r~~~~~~~~~~l t MAY 1934 } t - .~, } t }

Maga:z:ine of t CATHOLIC CHURCH t and SCHOC)L MUSIC t Founded A. D. 1874 by John Singenberger t FEAT1JRES t CARDINAL O'CONNELL TO OIBSERVE GOLDEN JUBILEE SINGENBERGER *SOCIETY FORMED t * CHURCH MUSIC IN AUSTRIA t THE ORGAN MUSIC *OF LEON BOELLMANN * t WHY THE CHlJRCH SINGS t Published by McLAUGHLIr~ & REILLY COMPANY t ])00 Boylston Stree'l, Boston, Mass. LITURGICAL MASSES-McLAUGHLIN & REILLY EDITION • Means Approved St. Gregory "White List" 505 Tappert, H., Mass of St. Rose of UNISON Lima ..•••...••.•••••••••••• .35 (Voice Parts Available) 506 *Tappert, H., Missa SSt Ang. Custo- dum...... 60 11 Manell. opus 198 $ .60 669 Witt, F. X., Missa Exultet. ••••• •• .80 339 Groin, Mass of St. Joseph. ..••. .. .60 V oice Part ...... ••..•••••••• .40 342 Grieabacher, Missa Janua Coeli. .. .60 340 Wheeler, V. B., Mass in G minor.. .60 564 Becker, Mass of St. Frands Xavier. .60 Voice Part ...... ••...• .25 640 Dumler, Missa Cantate Pueri. ...• .60 362 Predmore, Mass of Good Shepherd. .40 622 Smith, Missa Maria Mater Dei. . .. .60 THREE PART (S.S.A.) lWO PART 518 Cherubim, Mass of St. Alfons...••$ .35 (Chant, harmonized alternately) 508 Dore, M., Mass in G $ .40 666 Gisela, Mass of Our Lady. .•••••• .60 221 Marsh, W. J., Mass of the Holy 563 Shaefers, Mass of Blessed Julie. •• .60 Angels ..•...... •.... .60 C218 Smith, Mass of Sacred Heart. •..• .60 Voice Part. .. .. •..•...... 25 P.G. Cherion, Messe de Stet Cecile.. •• .80 363 Marsh, W. J., Choral Mass...... 60 Voice Part .....•...... •...... 25 REQUIEM 519 Meyer, J. J., Mass of St. Theresa.. .35 447 *Singenberger, Mass of St. Francis.. .35 426 *Singenberger, J., Easy and Complete 448 *Singenberger, Mass of St. Anthony .35 Requie.m for I, 2, or 3 voices .••••$ .60 449 *Singenberger, Mass in D. ...•.. .. .35 521 Gregorian, Harmonized by J. Sin- 450 *Singenberger, Mass of St. Rita. . .. .60 genberger ...... •. .60 451 *Singenberger, Mass of the Holy 521A Voice Part, complete with re­ Ghost ...... •..•..•.. .35 sponses, and common chant. ... .• .15

GREGORIAN MASSES From The Vatican Gradual Transcribed in modern notation

5 (1) Missa "Orbis Factor" (De Dominica) } Accompaniment .80 No. 481 ~( (2) Mass for Sundays of Advent and Lent Voice part .15 No. 520 Missa de Angelis Accomp. by J. B. Singenberger .60 Edited by Otto Singenberger No.. 520a Missa de Angelis Voice part) with Responses and a Panis Angelicus by Browne. Heavy paper cover .15 No. 39b Missa de Angelis Voice part, octavo size, large notes. Mass only .10 No.521 Missa pro Defunctis Harmonized by J. B. Singenberger .60 Edited by Otto Singenberger No. 521a Missa pro Defunctis Voice part, with Libera Sub- venite) In Paradisum) Benedictus) and all Responses. Heavy paper cover 15 (1) Missa "Cum Jubilo" } Harmonized by F. X. Mathias .80 No. 639 { (2) Missa "Alme Pater" Voice part, with Asperges Me) Vidi A quam) and Credo II I. Heavy paper cover .15

McLAUGHLIN & REILLY COMPANY BOSTON, MASSACHUSETTS National Headquarters for Catholic Church Music Editor. OTTO A. SINGENBERGER Associate Editor, WILLIAM ARTHUR REILLY Con;;,ibutors: Ludwig Bonvin 5.1., Buffalo, N. Y.: Gregory Hug1ie, O.S.B., Conception, Mo.; Adelard Bouvilliers O.S.B., Belmont, N. C.; Rev. F. T. Walter, St. Francis, Wise.: Leo P. Manzetti D.D., Baltimore, Md.: Joseph Villani S.C., San Francisco, Cal.; Rev. P. H. Schaefers, Cleveland, Ohio; Sr. M. Cherubim O.S.F., Milwaukee, Wise.; Sr. M. Gisela S.S.N.D., Milwaukee, Wise.; M. Mauro-Cottone, Mus. Doc., New York, N. Y.: Richard Keys Biggs, Hollywood, Cal.: Martin G. Dumler M.M., Cincinnati, Ohio; Joseph J. McGrath, Syra~use, N. Y., etc.

Vol. 60 MA"Y 1934 No.5

CONT:ENTS

CAF~DINAL O'CONNELL TO OBSEI~VE SACERDOTAL JUBILEE 192 SINGENBERGER SO=TETY FORMED 192 TliE PRESENT STATLTS OF CHURCH lVIUSIC IN ~AUSTRIA Prof. Dr. A. Weissenbaeck 193 MODERN CHURCI-I MUSIC Luchvig Bonvin S.J. 194 LEON BOELLMANN: An Analysis of Organ Compositions Adelard Bouvilliers O.S.B. 195 A RETROSPECTION OF GREGORIj\N CHANT Joseph A. Keller 197 Wl-:IY THE CHURCH SINGS Rev. J. Leo Barley 199 OBITUARIES: Thomas Leonard; Ernest R. Kroeger 203 MUSIC APPRECIATION Sister l\1ary Cherubin1 O.S.F. 221 QUESTION AND i\NSWER BOX Gregory Hugle O.S.B. 225 COMMUNICi\TIONS: Remarks on Dam Gregory Murray's Pamphlet by Arthur ..Angie 227 F~AMOUS HYMNS OF ST. BERNAR1) 229 MUSIC ON THE RADIO 230 PROGR~..!\1VfS 231 19.2 The Caecilia

CARDINAL O'CONNELL TO OBSERVE S~INGENGERGER SOCIETY FORMED SACERDOTAL JUBILEE ON THE FOLLOWING MEMORIAL MASS FOR FEAST OF THE SACRED HEART NOTED CHURCH MUSIC LEADER Open Air Masses To Be A Feature of the Milwaukee, Wis.-A society which will seek Observances to promote the church music ideals of the late John B. Singenberger was organized at Pio On March 6th, a committee of the Arch­ Nono high school on Monday, April 9, the diocesan Clergy and representatives from the tenth anniversary of his death, on which day various Religious Orders in the Archdiocese, there was offered in the high school chapel a assembled for the purpose of making plans solemn high Mass in memory of Professor for the observance of the Golden Jubilee of Singenberger. Ordination of His Eminence William Cardinal The music of Singenberger's Mass in honor O'Connell, which will occur on June 8th, the of St. Gregory was sung by a choir of men, F east of the Sacred Heart. students of the great composer and church According to the program proposed; a music leader during his fifty years of teaching solemn Mass of thanksgiving will be celebrated at Pio Nono. The Very Rev. Joseph F. Bar­ on the feast day, at the Cathedral at 10 A.M. bian, archdiocesan school superintendent, was A delegation of four from each parish as well celebrant of the Mass, assisted by the Rev. as representatives from the Religious Orders, Nicholas Brust and the Rev. Oscar Ziegler. will attend. The sermon was preached by His Excellency A Mass of thanksgiving in each parish will the Archbishop of Milwaukee. There was be celebrated on the same day, with a sermon present the son of the late Chevalier Singen­ to be. given on "The Dignity of the Priest­ berger, Prof. Otto Singenberger, director of hood and the Sacred Character of the Power music in the schools of Milwaukee archdiocese. of Jurisdiction" in which reVerence will be Fifty priests and 25 choirmasters attended the made to the accomplishments of His' Eminence memorial Mass. during the past fifty years. General Communion of thanksgiving, by Offic·ers Are Elected both adults and children, will follow with a After the Mass there was a dinner, and fol­ spiritual bouquet of good works from each lo\ving this a meeting in Salzman naIl to honor the memory of Professor Singenberger. The parish of the diocese. Spiritual offerings from Rev. John J. Clark, rector of Pio Nono, gave each parish, will be recorded on cards, and a welcoming address, the Rev. J. J. Pierron bound into book form and presented to the spoke on "What Constitutes Good Church Cardinal. J\1usic"; Joseph G. Grundle on "John B. Sin­ genberger as a Church Musician"; the Rt. Rev. Msgr. M. M. Gerend gave reminiscences of Singenberger, and then Archbishop Stritch OPEN AIR MASSES dwelt on the matter of music in the Church. Solemn open air children's Mass on the F ather Clark presided at the meeting, at campus at Boston College, will be held on 'which the Singenberger society was organized, Saturday, June 9th (Parishes with drum corps and at which Otto Singenberger offered the or bands are invited to send their organiza­ organization his father's insignia as a Knight tions) . of St. Gregory and Knight of St. Sylvester, A solemn open air public Mass "vill be held and a number of his musical manuscripts. J. at Fenway Park, on Sunday, June loth at J. Meyer was elected president, J. G. Grundle vice president, Victor Kozina secretary. The 10 A. M. executive board consists of the Revs. J. J. On June 3rd, a testimonial collection will Pierron, F. T. Walter and J. L. Markowski, be taken up in all the parishes, the proceeds and Messrs. Stemper, -Gramman, Warner, of which, at the insistence of His Eminence, Moderski, Zohlen and Meyer. In addition to will be devoted to the charities of the arch­ these choirmasters" those present included diocese. Messrs. Nickash, Stemper, Wiegers, Bejma, Msgr. R. J. Haberlin, V.G., is Chairman of Jansen, Klima; Bettner, Schaefer, Maultra, the Committee in charge of arrangements. Putkammer and W ol£. The Caecilia 193

