Can­ The hymnal is designed specifically for unison tate employs a traditional harmony; the opening singing. As such it deserves inspection, but like figure, animated in character, appean> in various other worthy compilations of recent years, its con­ guises in both voices and organ, and secures a neat tents will for the most part be new and unfamiliar unity. A piece for festive occasions. McGrath's for the average congregation. motets are simple settings of several standard The ten unison songs for which Father Rossmi texts. Jan Nieland's indulgenced prayers consist has written an organ accompaniment are "tradl­ of free-rhythmed lines which are characterized tional tunes of the XVIII century," set to words more by reverence than profundity. The English that follow in thought the various parts of the words are an asset. mass. The verses in general fit the actions of the The Deschamps antiphon in honor of the Bless­ service well, though strangely neither the sources ed Sacrament is a pleasingly dignified composi­ of the melodies nor the authors of the words are tion in a traditionally harmonic vein. Carroll An­ revealed. The booklet seems a little high priced drews' Asperges and Vidi are simplified arrange­ for its size, and the cover is merely thick paper. ments of the chant melodies, performable by sev­ eral voice combinations. Organ Music

Catholic Hymns. Gregorian Institute Hymnal, com­ Pieces d'Orgue. Dom Paul Benoit. J. Fischer & Bro. piled by John C. Selner, S.S. Gregorian Institute of $2.00. America. Organ Accomp. $3.00; Mel. Ed. $1.00. Following the Mass by Song. Ten English Hymns. Though his style does not display the progressive Carlo Rossini. J. Fischer & Bros. 80c. tendencies found in many contemporary European composers, Dom Benoit reveals a versatile hand­ Father Selner's little booklet of a dozen and a ling of the organ's resources. Chromatic colora­ half hymns, published about ten years ago, has tion, somewhat rhapsodic lines, discreet use of se­ now reached its "Third and Augmented Edition," quence, varied rhythmic patterns and a moderate­ - numbering seventy selections, the majority of ly active pedal are among the features of his writ- 190 CAECILIA

ing. As in previous publications, he tends to draw complete recording of a major work of the re­ his inspiration from Gregorian melody, and hence nowned 15th century composer Johannes Ocke­ there is a prevailing sense of modality in his har­ ghem." Oldtime historians used to write of works mony. Nine compositions are included in the like this that they were mathematical puzzles present book, most of them requiring three staves. rather than artistic compositions. There is no denying that the music is highly "intellectual" in Records the sense that it can be best appreciated only by History of Music in Sound. Vol. III. Ars Nova and Renaissance. Victor 2 12", LM 6016. those who understand the involved canonic de­ vices employed. Fifteenth century modal har­ Some months back, this column ran a review mony, of course, does not have the rich luxuri­ of the first four albums of L'Anthologie Sonore. ance of Palestrina's counterpoint; but judged on The present set is similar to Anthologte in that it its own merits and according to its place in his­ presents a history of music by means of perfor­ tory, this mass is a highly integrated work in which mance. It has this advantage, however, that it is skill and beauty find themselves perfectly fitted to designed to act as a companion to the New 0 x­ one another. The Fleetwood Singers, an ensemble ford History of Music, an invaluable set of books of 13 mixed voices, are clearly a well trained now in process of publication. The present album group, and their recording is a successful and im­ covers the general period of late Medieval and portant addition to the library of sacred music. early Renaissance music - from 13th century French polyphony to early 16th century instru­ Book Notices mental and vocal music. Virtually all the great names are represented: Adam de la Hale, Ma­ Choral Recitation of the Divine Office.Dom Alphege chaut, L.andini, Dunstable, Dufay, Bincho;s, Des Shebbeare. (No. 1 of "The Church Musician's Book­ shelf.") Gregorian Institute of America. 1954. 73 pp. Prez, and others. There is also a fair share of anonymous works. It is clear that this is a veri­ On the basis of the title, one would conclude table treasure trove. that the contents of this book were very specialized Teachers or those who are preparing to be indeed. Actually, however, Dom Shebbeare has teachers of music will be incomparably better edu­ so much to say about the principles of good sing­ cated for having investigated the music of earlier ing, and especially about good chanting, that I be­ ages. Heaven knows how frustrating it is to study lieve every average choir director will find some­ the history of music via books and lectures - and thing of value and interest in these pages. The in the meantime not know how the music sound­ author explains with succinctness and clarity the ed. It hardly needs to be pointed out that the Solesmes rhythmic system, showing its application best teachers, the best choir directors, the best or­ to psalmody and other parts of the divine office. ganists are those who are constantly endeavoring Besides, there are pages dealing with tone quali­ to increase their knowledge and better themselves. ty, pronunciation and articulation, together with So many of the improprieties that go on in some wise introductory remarks which are very church music nowadays are due to pure ignorance. enlightening and have application to church mu­ The eager and conscientious musician and director sic in general. will see in records such as these just the thing he Fundamentals of Conducting. Frank Noyes. - Brown needs to help him acquire background, taste, musi­ Company, Dubuque, Iowa. (Spiral back, paper covers.) cal judgment, and the other intangibles that dis­ 86 pp. $2.50. tinguish the knowing mus:cian from the misdi­ This profusely illustrated guide to conducting rected dabbler. He will be inestimably helped by is devoted entirely to instrumental music, but a the booklet which comes with the records, ana­ sensible musician will be able to transfer many of lyzes the music, and presents an or a good por­ the principles to choral conducting also. Part I tion of the musical notation for each selection. (Practical Aspects) is concerned mainly with the Ockeghem: Missa Prolationum. The Fleetwood problems of rhythm and beats. Part II (Theoreti­ Singers, James Fleetwood, director. Kingsway 12", KL cal Aspects) discusses the attributes of a good con­ 221. ductor, symbols on a score and score reading, As Mr. J. Vincent Higginson aptly remarks on tempi, and so on. As the title indicates, it is the the notes for this album, this "is the first and only fundamentals that are explained and stressed. JULY - AUGUST, 1955 191