The Present Status of C:hurch Music in Austria By PROFESSOR DR. A. WEISSENBAECK, Vienna

VEN though the Apostolic Constitu­ from the compositions of these masters that tion ~'Divini cultus" does not expressly might not be considered objectionable, which say SO, there is no doubt in the mind latter would not be difficult to do, since there of any Church musician as to the is little that really conforms in all respects to meaning of the paragraph in the encyclical: the laws of liturgical music. "It has occured from time to time, particularly Austrian musicians have the best intentions during the celebration of the centenary of some of following exactly the demands of the church renowned musician, that the occasion was regulations. As to the fact that the regula­ taken as an excuse to perform certain of the tions of the Mota Proprio have not met with artist's works in church, which, though very the desired results, Austria is certainly not excellent in themselves, are not at all befitting unique. The World War and the succeeding the holiness of the place nor the liturgical economic depression has had its effect on all demands of Divine service, and should not things, and upon church music and the re­ have been thus employed." organization of choirs as well. The influence It is evident that the Constitution refers to of idealism which urges on the struggle to events in the last thirty years since the issuing keep music on as high a plane as possible in ofthe Motu Proprio of Pius X in 1903, for the Austria, is another cause for hope in the fu­ introduction from which the above sentence ture. We must likewise remember that, in has been quoted reads: "We note with regret consequence of the lack of funds, many that these wise regulations (the Motu Proprio churches are unable to have strictly organized of Pius X) have not met with fulfillment and choirs of professional singers, but must be have not borne the desired fruit." During the content with volunteer services of amateurs, time· mentioned, the following centennials of and on this account the performance suffers great masters who wrote Church music have artistically and liturgically. There is still celebrated: the 150th anniversary of the birth much to be desired in the repertoires of many of ]\!Iozart (1906), the loath anniversary of choirs. Even for this discrepancy there is an the death of Joseph Haydn (1909), the loath excuse in the fact that many choirs must con... anniversary of the birth of Anton Bruckner tent themselves with using music that was (1924), the loath anniversary of the death theirs before 1914, the economic state of af­ of Beethoven (1927) and the loath anniversary fairs l11aking it impossible to add or exchange of the birth of Schubert (1928). for approved material. Centenaries of outstanding Austrian com­ 'There remain great problems to be solved posers were observed, not only in' Austria, but in the matter of choir-direction and of classical throughout the civilized world, and hence it polyphony. The progress of Austrian church may easily occurred, that works of these mast­ music since the 17th century, due to the rise ers were performed in churches which other­ and development of instrumental music. per­ wise did not use this style of music. In Vi­ mitted Gregorian Chant to almost lapse into enna, for example, a series of Masses of Haydn'. oblivion, although valuable treasures of Gre­ Mozart and Schubert was performed for the gorian manuscripts were preserved in the Na­ purpose of giving the public a survey of the tional Library and in monastries. The old A wide scope of these composers and to honor the Cappella choir suffered the same fact, though memory of the particular composer. Since It had produced such masters as J. Handl, Bl. the Constitution considered the employment ,Amon, J. J. Fux and many others. of such music in connection with anniversaries In the spirit of the Holy Father's request, sufficient cause for an official pronouncement time and effort are being devoted to Gregor­ against them, it becomes evident that this ian Chant in the seminaries and monasteries. music may in no case become a part of the 'There are strong indications that a deep ap­ repertoire of any church choir. In this con­ preciation of Gregorian Chant is being deve­ nection let it be plainly stated that the Vien­ loped in the clergy, which augurs well for the nese and Austrian church musicians generally future of liturgical observance. desire nothing so ardently as that there should As far as statistics concerning the number be some clear, concise definition regarding the of places and individual churches in which entire exclusion of music that has been treas­ the development in church music is on a par­ ured by then1 as a century-old tradition, or ticularly high plane, I must retrench. The whether they are permitted to make selections (Continued on Page 194) 194 The Caecilia

11 Modern II Church Music

By LUDWIG BONVIN S.].

An excellent magazine recently printed the donment of the traditional conception of music following: "On the Continent (Europe) there in favor of a sound-construction which has has been in the past twenty years much fruit­ only the material element, the tones, in com­ ful activity in the development of ecclesiastical mon with the musical production of former music, not only along traditional lines, but times. The new school employs various catch­ also in experimentation with new forms." phrases, e. g.) "atonality," "linear counter­ Follows a list of composers which,.to avoid point," "new objectivity," etc. The "New unpleasantness or offense, had better be Music" presents even to the artistically well­ omitted here. The item then continues: "In grounded listener problems which not the the United States it seems that we are intent musical ear, but if any faculty at all, only not only to abstain from creative work, we the reflective intellect can solve. To all who do not even perform the new works which the do not belong to the phalanx of its pro­ composers of other nations are giving to us... tagonists - popularly speaking - it sounds I have spoken with Catholic choirmasters who simply false and dissonant and is the negation had not so much as heard of any of the com­ of all that was formerly m:eant by music. posers I have mentioned above." l\1any an otherwise competent person has Now, there are musicians who are well ac­ been intimidated, while incompetents have quainted with the works of these composers, been misled by the strength of the fad. Luck­ but precisely because of their knowledge of ily, however, in Europe, especially in Ger­ them, would not reproach our American choir­ many, the concert-going public, though at masters for not producing these works, though, first bewildered, did not allow itself to be led on the other hand, they regret that our choir­ along this path; it protested and then simply masters generally show themselves so poorly stayed away; until finally, dependent on a acquainted with musical literature and the va­ narrow circle of uninstructible snobs, the rious tendencies in Church music. "New Music" had to stop working "in default Even in the ecclesiastical sphere many Old of participation.' World composers, especially since the close A portion of European Church music also of the War, have been drawn into the current allowed itself to be pushed by this modern of the so-called new progress, the "new con­ fad upon the side-track of useless and wretched ception of music," the "art that conforms with dissonance. rThe. sound musical ear, however, the time," though they have not indulged in declines it. Little by little these misguided all the extravagances of modern secular music. musicians must and will come round, forego Readers will understand what is meant here the husks, and return converted to the paternal when they remember the unprecedented ugli­ roof. ness, the ear-grating tone combinations which even eminent and renowned orchestral con­ ductors often offered to them in the concert hall or on the radio. We have here the aban- SOCIETY OF ST. GREGORY THE PRESENT STATUS OF CHURCH CONVENTION TO BE IN MUSIC IN AUSTRIA WASHINGTON, D. C. (Continued from Page 193) Announcement has been made that the greatest advance has been made in the pro­ minent churches of the large cities. The Aus­ Society of St. Gregory of America, will hold trian people are known to be natural music­ a convention at Catholic University in Wash­ lovers and aspire to the highest and best in ington' D. C., from May 14th to 16th inclu­ .the art. It is not surprising, therefore, that sively. 'This is the first assembly of the en­ they should cling so tenaciously to the music tire Society in two or three years, and a large of their loved masters whose style reflects their own sensible enjoyment and appreciation of attendance is expected. Special activities in Divine service even as the airy spaces of their the Baltimore diocese, will take place under baroque churches do. the direction of Rev. ]. Leo Barley. The Caleeilia 195

Leon Boellmann: An Analysis of Organ Composition Prologue By Dam Adelard Bouvilliers O.S.B., M.A. Mus. Doc. Belmont Cathedral Abbey, N. C.