The author is not effusive; his book has rather Among the essays in the first portion are the qualities of an outline; but he makes his ideas "Choice of Material," "The Thumb," "The clear and to the point. Touches," "Daily Setting-Up Exercises," "The Music Education in the Secondary School. (Proceed­ Pedal," "Agogics," "The Shy Pupil," "Queer ings of the Catholic University Music Workshop for Mannerisms," "Going Abroad to Study." These Secondary Schools, Summer of 1954.) Edited by Rich­ ard H. Werder. Catholic University of America Press. articles reveal the author to be an experienced 1955. teacher who states his observations in a terse sub­ The main portion of this booklet is devoted to jective style. His "hints" are clearly based upon nine rapers which were presented by such recog­ opinions formed as the result of his own wide nized teachers and administrators as Monsignor teaching experience. Infortnation on technical Thomas Quigley, Father Cletus Madsen, Theo­ matters - "Embellishments," "Repeats," "The dore Marier, Margaret Leddy, Lloyd Geisler, and Ritardando" and others - is generally conven­ Sister Mary Janet Miller. The place of music in tional and reliable. Many of his points are brief our Catholic high schools is the central topic and sketchy, perhaps too much so to be of the around which the papers revolve. Father Madsen most pwactical value to the young teacher. "Some provides some interesting ideas on music as a Dance Movements - Ancient and Modem" and means of expression, though he limits himself al­ other topics of a similar general nature are ex­ most entirely to liturgical music. Miss Leddy's tremely concise - each main point defined in a paper on Boy Choirs is a realistic summation of brief sentence or two with a little more elabora­ the problems encountered; the solutions she pro­ tion than one would find in a standard dictionary poses bear the marks of practicality and good of musical terms. There is more explanation and sense. clarification on such topics as "Memorizing," Rev. Francis J. Guentner, S.]. "Relaxation." There are the usual classic and generally anonymous remarks attributed to "a Breckenridge, W. K.: Hints for Piano Normal Studies. New York: Vantage" Press, 1955. 177 pp. famous pianist" which are often interesting and to the point. Now and then in such articles as The Preface clarifies the idea and purpose of "Practice" the author appears to be addressing a piano teaching "hints." The suggestions included recalcitrant pupil rather than a teacher co-worker. in this volume are specifically intended for young and presumably inexperienced piano teachers and The latter half of the book will appeal to many especially for those "who after having been gradu­ teachers because of its list of teaching materials. ated from a school of music, decide to teach and Included are exercises, recital pieces, etudes and find that in the stress of learning or finishing a studies for each grade level; duets; two-piano recital program, they have underestimated the compositions; and piano in combination with a problem involved in teaching others, and have variety of other instruments. The list of solo ma­ neglected to equip themselves with an adequate terials is a limited one with the classic and tradi­ teaching repertory." It is not intended for the tional composers for the instrument in the great elementary piano teacher, the author states, since majority - there are a few compositions by mod­ the primary grades "have purposely been omitted em composers mentioned. There is an interesting as belonging to a different field." It would seem list of "Variations for Programs" and quite a that an important area has been neglected, how­ complete itemization of Liszt's works among the ever, since most young, inexperienced teachers are "Transcnptions for Piano Solo". likely to find themselves dealing with child begin­ These "hints" will undoubtedly give the young ners rather than the more advanced student to teacher an idea of the numerous problems­ whom these "hints" apply. technical, musical and psychological - which the The volume is divided into two sections: the professional teacher faces. However, it seems like­ first consists of a series of forty-six short essays of ly that fuller exploration, clarification and elabo­ one, two or three pages on the various problems ration will be necessary- for the achievement of of the piano teacher; the second section is an Ap­ complete understanding which the conscientious pendix of a little less than half the complete work, teacher will surely desire. with a list of piano teaching materials for grades There is bound to be son le controversy with three through seven. respect to the author's subjective treatment of "In- 19:;>. CAECILIA terpretation" and "Imagination." The association History of Organ Improvisation which a composition calls to mind for one per­ (Continued from Page 172) son is likely to vary somewhat from that of an­ Fortunately there were still organists, who other. The generalization, however, that the pi­ proved that the old tradition had not become en­ ano student must get away from the "idea of tirely lost. There were more - there were even notes and get into the realm of effects" through improvisers of genius. Bruckner reaped laurels imaginative effort is certainly correct. Through with his improvisations at Notre Dame at Paris, his "hints" the author seems to be making a sin­ Cesar Franck delighted his auditors by the bril­ cere effort at contributing to the educational re­ liant way in which he gave form to his ideas, in sources of the piano teaching profession. St. Clotilde's Church on every Sunday. One no Dr. Richard H. Werder less than Liszt, who was a great improviser him­ self, was deeply moved when he had heard Franck in the basilica of St. Clotilde. Franck impressed by the high flight of his ideas; POPULAR in Saint-Saens' improvisations the outstanding LITURGICAL contrapuntal combination faculty was especially admired. Max Reger must also have been a born LIBRARY improviser. A colleague, who heard Max Reger CHANT PUBLICATIONS improvise was impressed as well by the impetu­ PARISH KYRIALE osity with which the master developed his ideas as Contains: 13 principal Gregorian Chant Masses; by his incomparable easiness in solving all kinds Credo I, m; Missa de Requiem; with Suhvenlte. of contrapuntal problems. Libera and In Paradisum; Asperges, Vidi Aquam. Simple chant hymns for Benediction added. All By their tuition Franck and Saint-Saens also in modem notation. Designed to facilitate the in­ contributed much to the revival of the art of im­ troduction and practice of congregational singing. Widely used in schools. .20 provising. In France the traditions of these mas­ LENTEN SONG ters were followed by organists like Widor, Guil­ An English version of the Attende, Domine. mant, Gigout, Toumemire and Vieme. Marcel Latin also given. Modem notation of traditional chant melody. Regarded as the Church's finest Dupre, who at present is the teacher of the organ­ Lenten hymn. .01 class at the Paris Conservatory, has set down his ADVENT SONG method in a book. As well by the publication of An English translation of the Rorate Coeli set to the traditional melody. Latin also given. Mod­ his "Traite d'improvisation a l'orgue" as by the em notation. For use in church. school. home. concerts, which the French master gave in The MARIAN ANTHEMS Netherlands - concerts which always ended with Modem notation. With versicles. responses improvisations upon given themes - the interest and prayer. .01 of Dutch organists has been strongly stimulated. SIX CHANT MASSES Weare glad that the renewed interest made A practical booklet for congregational sin(jing. English given beneath Latin text. Heavy. dura­ Haarlem a centre of the art of the organ - a cen­ ble. composition cover. Contains: Masses I. VIII. tre from which a still growing influence is ema­ IX. XVII. XVIII. REQUIEM (Ordinary). GLORIA (Mass XV), CREDO III, ASPER­ nating and which is kindling increasing enthusi­ GES. VIOl AQUAM. RESPONSES. Modem asm for the art of improvisation, so long neglected, notation. .IS SUNDAY COMPLINE but now resuscitated. English and Latin texts on opposite pages. Ar-. ranged for congregational recitation or singing; In the Next Issue melodies set to modern musical notation. Marian anthems in English and Latin. Benediction "STEPS TO A READING CHOIR" chants. .15 Bulk Discounts: 10% on $2.00; by Dr. J. Robert Carroll 20% on $10.00; 30% on $50.00 and THE LITURGICAL PRESS "PITCH FALLS IN CHANT" Collegeville, Minn. by Theodore N. Marier JULY - AUGUST, 1955 193

A MUTE CANNOT TEACH ONE TO SPEAK

by Miguel Bernal THE FALLACY capable of presenting us not only with one but with multiple and simultaneous lines of sound. To some people the sight of a composer Indeed, the piano has always been the favorite having recourse to the piano or to the organ instrument of composers. Mozart, Beethoven, for inspiration is positively shocking, scandalous Franck, Debussy, Chopin and tp.e immense ma­ even, and a tacit confession of his incompetence. jority of musicians have comFosed over its key­ They maintain that a capable composer, well board. Berlioz, who played only the guitar and versed in the tricks of his trade, needs only a pen the flute, never ceased lamenting bitterly this gap and a sheet of paper on which to pour out his in his musical education, this lack of a practical musical creations. "A mute," they repeat after knowledge of the piano which would have spared Schumann, "cannot teach one to speak." How him so many moments of fatigue in his work of can a piano, which is a silent instrument, rouse composition. the composer to inspiration? The piano is the writing-desk of the composer Knowing that this sophism, like a teasing phan­ on which he elaborates and develops the ideas tom, often disturbs our young students, I shall take awakened under the stimulus of a cross-country great pleasure in giving the ghost a merry chase. walk (Beethoven), a fashionable social gathering (Chopin), the fascination of colors, silks and per­ MUSIC IS MADE TO BE HEARD fumes (Wagner), or Christian contemplation In the art of composition there are two main (Franck), in brief, of all the various excitants factors; technique and. inspiration. We learn which usually react upon each individual writer. technique by means of rules. No rules will ever If a composer's dreams could come true, he would teach inspiration, which is a gift from on high, a have at his disposal not only a piano, but also a gift compounded in various degrees of good taste, quartet, a choir, and an orchestra, because he personality, originality and genius. Sometimes, it knows well that only by hearing his productions is breaks forth unexpectedly like a spark; more of­ he able to detect his errors to recognize some novel ten it is the reward of persevering effort, not un­ combination he has stumbled upon. like the angel's blessing granted to Jacob at the The piano does not teach and will never teach end of their long-drawn-out tussle. The selection composition; but it is an excellent means of test­ of technical means and especially the search for ing musical inventions of the mind before con­ beauty often leave the composer in a state of pain­ signing them to paper. The composer imagines, ful perplexity. Beethoven's famous note-book of­ let us say, a harmonic sequence, a thematic com­ fers evident proof that it took him years to grasp bination. He first plays them, and if they satisfy, the ideal theme, that same theme which in his he writes them down; otherwise, he imagines and compositions seems to us so fresh and spontane­ tries something else. ous. Chopin went through agonies before resolv­ Beethoven wrote to his noble pup[I, Archduke ing to put down the musical ideas which surged Rudolph, on July 1, 1823: "Let your Imperial from his brain. Mendelssohn made endless correc­ Highness continue to note briefly as an exercise, tions in his works, even after their final perfor­ whatever idea occurs to you at the piano. This mance, 'post festum' as he used to say. Cesar practice not only stimulates and develops the Franck's one and only symphony cost him a life­ imagination; it also teaches to apprehend instan­ time of gestation. taneously the most fleeting ideas." Now this work of selection, check and recheck, The piano is like a palette provided with all has always been accomplished by creative musi­ sorts of colors; just as the painter is not satisfied cians not only with ~ncil, paF~r and eraser, but with imagining a color combination, but must try above all by means of the auricular judgment, it so that his eye may pass judgment upon it, so which was made easy to form with the help of the also, the composer who works at the piano holds piano, an instrument eminently polyphonic and under his fingers all the musical sounds which can 194 CAECILIA possibly be used; he experiments with the combi­ will repeat what his fingers have struck blindly; nation which he has imagined, listens to it and he will examine how the tum can possibly be submits it to his auricular judgment. To demand used, and in the end he will probably discover that that he should write without testing by ear, would in this chance experiment he has made an origi­ be equivalent to asking a painter to paint with his nal, even a p~ecious find. eyes closed. It might be possible, but inconvenient Wagner wrote in his Souvenirs: surely, and unnecessary. "The arrival of the promised Erard grand-pi­ ano made me painfully conscious of what a tin A CHIP OFF THE BLOCK kettle myoId grand piano from Breitkopf and When one composes at the piano, music passes Hartel had been . . . The new piano appealed to from the mind to the instrument, not from the in­ my musical sense immensely, and whilst I was im­ strument to the mind. The piano is incapable of provising, I seemed to drift quite naturally into the bettering a