HE lover of the organ, desiring to in­ buted to the German nation to compose a last­ terpret in a satisfactory and truly ing symphony or quatuor. II~.p worthy manner the ideas of the fa­ He studied organ at the Niedermeyer School mous French School, based on the of Music, under Eugene Gigout and Gustave principles of Johann-Sebastian Bach, must of Lefevbre, the eminent composer and director. course, have a thorough and first hand ac­ \Vhen twenty-two years of age he was ap­ quaintance with its celebrated masters. As is pointed organist of St. Vincent-de-Paul well known, these are Franck, Widor, Guil­ Church, and while at this post, two years later, mant, Gigout and Vierne. Besides these there in 1886, he won the prize offered by the Societe is one other genius, who because of the similar des Compositeurs for a quatuor. He de­ character of his composition is worthy of lighted in chamber music and devoted him­ enumeration amongst the masters already self to this sphere of composition so intensely mentioned. This is none other than Boell­ that he won the Chartier prize a short time mann. The remarkable solidity and clarity after. of expression, running through all his works Among his works the best known are for the "king of musical instrulnents" com­ his "Symphony in Fa," written with mands the attention of every thorough and science and sincerity; his beautiful "Sym­ painstaking artist of the aforementioned phonic Variations" for cello and orchestra, school. Although the French organ inspired often played at the concerts of Lamoureux his marvelous musical literature, they are well in 1892; a trio, Opus No. 19, which in the rendered with equal beauty and satisfactory order of symphonic works and chamber music effect upon the European and American or­ is the type of all others; a suite for cello; a gans. sonata for same-a remarkable work; some The author of this article has for several tW'enty pianoforte pieces; fifteen vocal mel­ years been contemplating to write a complete odies; religious music, including a Mass. biography of Boellmann with an analysis of Parent in her 'Repertoire du Pianiste' says: his 60 publications. Lack of the requisite "A.n extraordinary contribution to music for time for the accomplishment of this worthy a man who died at the age of thirty five. project is all that has, thus far, prevented his This poet of mystical music breathed his doing so. It is his hope that he may do so last in the city which he had learned to love, in the near future. Paris, in the year 1897, survived by two chil­ dren, a son and a daughter. His son is a The article is addressed. to organists who lawyer of repute and his cultured daughter are truly devoted to that wonderful instru­ keeps alive the genius bequeathed to her by ment. It contains but a brief sketch of that so loving a father. renowned teacher and improvisor, along with Boellmann's musical literature reveals a na­ an analysis of his more important and more tural frankness. It is graceful and poetic, appreciated works for the organ. resting upon a solid, scientific basis. It is de­ There is in Boellmann's works material for cidedly French, in the sense that its harmonic the average organ student; the true organist labor never departs from clearness. playing at services; and for the virtuoso, they Boellman: Pastorale Suite. Opus 27, No.1. contain a beauty equal to that of the great This 'Prelude Pastoral', conveying the love Masters. which a shepherdess sings, is of an exquisite Mayall those who read these lines be lead nature. It consists of no languishing ecstacies, to appreciate these most excellent works. neither of contemplation nor of adoration, but of an amorous silence of glances that pierce­ LEON BOELLMANN (1862-1897) "]\1y slow, long looks tarry on yours like a Leon Boellmann was born at Ensieheim, greedy bee on the petals of a rose." Alsace, in 1862. Having first seen the light Allegretto con moto. Opus 27, No.2. of day in a country bordering on the Rhine, Spontaneous and interesting movement. he possessed that native gift so richly distri- The theme is developed in Boellmann's style, 196 The Caecilia for two pages. The voice that broke forth in differing from ridiculous shams. It dreams, song gradually becomes softer and softer until it prays, it weeps, it bursts forth in pompous. it dies away in solemn silence. It maybe accents, it fills the temple with solemn and compared to a bird about to roost which rests varied vibrations not altogether unlike tn~ first on one foot then on the other and after many colors with which rays of the sun adorn a few more shiftings pulls itself together and everything in passing through the painted slowly sinks to rest. Afterwards a supreme window of the cathedral. It is real harmony stillness. All is silent, all is motionless. or, at least such harmony as men sensible to the charms of chords are wont to call it. Be­ Andantino. Opus 27, No.3. sides the characteristic expression and the un­ Sentiments of an inexpressible weariness questionable originality, that peculiar melody that is fomenting. No longer consists of a which your harmony produces, raises the "mystical moment", but of something roman­ latter to a higher sphere. Your harmonic plan tic. Thou hast seized the wings of a butter­ gives rise to a melody so vigorous in its spon­ fly and the dust imparting color has clung to taneity as to dominate all others and to cast your fingers. This romanticism is a star that upon them a reflection neither to be over­ weeps, a gentle breeze that wails-a night looked nor to be forgotten. that shudders - a languishing ecstacy - "0 Allegretto. Opus 16, No.4. Leon, without perplexing thyself thou medi­ tatest upon thy God. All is gentle calm, (Dedicated to Mr. Clarence Eddy of Chicago) pacified and happy. God beholds thee and This 'Allegretto cantabile' is an episodical listens," says the coda. melody with which the time, alive with the resumption of the left hand, frolics gently like Finale Marche·. Opus 27, No.4. a humming-bird in the midst of perfume. It Unlimited dimensions and inexpressibly mu­ is fresh, vaporous, charming, unexpected. sical, issuing forth from beauty and passing Carillon. Opus 16, No.5. into the absolute. To be able to measure this Finale, the fathom must be applied to the These chimes have an abundance of ideas, very bottom of thy dream and the cubit to the an amplitude of forms. The fuge of the solemn and sombre depth of thy idea. Carillon in the themes is obstinate. It is con­ The 'Finale Marche' is introduced in the cise yet clear, colored, very rich and surpasses pedals by an interrogative theme elegantly anything attempted in this style of composi­ proposed and well answered by the hands at tion. (Imitation of chimes is a theme fre­ the manuals. It is an appropriate and dra­ quently found in Boellmann's works. In matic example of a syllabic pedal, all the Vol. 1, Opus No. 29 of his "Mystical Hours" cataracts of harmony reveal themselves, ideal he presents these themes on pages 37, 77, 81, of exaggerated qualities, not of long breadth 87, and in Vol. 2 on pages 6, 63 and 7 1 ). but of great beauty. Adoro Te. Opus 16, No.5 and No.9. Here comes the expected blow after tw:elve measureS of introduction. It is round, it is The versets on the "Adoro Te" b~reathe dynamical, it is pyramidal. forth only divine love, faith without doubt. Agreeable, impertinent, poignant themes Calmness and infinite serenity of a soul in the suggesting by turns smiling pasture, vigorous presence of the Creator under the form of springs, brisk fountains, bellow amorously of bread. No earthly rumor changes the heav­ the melodious sounds, refrains of love which enly quietude and should it occasion tears of repeat the echo o'er and o'er. desire, the tears flow so silently, and the pious Prelude. Opus 16, No.1. prayer while it engenders it so profoundly, that seraphically carried beyond the ideas of This Prelude contains the mystical strain art and recollection and the cold reality of the in all its purity, in its contemplation and cath­ world, one is a stranger to his own emotion. olic ecstacy. The outline of your charms, stamped with a sort of passion, sad and some­ Adagietto. Opus 16, No. 11. what dreamy, strengthens my belief. Thou T'his Adagietto, affectionate even in its gra­ discoverest the ideal of the ancient religious vity, at times lets escape the accents of re­ style through the vague and soft melody at proachof a suffering heart not resigned total­ times incomprehensible. Thou knowest how ly to the will of God. It confuses the listener to attain the most mysterious depths of chris­ and wrings from him burning tears. It as­ tian meditation. sumes the character of a poetical religion. Marche Religieuse. Opus 16, No.3. Thy harmony is pure and without disguise, (To be concluded next month) The Clleeilia 197

A Retrospection of Gregorian Chant Discussion

By JOSEPH A. KELLER) Organist Buffalo, J~. Y.

'c- qR years a literary war has been waged ,vas transcribed; the abandoned rhythmic In a matter that from the standpoint signs were forgotten." of asthetics and musical art aught not In the 11th and 12th cenuries) when the . to be a matter of dispute, it being a line-system (staff) was introduced in order to thIng of convise that besides agrees with gen­ render a clear indication of the intervals pos­ eral usuage of music. The point in question is sible, the then rhythmless neumes were placed the execution of Gregorian Chant in notes of on the lines, and owing to the use of writing different proportional durations. From the implements which drew only angular figures, standpoint of history the dispute is equally took eventually the form of the well known strange, as Gregorian documents, at least ((square notation)'. With the Foreword to the concerning the fundamental principal, are per­ \1atican Edition of the Gradual concerning one fectly clear and exclude any reasonable doubt. of the square notes we ascertain, therefore, Human passion and obstinacy however run that the square notation "has nothing to do counter even to clear proofs of history. A re­ with ti1ne-value.)) It denotes sounds neither view of the matter may be of interest. There­ different in value nor all equal in value. It fore and in order to .refresh my memory I simply remains, silent regarding these con­ have reread attentively past articles of the siderations. And as it neither dones stress or Caecilia on the subject. With the thought dynamic accents) this notation lacks the fig­ that my extract may be of service to others, uration of both elements of rhythm, like the as well as to myself, I have thought it well to rhythmless neumes which it reproduces, it then put my findings into print. takes no account of rhythm properly so called The article "How did Gregorian Chant lose and in turn is rhythmless) because as we read its rhythm" (Caecilia 1932, NO.5) treats of in Dom David's "Revue du chant gregorian" the loss of the rhythm which reached its com­ (See Caecilia 1933, NO.9, p. 294). "Rhythm pletion in the 12th century; the article "Square is nothing else but the order of the modifica­ Notation" (1934, No. I) shows the fatal con­ tions in the qualities of the sounds, (duration sequences of this loss of rhythm for the nota­ intensity). Beyond that there is only non­ tron in which Gregorian Chant actually lies entity or imagination." Nor does the square before us. These articles give us the solution notation possess graphic indications of thetic of the riddle, explain how the strange literary and arsis position of notes, and therefore was could come into existence. shows neither regular nor irregular, neither F or centuries Gregorian Chant was sung in free nor predetermined and fixed rhythmic ar­ the musical rhythm of different proportional rangement (groups, measures). It merely in­ note durations; the neume codices and the dicates the intervals, the coherence and separa­ musical authors of the Gregorian- era are the tion of notes add their distribution over the witnesses of this fact. However some time be­ syllables of the text. fore the loth century Gregorian Chant began But did we not hear personages most to be performed in the primitive part singing worthy of consideration assure us that the called diaphony or organum. Hucbald, an Vatican Edition-which is published in square author of the loth century declares that this notation-possesses rhythm, free rhythm? kind of singing "demands an execution so (See article "Gregoriana," Caecilia 1933 No. grave and so slow that in it the rhythmical 10. "Here we must not forget that the ex­ proportions (of the long and short notes) pression rhythm has been used in more recent cannot be observed." A century later there­ tirnes, especially after the Gregorian", restora­ fore, Aribo regretfully wrote-"Of old the tion work of Dom Pothier and his school, in a composer and the singer took the greatest sense greatly differing {roIn the general ac­ care to observe the laws of proportion. This ception in use since the oldest Greek and care is now dead and buried." By degrees Roman times. According to Dom Pothier's the graphic fixation of the melodies in the definition rhythm is ((la proportion dans Ies neume codices followed the actual rhythmless di?Jisions) the proportion in the musical phrases execution, the rhythmic signs and letters were and section"-and Dom Pothier is the editor omitted in the notation. "The rhythmic tra­ of the Vatican edition. His rhythm he laid dition was totally lose) says Dom Mocquereau down in his Vatican work, and' that, indeed, (Caecilia, 1933, p. 178). "Only the melody we too find in it, and also what he understood 198 The Caecilia

:by free rhythm, varying groupings freely al­ (up to the change introduced there by Soles­ ternating, not having the fixed regularity of mes influence) proves and confirms, even fol­ the ancient classic metres. With the theory lowed the strict classic metres in which their of such proportions·and group variety the old texts are written. Gregorian Authors theory of such proportions A close study of the subsequent liturgical and group variety the old Gregorian Authors hymns and Sequences, and of the writings of agree, as their writings amply prove; they certain medieval authors as for instance, St. teach that their proportional long and short Bede gives us the conviction, that also these notes must form phrases and sections of such chants, as A. Gastoue and Dom Jeannin proportions, if the melodies are to be artistic, opine," belong to the metrical chant and not and their "quasi prosaic" chants move with to the oratorical art" and "leave no doubt some variety, whilst their "Metric" chants as to their being measured." (See article "The come nearer to the regularity of the classic rhythm of the liturgical hymns and Se­ metres. The Ambrosian hymns in 11ilan, quences", Caecilia 193 1, NO.4). however, as the tradition of all the centuries