blockhead; and one who has creative soft nocturnal sounds of the second act of Tristan, talent does not owe it to his familiarity with the the composition of which I now began to sketch white and black keys. out."l Place three individuals at the piano: an igno­ rant one, an amateur and a real composer. If mu­ HEARING WITHOUT HEARING sic were born from the piano, all three would Unless you are tone deaf, after hearing "La write the same way. But that is not the case. Cucaracha" sung four or five times, you will know Why? Precisely because these three are guided the tune from memory. Henceforth, it will not be not by their fingers but by their heads, nor is it necessary that anyone should sing it for you, not the instrument that advises them but each one's even yourself; all you need to do is to recall the unequal intelligence. The first probably tries to tune. You can hear again "La Cucaracha," al­ "pound out" a popular tune; the second invents though it· is not heard. How is this possible? Be­ a melody and seeks an accompaniment for it, cause from the air on which it was carried, the while his memory supplies him with half forgotten tune entered your ears; from the ears it traveled fragments of dances and songs; the third, on the to your brain and thus became part of your men­ contrary, seeks in his own heart and in his own tal Fossessions. This musical memory, which is head the wanted· theme, the dreamed-of harmony, capable of making us imagine what we hear, is the solution of some technical probkm while, at rightly called "inward hearing." We can, there­ the same time, his hands roam over the keys trying fore, define this hearing as the faculty of represent­ to sketch the idea, submitting it to the judgment ing sounds inwardly to ourselves. of his ears, which in the end must decide whether Philosophers tell us that nothing reaches the the realization is adequate and worth putting mind except through the senses. In effect, you down. could never remember inwardly "La Cucaracha," Now let us sUPFose that at a given moment unless you had heard it before; no musician would these three individuals, by chance or caprice, let be able to execute the simplest interval, if he had fall their fingers on the keyboard and strike a not previously listened to it; and one who is born melodic tum, a harmonic sequence or a rhythm deaf is incapable of imagining any sound, since he which seems obsolete, strange and eccentric. is deprived of external hearing. Since, even in a case like this, one remains bound What does all this lead us to? To forestall the by the limitations of his intelligence, those three strongest objection which can be made against will react in a different way. these assertions, namely: How shall we explain The ignorant one will show only indifference; that Beethoven composed many of his masterpieces he will not trouble his head about what has hap­ in total deafness? His biographers tell us that pened; he will not even recognize a musical possi­ when his infirmity began to grow worse, Beeth­ bility. The amateur will drop the matter with a oven used a thin rod, which he placed between smile, thinking that he has made a blunder. The his teeth and the strings of the piano. Clearly he true composer, on the contrary, will probably be­ come interested in this occurrence; consciously he 1 "My Life," Richard Wagner, pp. 681 - 2. JULY - AUGUST, 1955 195 must have felt the need of an audible check on In conclusion, when anyone comes to trouble what he put down on paper. you with the well known fallacy, tum the argu­ This practice of Beethoven merely reveals, if ment against him by saying: "My dear Sir, if the you wish, the terrible hunger for sound which the piano could teach composition, we should have to unfortunate master experienced. But the fact that call that man a cheat - and not only an igno­ , .he was able to compose in silence only proves that ramus - who tried to pass off as his own what his inward ear, trained by the multiple experiences are really the creations of the instrument; but if of his extraordinarily fine external ear, had be­ as Schumann said: 'A mute CANNOT teach one come so perfect that he could prescind from audi­ to Slpeak,' then Quare conturbas me? Why do ble sound. It means that Beethoven knew before­ you trouble me?" hand - because he could imagine it - how all Note: Schumann himself composed at the pi­ the harmonic, melodic, rhythmic and orchestral ano. When Clara, his wife, a famous pianist, was material which he used, would sound. Finally, we about to leave for Copenhagen in March, 1842, believe that the miracle of a deaf Beethoven is ex­ Robert addressed her in these words in his Diary: pJained by the fact that he had formed his exter­ "The separation has once again brought home to nal ear at the piano and by means of other musi­ me my strange and difficult position. Must I sacri­ cal instruments which he had heard so many times fice my talent in order to act as your escort in your in a sensory way. And we advance the opinion, travels? And must you neglect yours because I am without fear of being disrespectful to the great chained to the Zeitschrift and THE PIANO?"l master, that if he had been born deaf, he would 1 "Schumann" by Victor Basch not have left us as much as a bad tune. (Translated by Paul L. Callens, S.J.)

ADVICE TO THOSE WHO NEED IT • Does this mean that only Beethoven could af­ A. P. Bragers ford the luxury of composing silently? By no (Continued from Page 170) . means. You probably know some composers who 1678 Credo (More Ambrosiano) boast of doing by virtue what the illustrious deaf Masses master did by necessity. Unfortunately, the great 1249 Missa Reginae Pacis (2 V cs. ) majority of their works are insipid and pedantic. 1299 Missa Reginae Pacis (STB V cs.) But if some time you are curious to know to what 1500 Missa Reginae Pacis (SATB Vcs.) 1702 Missa in hon. Ss. Cordis Jesu (3 Eq. Vcs.) degree your inward ear has been developed, try 1789 Missa in hon. Ss. Cordis J esu (SA TB V cs. ) also to compose silently without the help of your 1826 Missa in hon. Ss. Cordis Jesu (2 Eq. Vcs.) external ear. You will then notice that, in the English Hymns and Choruses traditional style, due to the fact that its harmonic 1316 Mary's Lullaby (Med. Vc. solo) and contrapuntal combinations are very famil­ 1352 Easter Joy (2 Eq. Vcs.) iar to you, it is plOSSible to compose with some as­ 1804 To St. Francis of Assisi (Med. Vc. Solo) 2017 Holy Mary (Unison) surance of satisfying results. The same is true of 2018 0 Christ Whose Glory Fills the Heavens the modern style within the limits of your experi­ (Unison) ence. But when there is question of something Organ new and never heard before, your inward ear is of 1444 Christus Vincit no use whatever, because there has been no previ­ Hymnal ous experience and consequently you cannot rely 1864 ,Monastery Hymnal 1800 Pius X Hymnal (contains chant accompani­ on your judgment until the external ear comes to ments, numerous arrangements and several your assistance. compositions by Mr. Bragers.) Something similar happens when we read si­ Other Publishers' Items lently a musical score. If it is written in the classi­ Carl Fischer: A Short Treatise on Gregorian Accom­ cal style, we can imagine its aural effect with per­ paniment fect accuracy. But, if it belongs to an unknoWn Catholic Education Press: Hymnal Accompaniments Catholic Education Press: The Forty Hours Manual work, who can guarantee that the inward ear will apprehend the strange music? 196 CAECILIA

MICHAEL L. NEMMERS, A CENTENNIAL APPRECIATION

by Erwin Esser Nemmers, Ph.D.

This is the centennial of the birth of MICHAEL LUDWIG NEMMERS, born August 30, 1855 at St. Donatus, Iowa, near the Mississippi. The writer is his grandson and the particular value of these observations lies in the personal knowledge on which they are based.

The Man Michael Nemmers is America's pioneer, native­ born composer of Catholic Church music. From the objective viewpoint of twenty-five years after his death, November 24, 1929, a survey can un­ dertake an evaluation of what his place is likely to be in the history of our art in the centuries to come. First, some data on his life assist in under­ standing his work. From 1871 to 1875 he studied at the Catholic Normal School at St. Francis, Wisconsin, under Singenberger and a distinguished faculty who were a cultural island in the turmoil of Western development. Much remains to be re­ Michael L. Nemmers corded in centralized form of the many alumni of this institution who achieved distinction in vari­ had a similar experience, particularly the smaller ous fields. The record is similar to that of the piano works. Litchfield School in the history of legal develop­ More detailed biographical data on Michael L. ment in America. Nemmers appears in the September, 1942 issue of The Catholic Choirmaster. Only what is neces­ Michael Nemmers was not limited to church music in its various aspects as composer, teacher, sary to the present purpose is set out here. choirmaster and publisher, but worked extensive­ His Work ly in secular music, particularly in choral and Art is living consistent with one's times. The orchestral conducting. His daughter, AnELINA, hall-mark of great art is its universality, its time­ went on to four years of concert studies of the lessness. Right here is the basic conflict-how can piano under THEODORE LESCHETIZKY in Vienna, but died prematurely in 1920 shortly after her re­ one successfully live in the provincial limits of his turn. These facts are important to an under­ own time and yet simultaneously live in the stream standing of the depth from which the simplicity of history so that succeeding generations will be of the Nemmers' compositions stems. Countless as much at home as one's own generation. Enough choirmasters have gone through a cycle of almost time has elapsed since his compositions first ap­ a life-time before realizing the self-deception in­ peared to begin applying the test. The use of his volved in failing to distinguish between simplicity compositions is increasing steadily each year. founded in depth and simplicity which is merely Some have already seen more than 30 printings. technically simple. Much of J. S. Bach's work has Each succeeding printing is larger than the one before. Recently copies of the original printing of Mr. E. Nemmers is a member of the faculty of the his first composition, "St. Michael Mass," pub­ University of Wisconsin. lished in 1893, came to our attention where they JULY - AUGUST, 1955 197