10,000 CHILDREN. TO SING AT SUCCESSOR TO J. LEWIS BROWNE MARYLAND TERCENTENARY MASS APPOINTED The Solemn Military Field Mass will be J. Edward Cordon to St. Patrick's part of the Tercentenary Celebration to be Announcement is made by the Rev. T. ]. held in honor of the 300th anniversary of the Hayes, pastor of Old St. Patrick's Church, Founding of Maryland. Also, it will be the Chicago, of the appointment of J. Edward hundredth anniversary of the birth of James Cordon to the position of general musical di­ Cardinal Gibbons. rector to succeed the late Dr. J. Lewis Browne. It is expected that 100,000 will be present Mr. Cordon studied Gregorian chant and ru­ for the Mass on May 30th, to be held in the brics under the personal direction of the late Baltimore Stadium. It is also expected that Father Joseph Relaag, S.]., organ under Dr. 10,000 children will sing the music of the Wilhelm Middeleschulte, and choir direction Mass. The Celebration is being held under and training under the late Harrison M. Wild. the auspices of the Propagation of the Faith. The position of general music director is new The Rev. Louis C. Vaeth, Director of the Pro­ to St. Patrick's inasmuch as it includes the pagation of the Faith, is the generalissimo; formation and training of a male choir in St. Lt. Col. McNicholas, U.S.A., will be the chief Patrick's High School and a girls' choir in St. commander. Patrick's Academy, as well as the reorganiza­ The 110st Rev. Michael J. Curley, Arch­ tion of the regular choirs of the church. Mr. bishop of Baltimore, will be celebrant. The Cordon continues as director of music at St. preacher will be the Rev. Peter Guilday, Ph.D., Anlbrose Church,whose Ambrosian Choristers LL.D., of the Catholic University, The Rev. have won a place among the fine choirs of ]. Leo Barley, Archdiocesan Director of Music Chicago. will direct the choir. Many high Church and state officials will be present. The program EMINENT ITALIAN COMPOSER TO will be broadcast over a nation-wide radio hook-up. TEACH MILWAUKEE NUN The musical program will be as follows: Milwaukee, vVis. - Sister Mary Edward At the vesting of the Archbishop: Blackwell, formerly of Milwaukee, has been "Ave Maris Stella" J. Leo Barley selected as a pupil of the eminent Italian Introit: A. E. Tozer composer, Ottorino Respighi, who limits the Kyrie, Gloria: number of pupils to six in orchestration and "Missa de Angelis" Gregorian composition of symphonies. Sister Mary Ed­ Gradual: A. E. Tozer ward, who for eight years has been a member Credo: NO.3 Gregorian of the music faculty at Rosary college in Offertory: J. Leo Barley "Missa de Angelis" Gregorian River Forest, Ill., is a niece of Msgr. Edward Sanctus, Benedictus and Agnus Dei: J. Blackwell, pastor of St. Thomas Aquinas Communion: A. E. Tozer church. Under her scholarship with Respighi, Recessional: "Holy God We she will study in Rome for the next three years. Praise Thy Nam·e" Old German She is the only American in the group. The Caecilia 199

Why the Church Sings

By REv. J. LEO BARLEY, Director Church Music Commission, Baltimore, Md.

E may with profit dwell again upon composed, but being wrapped in ecstacy, break : ... '. the idea of the Church in employing forth into melody at the recitation of the An­ [I, music at her functions and repeat a gelic hymn, or whether in our own day we are word which we had written some present in the Vatican and listen to the majestic while ago. settings of Palestrina, the principle is always Unlike, however, most questions of an the same, the soul speaking to God in the ecclesiastical nature, it is useless to seek its fervent accents of song because she is full of solution in arguments from Scripture and his praises. Tradition. And history, if it have anything to By the way of digression, let us pause here say at all, can only give us the fact that music to reflect that the first quality of Church music was actually employed in the ceremonies of is spontaneity. The Church sings because her the Church without being able to give a reason soul is overburdened and she wishes to give for its use. Our refuge cannot even be liturgy, vent to her ideas and emotions. In the face for liturgy, like history, will but trace the origin of this realization, it is plain that artifice and of the Mass and assure us that song was an the studied contrivances of modern music for element of worship in the eighth century the effect are out of place in the compositions that same as now and in apostolic times as well as aim to speak the mind of Holy Church. But in the days of Pepin and Charlemagne. what is still more important is the fact that The cause of music and its introduction into the Church does not admit music to her func­ the service of the Church is psychological. The tions for the purpose of adorning them. There Church sings because she wants to give ex­ is no such stuff in her thoughts. And yet this pression to the deep emotions and the burn­ fallacious notion is so current that practically ing thoughts that arise within her and song ninety-five per cent of persons believe it, is the most forcible of languages. whether they be musicians or not, and are Whether, then, Holy Mother lift her soul surprised when told what is the true office of in praise of God's perfections, or bowed down music in the temple. to the ground she adore his infinite majesty, F or several centuries this condition has been or realizing her exile and want, she petition in existence. And, to it, I dare to say) is due pri­ his mercy, or grieving over the sins of her marily the deterioration of present day Church children she beg pardon in their behalf, her music. Having nothing in mind more than prayer is always perfect and as such must the beautifying of the Church's functions by seek the most perfect mode of outward mani­ means of song, composers have sought for at­ festation. When the heart is warm and the tractive melodies and striking harmonies and intellect keen and the will strong, the soul must overpowering musical accompaniments, paying needs burst the ordinary bounds and give vent little or no attention to the text which their to her throbbing aspirations in the most satis­ music was supposed to project. Without a fyin~ form of self expression. And this is knowledge of prayer or a clear idea of what is musIC. done at the Altar they have essayed to express Song is therefore seated in that law of our the thoughts and dispositions of Holy Church nature by which we want and tend to show in the art of song, and others equally ignorant outwardly all that we think and feel within. have upheld their efforts and defended their The very same law this, that stands behind works so that when Holy Mother spoke by external religion, justifying it and protesting Her Supreme Representative and protested loudly against a merely internal cult and a against the abuse, they tried to stifle her voice religion purely of the soul. But this we shall and to check the reform. And the result is not enlarge upon for it would take us too far that the sacred edifice, instead of resounding afield. with the songs of the angels and the melodies Whether, then, we reconstruct in spirit the of heaven rings with the airs of the theatre, liturgy of apostolic days and listen to the the opera, the ball room, and the concert hall, chanting of the first Christians or go back only offending God, destroying piety, and making as far as the sixteenth century and assist at the judicious grieve. the last Mass of St. Philip Neri and hear him But we have digressed too far. The Church sing the Gloria not to a musical setting already has another motive for her use of music and 200 The Caecilia it is to assist the faithful in centering their In all these statements the Sovereign Pon­ thoughts upon prayer and moving their wills tiffs have only said that which we would na­ to the contemplation of spiritual things. So turally expect them to say. For it stands to on the various occasions, when Holy Mother reason that music must serve the same purpose has lifted her voice in protest against word­ that divine worship in general is intended to liness in Church music, she has never failed serve, namely, the adoration of God and the to remind musicians, both composers and per­ edification of the faithful. We would even go formers, that after the glory of God, the second further and say that music, more than any object of music in the temple is the edifica­ other element of the liturgy, should be made tion of the faithful. So Pope John XXII, to prove its fitness for this office. For music writing on this subject in the year 1324, says, is the most subtle of the arts and its appeal the "These musicians, (those to whom he objects), most eloquent. If then, it be allowed to de­ run without pausing, they intoxicate the ear viate in the least degree from the prime end without satisfying it, they dramatize the text of Church worship, it is not hard to see what with gestures and, instead of promoting devo­ evil influence it would exert upon the souls of tion, they prevent it by creating a sensuous men. and indecent atmosphere. Thus, it was not Someone has said, speaking on this very without good reason that B oetius said: (A point, "Music can help us to Heaven or lead person who is intrinsically sensuous will de­ us to Hell, according to the dispositions it light in hearing these melodies, and one who arouses within us and its general effect upon listens to them frequently will be weakened us. May, then, the day be hastened when thereby and lose his virility of soul.'" And the wordly song and the melodies of the dance Pope Alexande VII, on April 23, 1657, said, hall will be forever banished from the Church "The honor and reverence due to the Churches and the sacred edifice be at all times and in and Chapels destined for prayer and divine every respect the House of God and the Gate worship in this auguest city of Rome, from of Heaven. which examples of good works are spread From-"Cantate Domino" throughout the whole world, move our piety and solicitude to cast out from. them anything that in any way is frivolous, and especially, AGNES DONOVAN 41 YEARS AT ONE musical compositions which are indecorous, CHURCH IN ANDOVER, MASS. which are not in confor?nity with ecclesiastical rites, which offend the Divine Majesty, which In 1893 lVIiss Annie G. Donovan, first took are a scandal to the faithful, which impede her place at the church organ in Andover, devotion and prevent the uplifting of the heart :Nlass., and now in 1934, forty-one years later, to things divine." On February 19, 1749, Pope Miss Donovan is still serving, at the organ, Benedict XIV, again speaking on this same in the same parish. subject, Church music, said, "The Gregorian Twenty-five years ago, the Boston Daily Chant must be rendered in perfect unison and Globe, issued in its columns, an extensive re­ must be directed by persons who are com­ view of Miss Donovan's musical activities. petant. This Chant arouses devotion, and, This review may be republished in an early when well rendered, it gives greater joy to issue of THE CAECILIA. devout persons than figured music. Figured Meanwhile, we wish long life and continued music is permitted in Church and even with happiness to Miss Donovan-we believe that accompaniment by the organ or other instru­ her record of service in one church, is the sec­ ments, provided that this m.usic be neither pro­ ond longest in Massachusetts. fane, worldly nor theatrical in character, but The recent ·death of Mr. Thomas Leonard, be of such nature as to arouse among the in .Lawrence, moved Miss Donovan up one' faithful, sentiments of piety and devotion and rank, to second place. Mrs. J. F. Sheehan of to uplift the soul toward God." And in our Hyde Park, Mass., holding top honors, .with a own day, Pius Xth, in his celebrated Motu record of 43 years at one church. Proprio, says, "Nothing should have place, therefore, in the temple calculated to disturb Musicians With Birthdays In May or even to diminish the piety and devotion of the faithful, nothing that may give reasonable Dr. Clarence Dickinson, May 7. cause for disgust or scandal, nothing, above Filippo Capocci (1840) May II. all, which directly oflends the decoru:n and J. Lewis Browne (1866-1 933) May 18. santtity of the sacred functions and 'IS thus unworthy of the House of Prayer and of the Richard Wagner ( 181 3). Majesty of God." Humphrey J. Stewart (1854-1933) May 22. The Caecilia 201

IOOTH ANNIVERSARY OF WALTER N. WATERS DIRECTS SCHOOL SISTERS OF NOTRE DAME MONASTERY CHOIR IN CONCERT The humble compliments of this paper are Charles M. Courboin At the Organ extended to the Superiors and IVlembers of The Monastery Choir of Union City, the School Sisters of Notre Dame, on the great N. J-, composed of sixty men and boys, di­ success in educational work which has met rected bv Walter N. Waters, organist and their efforts during the past century. choi.rmaster, gave a sacred concert in the Mon­ One of the outstanding events of the month astery Church, April at 8 p. m. The pro­ o~ ~n­ 15, of April, was the obse.rvance the loath "-raID inCluded Kyrie, "Dixit Maria" Mass, niverary of the founding of thIS Congregation Hasler; Gregorian Chants; "Ave Verum," W. of Religious on April 4th, in Milwaukee. Mos~ N. Waters; First movement of Widor's Fifth The Rev. Archbishop Stritch, D.D., SYlnphony (played by Dr. Charles M. Cour­ officiated at Solemn Pontifical High Mass, at boin); two soprano solos by boys ("These Are St. Michael's Church. Church dignitaries, in­ Mons~gnori, They," A. R. Gaul, and "Thou, 0 Lord, Art cluding members of the assisted My Protector," from Saint-Saens' "The Heav­ accompanied by Pastors and Pnests of Schools ens Declare"); selections from Gounod's "De taught by the Sisters. st~­ Profundis"; "Adoramus Te, Christe," Mozart; Solemn processions, participated in by "Tantum Ergo," Waters; "Laudate Domi­ dents in academic garb, 100 boys dressed In num Grasse. This concert was one of the white acolyte vestments, girls in blue and activities of the Catholic Choir Guild of the white Messmer High School Students in gray diocese of Newark. caps ~nd govvns, helped to make the occasion picturesque. rrhe music was furnished. by the "Messmer PALESTRINA FESTIVAL IN Vested Choir" and J\lount Mary Cantorum, NEW YORK, APRIL 24TH the eritire group being divided into two choirs. F allowing are some of the selections rendered. April Meeting of New York Chapter "Star Spangled Banner" (and "Trumpet American Guild of Organists Calls") "March of Freedom" In St. Paul's Chapel, Columbia University, a Palestrina festival was observed on April St. Stanislaus School Band 24th. A choir under the direction of L. P. In Church Beveridge, performed the "Missa Aeterna Processional: Christi Munera". Dr. Hugh Ross gave a short "Hail, Holy Queen" Nt Haller talk on "Palestrina and Choral .lVlusic". Choir and those In proceSSIon In the evening at the Cathedral of St. ] ohn "Ecce Sacerdos" ]. Singenberger the Divine, Palestrina selections were· heard, Mount Mary "Schola Cantorum" w'ith the rendition of "Exultate Deo", 'Sicut and Children's Chorus Cervus" "Sanctus from the Missa Papae Mar- celli" and, "Gloria from th e M'Issa BreVIS.." Proper of the Nlass Gregorian ~rhese numbers were rendered by a choir di­ Nlessmer Vested Chorus rected by Norman Coke-]ephcott. "Cum Jubilo" 1VIass Gregorian Combined Choir BOSTON, MASS. "Et Incarnatus Est" (Four voices­ A Capella) Complete Service of Tenebrae at 1Vlount Mary "Schola Cantorum" Church of St. John the Evangelist "Ave J\1aria" M. Brosig (Anglican) Special attention to musIc has alw~ys been Beacon Hill, Boston given by this teaching order~ in all .thelr school Everett Titcomb, Organist and Choirmaster work. In Milwaukee, resides Sister Mary Maintaining the high standard of church music, fo-:' Gisela S.S.N.D., who has been a contributor which this church choir is so well known, Palm Sunday and Holy Week Music was rendered in Plainch~nt. At to 'THE CAECILIA for many years, and Tenebrae Service, the full liturgy was earned out, whose new "Mass in honor of Our Lady" with Responds by Haydn, Burgess, Vittoria, Viadana, (for women's voices) is so well liked by all Palestrina Anerio, etc. The Antiphons~ Psalms, and Lamentati~ns who sing it. Sister Gisela has prepared.a were in Plainchant. Vittoria's "Miserere" was sung on the three nights. hymn book, to be iss~ed soon b~ Mc~aughhn A "Magnificat" by Prof. Titcomb, was heard at the .& Reilly Co., which Will mark thIS annIversary First Mass and Vespers for Easter, held at 11.30 A.M. year in a special way. Holy Saturday. 202 The Caecilia

ITEMS COLLECTED HERE AND THERE

CARNEGIE GIFTS TESTIMONIALS FROM ABROAD Each of 20 American colleges has recently Missa Dei Amoris by Dr. Martin G. Dum­ received the "College Music Set" from the ler, M.M., of Cincinnati, Ohio, was recently Carnegie Corporation. Each set contains 824 complimented in "The Universe". A reviewer phonograph records, in 136 albums; 251 scores described it as "liturgical in character, and not in miniature, and in sheet music size; 129 difficult, with some interesting writing through­ book on music, a phonograph, of the most out its pages. tllodern sensitiveness; various accessories. A musician, could spend his life, reading and *** listening to records, in these libraries. Those From Glasgow, Scotland, were received, re­ who avail themselves of these resources, will cently, expressions of thanks for two of our certainly be well informed. Would that some musical supplements, which have since been other "Carnegie" would come along and make published separately. such gifts available for Catholic colleges. .. I. Stainer)s beautiful Motet ((Deus sic dil­ *** exit 1nundum (which has originally the Eng­ lish words "God so loved the world"). It is REV. JOS,EPH A. KERN ACTIVE suitable for use throughout the ecclesiastical AGAIN IN MUSIC year, and is published in two forms: a) for Throat Ailment Completely Cured After four-part mixed chorus (M. & R. Ed. 676), Ocean Voyage b) for three women's voices and organ (Ed. After eight years of enforced rest from 677)· vocal work, Rev. Joseph A. Kern, of Goodhue, II. Anton Bruckner)s ((Salvum fac popu­ Minnesota, has resumed church music activi­ lum)) for four-part mixed chorus and organ ties again. (11. & R. Ed. 554), one of the most valuable F ather Kern was a pupil of the famous Dr. parts of his Te Deum which is reckoned among Stehle, of St. Gall, in Switzerland, and he the most prominent masterworks of the graduated from the Gregorian Music Acad­ Church Music literature. Th. Rehmann, the emy, in Freibourg, where he was taught by choirmaster of the Dome of Aachen, called our Dr. Peter Wagner. He also studied the Chant publication "A fine and practical arrangement", under Dr. Schmid, Bishop of Chuf, a well and the late director of the celebrated singing known teacher and composer. school in Wuerzburg (Germany), R. Heuler, With such a fine musical background, it is a wrote: "I shall execute in the last Concert of source of great joy to many clergymen, to have the School (March 1922) this extraordinarily Father Kern available for consultation in effective arrangement." their church music problems. Father Kern was under the care of Dr. Hochfilzer, a throat ...... specialist, for a hidden infection in the larynx. WANTED rrhis infection was traced to a goiter infection large~t suffered 26 years < ago, and resulted in com­ rrhere is an opportunity in one of the plete loss of voice. Dr. Hochfilzer recom­ churche5 in the Middle West, for a good or­ mended an extended sea voyage and Father ganist, \vho can also sing daily (chanted) Kern went aboard a tramp freight-steamer on which he sailed for a period of time. Gradu­ masses. Pastor is interested in music, and a ally the sea air, and healthful exercise restored splendid choir is already in existence for Sun­ his vocal organs to their former vigor, and day Masse5. A fine, full time job, for an am­ F ather Kern returned from the sea, cured and bitiou5, well trained young man, will be ready ready to take up again his vocal work in the in the fall. schools and churches, under the patronage of Archbishop Dowling. ~---~~-~------~ The Caecilia 203