had been continuously used more than sixty years fy once it is understood. The best evidence of this as part of a repertoire - not a starvation diet. is the many compositions which qualify for the The copies present an interesting sidelight on pi­ White List, but die an early death. The difficulty oneer days - advertising space on the covers was with the liturgical standard is that its observance sold to wine companies, railroads, business colleges simultaneously with the other objectives increases and a variety of enterprises! the complexity of the problem. The dedication of Michael Nemmers was to the An interesting sidelight of all this is the recogni­ simple and for the exigencies of the untrained. tion accorded Michael Nemmers by such dis­ Self-deceptively it is sometimes forgotten that each tinguished composers as REV. L. A. DOBBEL­ generation goes through many of the same prob­ STEEN. Late in his career, Father Dobbelsteen lems that faced the preceding generations. To il­ undertook the composition of works for 1, 2, 3 lustrate, the writer has a vivid recollection of or 4 voices in appreciation of the validity of the "grandpa" Nemmers at the organ, playing the left artistic objective of Michael Nemmers. Similarly, hand of the score with his feet, and the right hand REV. M. J. VANDEN ELSEN and JOHN F ARNS­ with his left hand so his right hand was free to WORTH. direct the choir. Certainly many places today could use this answer to the problem of one per­ His Compositions - an Analysis son serving as organist-choirmaster. There is no doubt that Michael Nemmers is the The details of how Michael Nemmers com­ pioneer of the "optional" voice development of posed are certainly of interest. He sought three choral music. From time to time in the history goals: popularity, simplicity and liturgical satis­ of music optional arrangements had appeared faction. Each of these can be misunderstood and more as a curiosity than as a clearly marked it is the misunderstanding of them to which lesser channel. composers can attribute their failures. Popularity, Technically it is no great trick to write music correctly understood, stems from populus. Writ­ for 1, 2 or 3 voices or for 1, 2 or 4 voices by care­ ing for the people is not a process of condescen­ ful attention to harmonic distribution of the voices. sion or "baiting the hook." It is the problem of It takes skill to develop interesting and independ­ distinguishing sentiment from sentimentality. ent voice leading under these limitations,. however. Simplicity can be misunderstood. It is not free But to write for 1, 2, 3 or 4 voices greatly in­ ~ and easy carelessness. The writer recollects that creases the problem: it involves a combination of at the peak of his productivity, Michael Nem­ 3-voiced writing at its best, which is counterpoint, mers wrote no more than two masses a year. And with 4-voiced writing which is a rather separate­ this was working part of almost every day of the ly recognized body of knowledge called harmony. year. The product was only eight or twelve fin­ It is interesting that many of the earlier masses of ished pages in each case! Sitting with a stub of Michael Nemmers ("St. Barbara," "Juvenile," a pencil, humming each part through, making a "Easy Mass for Children," etc.) and of FATHER change here and there, taking each new section DOBBELSTEEN ("Holy Childhood," "Mother Ca­ to choir rehearsal for testing, watching the recep­ brini," "Christ the King") take only the first step tivity and reaction of the choir members, their ob­ ( 1, 2 or 3 and 1, 2 or 4 voices). Only after de­ jections, returning to the task of revision. These veloping this skill was the more advanced step were the processes the writer observed. Small undertaken. The significance of the advance can wonder that the Nemmers choir drew the best be vividly realized by considering the Pius X voices from all over the city without regard to Hymnal, an excellent work which makes advances parish lines. They were part of a process of com­ over other hymnals in its 1-, 2- or 4-voiced ar­ position and they knew it. Seldom was the same rangement. Consider the problem of making this Mass sung twice in a year and (as will appear hymnal available for three-voiced singing from the below) seldom was the same Mass sung twice in same score. the same way even after it was finished. The technical problems must not obscure the The liturgical standard is the one subject to the artistic development. Optional writing seeks mu­ least misunderstanding - and the easiest to satis- (Continued on Page 200) 198 CAECILIA : N1Th1ES · PEO]JlI · DOINGS