MAURO-COTTONE HEARD OBITUARIES REGULARLY ON FEDERAL THOMAS LEONARD BROADCASTING SYSTEM Lawrence1 Mass. (Editorial Note: It has just come to our attention The new Federal Broadcasting System, that because of a clerical omission, previous notice 01 which embraces a chain of independent radio Mr. Leonard's death was not published in this column.) stations throughout the country. Among its A few nl0nths ago, Mr. Thomas F. Leonard,. daily features is a broadcast, in the late after­ one of the best known Catholic organists and noon, in which Dr. M. Mauro-Cottone, is music teachers in Massachusetts passed on to heard at the organ, assisted by different vocal his eternal reward. Mr. Leonard was brother and instrumental artists each day. of the late W. A. Leonard, whose masses were Some very notable names have been listed once among the most popular in use in this on these programs. Music teachers, students country. Two brothers surviving him, are and lovers of classical music look forward to members of the Order of St. Augustine, and this period each day, according to the reports are talented musically. A sister is a member received at the broadcasting studios. It is of the Notre Dame Order. one of the few regular national broadcasts in Mr. Leonard was organist at St. Mary's which a first class organist 111ay be heard. Church, Lawrence, Mass., 45 years consecu­ Organists interested in hearing new music, and tively, and he was one of the best known Cath­ classical compositions well played, have formed olic Church musicians in the diocese. Most an unofficial "Mauro-Cottone Club" through of the pianists and organists from the vicinity which requested programs are presented, with of Lawrence, studied under Mr. Leonard at analysis and appropriate rendition. The broad­ one time or another, and many later became cast begins at 4 P. M. daily, from Station church organists of high standing. WMCA, New York. The passing of another member of this prominent Catholic family, was mourned by both old and young throughout the Arch­ *** diocese of Boston. *** MUSIC ACTIVITIES FEATURED ERNEST RICHARD KROEGER REGULARLY AT MOUNT MARY 'Well Known Composer and Teacher Dead COLLEGE, MILWAUKEE The passing of Professor Ernest R. Kroeger, eminent music teacher of St. Louis, was noted The "Mount Mary Times", a student paper 'with regret. Prof. Kroeger, died April 7th, of Mount Mary College, Milwaukee, Wiscon­ after 4 long career as a pianist and organist. sin, is issued twice monthly. Almost every 'The Kroeger School of Music, was one of the' issue has the record of a Glee Club Concert, best known in the country, mainly through H.. adio Broadcast or a Show. the great success and renown of this teacher. In the March 2 I st issue was noted; the :His organ compositions were published by the mention of Act I, from Msgr. Benson's Play, standard publishers including Presser, Schir­ "The Upper Room", presented at the Sodality Jmer, Schmidt, Fischer, and McLaughlin & Meeting. :Reilly Co. Also the Glee Club Broadcast, of April 11th, His compositions for the Piano appear in al­ over Station WISN, was announced. This Jmost every American catalog. In addition to program embraced "Song of the Peddler" the publishers named above his works will be from Shakespeare's "Winter Tale" with mu~ic found published by Shattinger,·Kunkel Bro5., set by Lee Williams. Other numbers were, :Rohlfing Bros., Breitkpf and Hared, Willis, Sister Claretta's "Spring Song"; "On the :Ditson, Hinds, Hayden and Eldridge, Witmark Steppe" by Gretchaninoff; Rubinstein's "Wan­ and Summy. derer's Night Song", and a group of Negro The McLaughlin & Reilly Company publi­ Spirituals. cations for organ, are not for church use, but The students joined with the Marquette for concert and theatrical rendition. The University Chorus, in a Lenten Concert given 1;'Scenes Orientale" were great favorites in the on March 26th.· The chorus sang Merca­ days of Silent Motion Pictures, when the or­ dante's "Seven Last Words", and selection5 ganists found this music ideal for background from "The Dream of Gerontius" by Elgar, effects. More recently these numbers have Dvorak's and Rossini's "StabatMater" and ;appeared on Recital programs. an anthem from Mendelssohn's "Hymn of R. 1. P. Praise". 204 The Caecilia

OUR MUSIC THIS MONTH

Mother of Christ (SATB) by Sisters of Notre Dame This favorite piece used in schools and convents throughout the land, here appears arranged for singing by choirs of four mixed voices. It needs no introduction as its adaptability for use is obvious.

o Domina Mea (SATB) by Sister M. Editha B.. V.M. This composition was originally con1posed for a choir of three women's voices, by the composer who has recently contributed to school music cata­ logs. The composition has color and a structural design which indicates skill and musicianship. The attractive text has not been presented frequently in musical settings, although its adaptability for use throughout the year should make it a popular subject for composition. The more this piece is played and sung, the better it \vill be liked by the performers. That is more than may be said of many new cOlnpositions.

"Virgins Favored of All Mortals" Guiseppe Villani, S.C. The need for hymns of this type has long been felt, wherever ceremonies are held in observance of Religious Profession or Renewal of Vows. Father Bonvin's piece "Receive This Holocaust" (for one or two voices) is \vell known, but there is little, in English for this occasion. Here the composer has designed a piece for singing by three vlon1en's voices, which is simple, in musical form, and in text. Or it may be sung in two part harmony by a school choir.

Laudate Dominum (TTBB) Rev. F. T. Walter This psalm may be used at any jubilee, as well as during the Lenten season. (Each month from now on, we will present a new chorus for men's choirs in answer to requests from many of our subscribers.)

"Final" by Richard Keys Biggs In New York, a few years ago, ranked with Yon and Mauro-Cottone, was the name of Richard Keys Biggs, among the best American organists. Mr. Biggs, now in Hollywood, is known not only for his Catholic church work, but also for his concert work and composition for the organ. His choral music has boy voices ever in mind, and he is about the only Catholic composer today writing anything for boy soprano voices. This little organ recessional, is part of a new Benediction Collection "Laus Ecclesiae" \vhich contains a Prelude, and SOlne settings of the 0 Salutaris and Tantum Ergo in attractive fonn. This is the composition of a great organist, and a Catholic who kno-vvs the appropriate. It is a little harder than the Raffy pieces we have been presenting in past months.

School Series. This is the last example of the school songs to appear with Sister 'Cherubim's "Music Appreciation Course" for a few months. Beginning next month, \ve shall present examples of Sister's Church music compositions, for Benediction (for SSA). f05 Sw. Full Final .Gt. Diap. 16' 8' .4' (Sw. to Gt.) Ped./- (Sw.) And (Gt. to Ped.) RICHARD KEYS BIGGS Moderato ~

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1\ 1\ Add Gt.to Pede M.te R.Co. 752-8 Copyright MCMXX~IV by McLa.ughlin & Reilly Co., Boston 1'06 107 Mother of Christ For Three or 'FourVoices . SISTERS OF. NOTRE DAME Arranged by JAMES A. REILLY

)j\ l \.,. l ~ ., SOPRANO .. ~. J U I t. Motl,. - ~r of Ch:l'ist, Moth- er of Chrlst, 2. Moth - e.r of Christ, Moth - .er of Christ, 3. Moth - er of Christ, 1\'Ioth - er of Christ, I ~ __ loa ALTO U ...... ------~ J} -- TENOR ..a. .J-I: ~~ ~~ t.J r r r 1. Moth - er of Christ, _ . Moth- er of Christ, __ .2. Moth'l" ·er of Christ, __ Moth- er of Christ,,-.- .3. Moth - er of 'Christ,__ Moth - er of Christ, I

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I~~~~~~~~~'-~~...... ~.~ What shall I ask of Thee? _I do . not sigh for the _What shall I do for Thee? _I will love T by Son with the toss on a storm - y sea, 0 lift Thy Child as. a ...

What shall I ask of Thee? _ I do not sigh for the What shall I do ·for Thee?_ I will love T~v Son with. the toss on a storm - y sea, __ o lift 'Thy Child as. a

M.Be R.Co. 753- 3 CopyrigJit MCMXXX.IV by McLaughlin Be Reilly Co., Boston , .lOS.', i

t":'. .~ ...... -...... -...... l l ... .- ..- . u r r r r ~ I I wealth of earth, For the joys that fade and flee; But, whole of my strength, My on - ly King shall He be. Yes, Bea - con Light To the port where I fain would 1>e. And,

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~ .- .- .- - ,.,. ,.,. . _"'" I/'" r- ...... r-r -- u I y; ~ I r I r r r I I wealth of earth, For the joys that fade and flee; But, whole of my strength, My on - ly King shall 'He be. Yes, B.ea - con Light To the port where I fain would be. And,

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M.& R.Co..'iGa- 3 I~~~~§~ This do I lo~g to see, __ The bliss un - told. whioh Thine T.his will I do for Thee, . Of all that are dear or This do I ask of Thee, When the voy - age is o'er., 0

~ .. This do I long to Bee, _ The bliss un - told whioh Thine T.his will I do for Thee, Of' all that are dear, or T.his do I ask of T,hee, When the voy -age is o er, 0 ~ ~ ru ~

l/'J l -;..a ...... -...:: ...... ~~-- ... .-I , ",,"1J ~. Jt -- :~ J I u· ~ arms en- - fold, The tI'eas"---ure up - on Thy knee. __ c.her - ished here, None shall be dear as He. stand on the shore, And show Him at last to me. I} I. --. ~ ._],6 .... _. r• -La.-l .-I ~- .-I ~- I. -,.J - v --~ .. - -"'--_.... ------A ....-... -. M. . -- ~. ~ , ~ ~ -T Y r 1 r r~ ~ arms en - fold, The treas - ure up - on Thy ·knee. __ cher - ished here, None shall be dear as He. stand on the shore, And show Him at last to me.

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M.& R.Co. 763-3 110 o Domina Mea

Orat.io: PERE ZUCCHI Sister MARY EDITHA,B.V.·M.

Andante devote !":'. fJ I I I I II I I I ,.J...-- ... I~ .. .- ..-'" .­ "-.l.I' ... -.-... -- - -.-l ...... - -.,. . - - CtJI u • r--~----:'l~- I - r ORGAN { p ~J I":'. rit.. n L.._ J---1:'J .; ,.J .~ -===-=- -:.. P' ",11I1-. ". J'~ II .... I'"!"" -...... - ./ .... I~ ... I I -I \:"I )~ f:,sopr. f : m ..= ~ "- ... .- .- . .- .- .- ...... - ..- .-or .... - v - - t) I .I r I I- I .--.. I I - 0 Do .. mi .. na me .. a, 0 Ma - ter me - a, me- ''fJ t Alto r-----t I I ... - - .- - - - - ":"J - ..- - - v f - ,; r T.enor ml I I =-- . '1 ... .- ... .- .- .-. ..- a. V" .... P'~ ...... - '-- -- .... ~ lJ_ - ".v - I ~ .I - -I I r I I 0 Do - mi- na . me- a, 0 Ma - ter me - a, me - Bass , .... ) : .- 1 I r I I I I , I I I I

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:: ~ m fJ '- - f :::--=- v ... ,. ,. 1 _. r -- ...... r- ... .-r- -...: .v .... - - I I - I tJ '- r men- to me es - se tu - - urn, Ser - va ~ I...... 1. .-- ...... 0- .-I tJ - - -~-- C/ - - ...... ::::: ~ f . =- fJ L --:: I :: ml v .- .- .- r.J .. -- ...... - ,. .w._ -...: - - - I I I - U I I I men- to me es .. se ._._ tu - ... urn, Ser - va l L.. _---...... --...... -. .- .- .. ; ...... " .... " ., - I I ) I I

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1\1.& R.Co. 7r)5-~;J Copyright MCMXX.XIV by McLaughlin & Reilly Co.. Boston ifl

me, de - fen- de me~, 'ut rem et po-ses- si - 0 nem '~ I •I

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M.I: R.Co. '155-3 . .112

CHO~ .,.- ~. ~ -~ ;/1 :> - P ~ ) I. I I - r~ = ~ k - - .- - .- . - U I I I .... I - -- Tl - -- Sel' - va me, de - fen - de me, ut rem et po-ses - si - 0 - nem 11 I I I __ V . _I.. - II .uI .-I .- .- .-I ...... -I ..-I tJ -- 1 ------' - - .-- - f ,~ -== II p ~ I =- I .. l I l _L ·b-..- -.-= r.JI .) 1"'0. ·L ~ I.. 110 V r- r~ -...... - ,.Y. - ~ 1- 1 -I I I Ser - va me, de .. fen - de me, u-t rem 'et po-ses - si - () - nero

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Mo & R.-Co. '7 ~~- 3 113

Dedicated to the Si8te1'8 01 St. Joseph Profession Hymn Virgins, favorE~d of·all mortals . For Two or Three Voices'

GIUSEPPE VILLANI S.C.

jj

Vir - gins, fa-vored of all mor - tals, A.