ST. MICHAEL'S. TORONTO, RECEIVES DOM MOCQUEREAU FELLOWSHIP WINNER ~ PONTICAL STATUS ANNOUNCED St. Michael's, Toronto, Receives Pontifical Status The Gregorian Institute of America announced that St. Michael's Boy Choir School, Toronto, Canada, its first annual Dom Mocquereau Memorial Fellowship founded by MONSIGNOR JOHN E. RONAN, has become for study at the Gregorian Institute of Paris will be affiliated with the Pontifical School of Sacred Music in given to MR. GERALD PHILLIPS of Wolcott, Connecticut Rome and given power to grant degrees. The announce­ in the academic year, 1955-1956. ment of this affiliation was made at a jubilee concert, The Fellowship provides one year of study at the Sor­ tendered by Msgr. Ronan's choir to JAMES CARDINAL bonne and at the Gregorian Institute of Paris, official McGUIGAN, Archbishop of Toronto, on the 25th anni­ Gregorian chant teaching center for the Benedictine Ab­ versay of his consecration. His Eminence said: "It is a bey of Solesmes, France. The award is valued at wonderful recognition of a school begun only a few years $1500.00 and covers the expenses of travel to and from ago. The school has already become famous and owes Europe, tuition and living expenses during the school its life and sustenance to Msgr. Ronan." year. . (For a full story on the founding of St. Michael's Mr. Phillips is an alumnus of the University of Con­ School, see CAECILIA May - June, 1951.) necticut, the Gregorian Institute of America and the Uni­ The twelfth summer session on Church Music at St. versity of Chicago. He holds the bachelor's degree in Michael's Cathedral Boy Choir School ran from July ~th church music from the Gregorian Institute and a Mas­ to July 29th this year. As usual, the courses offered. m­ ter of Arts degree in music from the University of Chi­ cluded Gregorian Chant, Gregorian Chant Co~duc~g, Solfeggio, Accompaniment, Polyphony, Boy ChOIr Tra!ll­ cago. He was glee club director for the University of ing, Harmony, Instruction in Pianoforte, Organ, VOIce Connecticut in 1949 and 1950, organist and choirmaster and Liturgy. for the University of Chicago in 1952-54 where he was also harpsichordist with the college orchestra. He at­ tended tlle University of Chicago on full scholarship and SECOND INTERNATIONAL CONGRESS FOR later became a teaching assistant at that school. At CATHOLIC MUSIC TO ISSUE PROCEEDINGS The report of the proceedings which took place at the present Mr. Phillips is organist at Sacred ?eart Chur~h, Roslindale, Massachusetts, and also orgamst and chOIr­ Second International Congress for Catholic Church master at St. Pius X Church, Milton, Massachusetts. Music in Vienna, October 4th to 10th, 1954, will be pub­ lished this summer. Among the articles to appear in the Mr. Phillips wrote extensively on "The Ordinary of proceedings are: the "Roman Mass" as a thesis at the University of Chi­ The Breve of Pope Pius XII to the Congress .. cago, a paper which was accepted by the graduate school A Complete Listing of the Program and DetaIls of the of the university in 1954. Performances. - Mr. Phillips' studies in Paris will include advanced All the reports together with the discussions that fol­ study and research under the French masters of the lowed and the voting on each. Solesmes method of Gregorian chant. The Dom Moc­ The talks given at all the Conferences. quereau Fellowship is planned as an annual grant of the The list of people who participated (Individual par- Gregorian Institute of Ame1 ica. ticipants and choirs). The catalogues of exhibitions. Numerous examples of compositions and facsimilies. C. ALEXANDER PELOQUIN TO Approximately 400 pages. Paper Cover. $7.50 - If or- BOSTON COLLEGE POST dered before August 1st, 1955, price is $6.00. Bound in half cloth the price is $1.00 more. . MR. C. ALEXANDER PELOQUIN, organist and choir di­ Inquiries and orders may be transmItted to the Kon­ rector of the Cathedral in Providence, Rhode Island (see gressburo, Vienna I, Singerstrasse 26jIII. Laborers in the Vineyard, CAECILIA, March-April, 1955) has been named director of music at Boston Col­ PUERI CANTORES COMING TO THE U. S. 1A. lege. Mr. Peloquin will assume his duties in September, MONSIGNOR - FERNANDMAILLET and a group of the and will continue with some portion of his work in Provi­ Little Singers of the Wooden Cross will make an dence. His new duties at Boston College include choral American tour this fall. These young singers under conducting, coaching of instrumental groups, and direct­ Monsignor Maillet's dir~ction have sung all over EuroI?e ing the college band. and the British Isles and in the past have appeared ill Well known in the diocese of Providence as conductor the United States. The reviews which they have re­ ceived have been most favorable. Already U. S. A. book­ and teacher, -Mr. Peloquin has distinguished himself as a ings are filling up for the period during which they will composer and arranger. His radio and television Chorale be in this country. Interested people should contact the has broadcast a number of programs on national net­ New York office of the International Federation of Little works. He has been on the staff of the Gre(!"orian School Singers, for further information regardin& th; possibility of Music in Providence since its opening. This fall his of booking this expert group of boy chOIr smgers. The recently organized Peloquin Chorale will present a address is 119 West 57th Street, New York, 19. "History of French Music in Son'!." JULY - AUGUST, 1955 199

Dubuque, Iowa More than fifty midwestern parish mUSICIans and choir directors attended the 1955 Loras Institute of Liturgical Music held June 6-11 at Loras College. The group is seen in the above picture in front of North Hall on the college campus, the building in which the institute sessions were held. Included in the picture are (third from left, front row) RALPH V. JUSKO, nationally known liturgical music specialist who offered courses in choir techniques and voice training; REV. ALBERT CARMAN, chairman of Loras College's music department and institute director; REV. CLETUS JlvIADSEN, chairman of fine arts depart­ ment of St. Ambrose College, Davenport, Iowa, and (in robe) the REV. IRVIN UDU­ LUTSCH, O.F.M. CAP. of St. Lawrence -College, Mt. Calvary, Wisconsin, who taught classes in Gregorian chant.

Lincoln, Nebraska Under the direction of REV. ZIGMUND S. RYDz, the newly formed Pueri Canto res of Lincoln presented a spring concert on May 26th in the Saratoga School Auditorium. The group is shown above with the director at the extreme right. 200 CAECILIA

LAYMAN APPOINTED TO INDIANAPOLIS ARCHDIOCESAN MUSIC MUSIC COMMISSION DlRECTOR RESIGNS Chicago, Illinois ELMER ANDREW STEFFEN, director of music for the HIS EMINENCE SAMUEL CARDINAL STRITCH has re­ Indianapolis Catholic Archdiocese since 1937 and leader cently appointed HARRY J. STEPHENS, organist and choir­ i~ Indianapolis music life for many years, recently re­ master for the past thirty-two years at Visitation SIgned from the post of Archdiocesan Director of Music. Church, to be a member of the Archdiocesan Commis­ Composer-conductor-soloist, Mr. Steffen will continue sion on Sacred Music. Visitation Choir, one of the out­ as choirmaster at Sts. Peter and Paul Cathedral where standing liturgical choirs of the archdiocese, on Thanks­ he organized and directs the Schola Cantorum. A Knight giving Day will be host to Monsignor Maillet and his of the Order of St. Gregory, Mr. Steffen has given much Little Singers of Paris at a Solemn Mass,. during which over the years to the restoration of Gregorian Chant and the Little Singers will. render the Ordinary parts. On the promotion of liturgically correct music. His "Missa the following evening the Little Singers will present a Eucharistica" and "Ecce Sacerdos" together with numer­ concert in the parish auditorium. ous devotional motets and art songs have been published. On St. Cecelia's Day, Visitation and fifty other boy Apart from being director of Archdiocesan Music, Mr. choirs will join the Little Singers in singing at a Pontifi­ Steffen has been Archdiocesan Chairman of the Auxiliary cal Mass to be celebrated by His Eminence Cardinal Committee to the Roman Pontifical Institute of Sacred Stritch, at Holy Name Cathedral. Music; secretary of the Society of St. Gregory and mem­ ber of the advisory Bnard of the Gregorian Institute of America. MONSIGNOR METER A strong supporter of secular' musical activities, Mr. ELECTED TO NEW POST Steffen was co-founder with DR. F ABlEN SEVITZKY of the Indianapolis Symphonic Choir and served many years as Chicago, Illinois its conductor. He was co-founder with PERCIVAL OWEN MONSIGNOR CHARLES N. METER, director of the Cathe­ of the Mendelssohn Choir, predecessor of the symphonic dral Choristers of Chicago and president of the Ameri­ group. can Federation of the International Federation of the Little Singers was elected Vice-President of the Inter­ M. L. Nemmers national Federation of the Little Singers at the annual (Continued from Page 197) general assembly held recently in Paris. Monsignor sic such that when it is sung in one voice arrange­ Meter will assume the duties of his new office when the revised statutes of the International Federation receive ment it sounds as well, presents the same unity of the approval of the Holy See. Also elected Vice-Presi­ thought, as when sung by another voice combina­ dents of the International group were MONSIGNOR tion. When the mu~ic "sounds better" in one com­ ROMITA of Italy and FATHER PRIETO of Spain. bination than in another, the objective has not CHORAL MUSIC OOMPETITION been achieved. This is the nub of the dispute re­ ANNOUNCED cently appearing in The Caecilia between FATHER Drexel Competition of Choral Music Announced ROSSINI and FATHER GUENTNER on the subject The annual competition for composers of choral music whether a fourth voice can be added to a Pales­ is being conducted by the Beta Chapter of Pi Mu Epsi­ trina three-voiced composition and yet have artis­ lon at Drexel Institute of Technology, Philadelphia, 4, Pennsylvania. The purpose of the contest is to encourage tic validity. Each of these men had some validity the composers and publishers to produce new works suit­ in his argument once the smoke of battle has been able to the talents of the average college choral group. cleared away. Fr. Rossini is right when he says A copy of tlle competition rules may be obtained by writing to the Drexel Competition for Composers of that a fourth voice can be validly added. Fr. Choral Music at Drexel Institute of Technology. Guentner is right when he realizes that the fourth voice must be integrated into the composition" and REQWESCAT IN PACE this inevitably means some considerable adjust­ REV. FRANCIS A. MISSIA, professor of Church Music at ment in the original three voices to maintain St. Paul Se~i~al)' for ne~rly ~alf a century, died this past proper balance, etc., in short to preserve unity. May from mJunes sustamed m an automobile accident. This has been a short presentation - but with Born in Mota, Austria, in 1884, he went to St. Paul Semi­ nary in 1903 and was ordained there in 1908. He was a the hope of eliciting new insights. Let us hope the n?phew of JAMES CARDINAL MISSIA, Archbishop of Gori­ difference is" recognized between what has been YIa, at the foot of the Italian Alps, who died in 1900. described and the problem-solving compositions ARCHBISHOP JOHN GREGORY MURRAY of St. Paul officiat­ ed at Father Missia's Requiem, and the sermon was of the early Netherlanders. preached by BISHOP FRANCIS J. SCHENK of Crookston Ed. Note: Fr. Francis Brunner of the CAECILIA Minnesota. The complete text of the Bishop Schenk'~ Staff will review in our next issue a group of the latest eulogy for Father Missia will appear in the next issue of church music compositions recently published by The CAECILIA. M. L. Nemmers Music Company.