A.

day -- Ifeav'n un-locks its gol - den por-tats:

Heav'n un-locks its goI-den por- tals :

Heav'n un-locks its gold-en por- tals:.

J

,M.& R.Co. '754- 3 Copyright MCMXXXIV by McLaughlin & Reilly Co;,Boston 1.14

.~. lay. __. See up - o.n the low -ly aj - tar,

See up - on the low - ly al - tar,

~, a tempo I I _ PI.- '"- ... - ~...... ~ ....- ..... - I , tJ I r I -rail. See your lov - ing Lord and Mas-ter .-!J 1""1. - - u r - .. ..~ .. -9- 'Neath the sim-ple form _ of bread, fJ _n-,.~ ... - )U a tempo IJ l . I I I I .- _.I -- .-I - ...... - -.- - .- u - ..E. - • ~F i r ~..all.J qr- r r r r ~. ~ ~I ~ ~ J 1 ".,.. r I...... I L-- I f.J Y ~ .... -- 11_ -.. 1>. - /' ...... - W' ~ , , I I ~ - r- I ------I- r I

} fj I raIl. a tempo .- PI_ .-. PI-.-- .r.,-- II"" -- - .-. - - u .. , I I I Call-ing you where He has led. fj I ratl. _rv-- .... _. LIo_ u._ ...... u. - - u - 11 1 - ~ .. Call- ing you' where He has led. /} r-all. _.J...... ~ .r - - .... ~ - - )ff.J .-: - ft··· ..~...' .... C,all - ing you where He has led. a tempo I I I I I I 1J I L r Ii t _ I PI I t ...... PI·.-I ~- ..... - .MI - ... _ P\.... :MI_ ... - - " - "'r~(--- .- -- .- tJ I 1'-1 I I _t"1 1I'f'- -, I l:.!'.r ). b~ .J rt #J- ..qU. ~J x-J »_ (I,q~) '~.J~J .c-... IJor~ ~ .. ".,...... - .... 1'-'1 M.&R.Co. 754- 3 115 r~~~~~~:~. mt§~-~ y6U have won the Sa-viour, JEiehas heark· ened to your voice, I~~~m~~~. ~E::~.~ , Vir-gins, you have won the Sa-viour, He has' heark-ened to your voice,

~~~~~~:=====.====::J

He has heark-ened to your voice,

Faith-ful to your call- ing, to your "call· ing, Fait!!- ful (~to: your' call- ing,

Il£:~~~~~~~ W t2J~·~~ ~ f,ait h.. CuI to your call- i ng, to your call - ing, be

ratt. raZI. molto __~:: .:::::=--

er Wor .. thy prov"e of Je sus choice. 1~~==:::r=====4==::J::::::l==I===+======+==r=la:::ll=.=~::.!.:to!!.-.::===~::;::·=::- a ~ you ev er ' thy prove of Je .. sus choice. ~~~~~~j~~~:-21

Wor ~hy prove of Je .. sus choice..

,M.1e R.Co. ?~4"3 116 Laudate Dominum

F.T.WALTER

~:------..;--_:.---- a tem:p0 ~ I'J I TENOR 1&11 I t T~ I ., I I J. J\J~ _ . k ,. .". .. -. - .- .- . . ~ .. - - ,... I--- ~ _'" - - I- - - 'u I , I I r I I I -I I I ( I Lau - da - te Do - mi - num, _ Iau - da - te Do - mi- nUID_ BASS 1&11 j~ I .J J .. _t\J~J,JjJ j . .])J~ •• II. ... ,.. r- r- I' k - ... ., '" - ~ - 1 -:--fJ:-.tempo I r I

I'J I I I . r~I'_ ., ..... r.J • - ,. - {- "...... -- .... - -I ...... '.t 1- I r~.~ ~: J ,J. ,. I' \4.' -. - ".J ,... - -' '" II

I I ~ ~ == fJ I ~J ,PJ I I I ~ I ,:::,. I .- II. -- I';-=;-' I .... _..,... :-.. r- ,.. _ .-. _ ......

U I I I I r' 1'---"" I II r~1 I I ~ qui-a be - ni- gnus est, __ qui - a be - nl - g~s est, .-..; , I J I J- ~ I - I' I JJ I0'J_~ I ...... _- v...... - - -,.. - - - ...... - -' If' ------I I ,,I I 1~11 ~ I I ~ I - {JJ ,I I II Man. -= = .~.~ r- .- :..I'.- L..: -' V [I

. , -=.;; = ,J~I '~ ~I. PI l l I ~, .... J~J ~ ~ ~J j)~ J~ _I· _- ,J "_If' ...... So...... -.... I- ..-. r------.J .J -I I - I r r I - U I r p I r r' r r I psal-li - te no-mi-ni e jus~ el~ I jJS',!;~l .. li~ t~ jO -1-1 - PI l A- I ~ ~ I I~ ...... I , • - •• II. .... - I' - --- -. -. - -- ( ) ~ Ppi r' r I" I" • ( i ~ ~ I 1'-" fJl .I - J) I rt' I .- - JIII_ - '11II - ,.... -- \:~ l------I l'.- I - < - ~:: ~j~~ J 1""-~ r-I. _ 14..- 1\ I' 14." -- - - ~rl L..J ----~-~---'r • Offertory for the Fourth Sunday in Lent. M.&R.Co. 751- 3 Copyright MCMXXXIV by McLaughlin & Reilly Co.,Boston,Mass. li7

~ I -l ~ I """"' I, I .....I l ~114 -. .- -...... '" - -- :-. . " : t I ~ ,I I U - ·r--r I -V r~r - quo - ni - am su - a .. vis est~ quo - ni - am su - a . vis est. pp .... ;-..J '] I _1-.~ ~ I l I.- I :-. , ' LoO . --. '~TJ ij, v ~ r. .... - .... r-\ - '-'I I ,.., L -, I D F PP I F __fJ IIA P ~

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".-.... mf-==== fJl J. ~ I iI I~ I , ...... -. ,...... ~ "Pf" V II . .- - • - IJ' - ~: ~ r I I eoe - 10 et in ter - rae 0 - mni . a quae-

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'0 I, I I I I -I ritard. J ,j 1.

I, I

M.&R.Oo.751-3 1.19 There's Beauty in the Summer's Eve.

SISTER M.CHERUBTM, 0.8. F. Op.4'7,No.16 Andante ) IJ .u ~ ., I~ •. r-, lI. - • • if . - I I J

fJ ~ P .- ., r~ .r I.. • , , ~ V . I I ;gl D 1. There's ~ 2. There's IJ ~ l L.. .I I t\ I 1> I .. .'- ..- .- .- ... .- -. {-"- _... ------. - I - I I I I .r ,I 'l'it. ~. _ .. p. ~ I .-fI'- . .- .- .-tL.fI- - ...... , ... I - •- - - .- .... " . .------~~ - I r - ~ fJ ~ I~ J. ~i - ~. II~: ~~I u I Hum

~ ~ -----l I l .""- .....- - .....- ~. ~ .}tJ . I - I - I beau - ty in the sum- mer's eve,'When fIow'rs their pe - tals fold, _When beau - ty in deep so - Ii- tude, In o - cean,earth,and alr, -- On fj .u I .-' _.f I I .- . .- ,.Jo. -a- .• . .. .- : ,,~ .... .- ~ ...... -I • u I r" I - I I I -- a tempo ~ I ~ .,...... I ... f!:. - • - I • '#- • ,.. • ... .- .-I -- t.-~ ... ~ -- ~ ~~g~~~:~~ ~--_..------_-.. -_.- There-s There's 1i§~~~~~::sA· 'I east - ern skies are wrapp'd in gloom, And west - ernclouds in gold; --.­ moun - tain peak, in shad - y grove" And beau - ty ev - 'ry - where;_ 3 •

M.leR.Co. Copyright MCMXXXIVb~~ McLaughlin Ie Reilly Co., Boston 1.20

the bril - liant stars 'That gem the pur - pl~ sky, __'_ As the song of birds, On spray and green-irrg sod; __'Tis ------hu'm ------

r~r

That slow ly These beau ties

ly rip------ties tell _

lightly rite

rip hum __-=- t e ll~======-

'~

~ slow-Iy rip - pIes by. beau-ties tell of God.

M.&R.Co. The Caecilia 221 Music Appreciation By SISTER MARY CHERUBIM, D.S.F. Directress of Music, St. Joseph Convent, Milwaukee, Wis.

"Music is a stimulant to mental exertion." -DISRAELI. The seasons change, the winds they shift and veer; T he grass of yester-year Is dead; the birds depart, the groves decay; Empires dissolve, and p'eoples disappear; Songs pass not away. -BREWER

MUSIC APPRECIATION IN THE SIXTH GRADE (Cont.)

3. FOLIZ MUSIC OF HUNGARY gests Asiatic origin. Other scales are also used. Pre-requisite: Chapter One Play the Hungarian scale for the class: Before the year 1919 the population of Hungary, which was then a much larger coun­ abc d-sharp e f g-sharp a try than now, included among its people Mag­ The Gypsy contribution to the Hungarian yars (Hungarians), Germans, Jews, Ru­ style of music is -in the form of turns and em­ manians, Slavs, Ukrainians, Poles, Gypsies, bellishments added to Magyar melodies, giving and others. The Magyars, however, who are them a decidedly Oriental tint. Gypsies gen­ a brave and proud people with a strong spirit erally do not compose, but simply imitate and of self-determination, were the ruling race. m,emorize the music of the land in which they Originally they came from Asia and, centuries live, and add to it florid ornamentations of ago, made their way up the Danube until they their own. These ornamental and florid pas­ finally. settled in Hungary. sages have become the most important feature Gypsies are spread over most of Europe of the Hungarian style of music. In Hun­ and are found even in America. Historians garian music we find Magyar sadness blended say that they come from India and are Asiatic with Gypsy wildness. in origin. The Gypsies living in Hungary are Today almost every Hungarian village has known to us as Hungarian Gypsies. These its Gypsy band. The favorite instruments Gypsies have made more music than any other used by these bands are the violin and the branch of the Gypsy race. For centuries they cembalom. The cembalom is an ancient in­ have been in the employ of the Magyars who strument looking like an old-fashioned square adopted them as their national musicians. piano. In·ancient times it was played by Therefore, the Magyars, as the ruling race ·of striking the strings with two little hammers, the land, and the Gypsies, as the national mu­ one in each hand; later a keyboard was added. sicians, are regarded as the joint originators It is similar to the Harpsichord, the forerunner of the style of music called Hungarian. of the piano. The violin player improvises, rrhe syncopated rhythm of Hungarian mu­ using well-known tunes as basis, and the cem­ sic is of ~!Iagyar origin. The syncopation usu­ balom player accompanies by ear, following ally consists of the accentuation of the second his own instinctive feeling for harmony. beat in two-four measure music. In music Let the class hear two old song tunes be­ where the melody is 'without syncopation, the loved by every Hungarian, played on the violin latter is mostly always found in the accom­ and accompanied on the cembalom: paniment. Three-four and six-eight measures "The Broken Violin" (Eltoeroett a hege­ rarely ever appear in genuine Hungarian mu­ duem)-The title speaks for itself. The song sic. The phrase lengths are irregular, often is a lament over the violin that will "speak" having three, five, six, or seven measures. The no more. favorite scale upon" which Hungarian music is ;;'The Old Gypsy" (A ven Cigany)-This based is the harmonic minor scale with raised song tells a story of an old Gypsy and his wife fourth. The use of this scale as a basis sug- vlho lived deep in the forest. Memories of a 222 The Caecilia happier life in the city urge him to take his masters of music. Haydn was the first great violin and go once more to the coffee-house in musician to use Hungarian musical peculiar­ the city where once he was honored. He asks ities in his compositions. Franz Schubert to play for the guests, but is ridiculed and made the greatest use of Hungarian musical thrown out. Broken-hearted, he returns to characteristics. Liszt, the great .. Hungarian his home, and there dies of grief. His wife master, wrote fifteen Hungarian Rhapsodies, buries him in the woodland, and birds now in which he used for his thematic material folk sing his tavorite melodies. songs and dance tunes of his native land. Play "The Broken Violin" and "The Old A Fantasy entitled "Life in Hungary", ar­ Gypsy" V. R. 20749, while the pupils listen ranged by G. Paepke, is very interesting. It quietly. Then play the record again, and have represents various Hungarian tunes, the first the class direct their attention mainly to the being one of the oldest Hungarian folk songs. cembalom accompaniment. It is entitled "Far Above Us Sails the Heron". Another instrument peculiar to Hungary is (See "Americanization Songs"-Faulkner). the tarogato. It is a wood-wind instrument Play "Life in Hungary" V. R. 35973. Have resembling a deep-toned clarinet with a tone the Class recognize the cembalom. It is used quality somewhat like that of the alto saxo­ to playa passage at the beginning and toward phone of today. The early history of the Hun­ the end of the fantasy. Also have the pupils garians was one of struggle and conflict. In note the syncopated rhythm, one of the char- 1353 the Ottoman Turks began invading acteristic features of Hungarian music. . southern Europe and were for three centuries A. famous Hungarian national tune is the continually menacing Hungarian territory. "Rakoczy March". The members of the Ra­ Among the Hungarians were many brave koczy family were for centuries the leaders of leaders, so that the Western Catholic Church the Hungarian movement for self-government organized a crusade against the invading Mos­ and independence. r-rhe most famous. of the lems under the leadership of Hungary. Dur­ Rakoczys was Franz II, who in 1703 led the ing these turbulent times many songs came Hungarian Revolution. It was then that the into being, and the tarogato was much used tune was composed by Barna, a gypsy court to play inspiring melodies to the fighting men, musician, and played when Prince Franz II and to sound warnings against attacks of the with his young wife, Princess Amalia of Hesse, enemy. made his stately entry into Eperjes. In 171 I The Magyars value their own national mu­ Franz led the revolt against Emperor Leopold sic. In later years phonograph records have 1. At this time Barna revised the original been made of thousands of Hungarian folk tune into a war-like march. Since then it re­ tunes, and placed in the National J\1useum at mained the battle-hymn of the Hungarians. Budapest, the capital of Hungary. The tune was made popular through Panna The national hymn of Hungary is called Cznika, a beautiful young gypsy violinist and Szozat or "Appeal". Let the class hear the granddaughter of Barna, who traveled through national anthem of Hungary played by the various countries playing her grandfather's Budapest Philharmonic Orchestra, recorded on composition at all her concerts. After her V.R. 60001-B. (This record presents two an­ death, Ruzsitka, another gypsy violinist, re­ thems. Play both.) wrote the march again. H allgato is the name given by the Hun­ Berlioz, the great French composer, has im­ garians to slow, romantic, instrumental mel­ mortalized this tune by introducing it into his odies. Andalgo is the term applied to instru­ famous .opera "The Damnation of Faust" mental melodies that are slightly faster in When it was performed for the first time .in tempo than the Hallgato. this version at Budapest, the enthusiasm of Hungarian dances are gay and lively. The the people was so extraordinary that it almost most popular of the national dances of Hun­ alarmed the composer. gary is the Czardas. It was introduced into Play "Rakoczy March", V.R. 6000I-A. Hungary from Bohemia. Every Czardas con­ Note the frequent occurrence throughout the sists of two parts, a slow movement called composition of an accent on beat two of the Lassu) and a quick-step called Friss. These measure. two movements alternate at the will of the dancers, who indicate a desired change by giv­ OTHER HUNGARIAN FOLK TUNES: ing a sign to the musicians. Magyar Dance Song Let the class hear the Czardas played by an Occupation Song Hungarian Gypsy orchestra-V.R. 78910. Mountains The importance of Hungarian music lies in Anniversary, An its influence on the works of the great classical Song of the Seasons, A The Caecilia 223

Far Above Us Sails the Heron The Ardeleanca) a dance that originated in Land of Beauty the district Ardeal, and the H atagana are the Village Dance, The two best known Roumanian dances per­ (See books listed in the Introduction to this formed by two dancers. The Ardeleanca is course, The Caecilia, September, 1933, for a slow dance, and the Hatagana is a lively these tunes). dance. '* '* '* Let the class hear two R.oumanian dances. 4. FOLK MUSIC OF ROUMANIA Play "Doina and Dance" and "Dance of Sibin", V.R.. V-190IO. Pre-requisite: Chapter One The people of Roumania clailn to be de­ ROUMANIAN FOLK TUNES: scendants of the Roman colonists who in an­ 1\'1oonlight cient times settled in the region north of the }\1y Star Danube River. They speak the Romance lan­ Rainbow Gold guage, a language developed from the ancient Work and Song Latin tongue of the old Romans. Roumania, (See books listed in The Caecilia, Septenl­ therefore, is known as a Romance country. bel', 1933, for these tunes.) For centuries the Rounlanians had been a sub­ **** jugated people ruled by other nations, but in 5. FOLK MUSIC OF CZECHO-SLOVi\KIA 1878 Roumania won her freedom and was (Bohemia) recognized as an independent nation. Pre-requisite: Chapter One. Roumanian folk songs are usually in the The republic of Czecho-Slovakia, formed minor key, tinged with melancholy and sen­ after the great World War, includes Bohe­ tinlentality. The melodies are generally em­ mians (Czechs), Moravians, and Slovaks. The bellished with many turns and trills, while at Bohemians are of Slavonian origin. For the same time they are always melodious. many years Bohemia was considered The All the songs of the Roumanian folk are M[usic Land of Europe. An old Bohemian classified as Doinas) meaning "lament". Orig­ proverb says, "Where there is a Czech, there inally only the shepherd's pipe tunes were is also music." Music seems to be a necessity called Doinas, but now any type of Roumanian of life to the Czech, and his musical utterances song is called Doina. express deep sentiment embodied in perfect Roumanian tunes reflect the influence of the form and design. Distinctive characteristics music. of the Slavic people who for centuries of Bohemian folk tunes are a spontaneous, un­ have been their neighbors. Gypsy influence is affected humor, and a very close relation be­ also. apparent in the many turns and trills, un­ tvveen vvords and music. usual rhythms, and peculiar harmonic inter­ The Bohemians were for many years sub­ vals, characteristic of gypsy music. ject to I-Iungarian rule, yet they retained their The earlier Roumanian people rarely ever uwn individual customs, language, and music. played on instrum,ents. This was done by However, some Magyar (Hungarian) charac­ gypsy tamburitza players who furnished the teristics can be found in Bohemian music, but music for all the festivals of the folk. the words and sentiments are distinctly Bo­ Though melancholy is the predominant ten­ hemian. dency of all Roumanian music, we find many The Bohemians for centuries longed for and dance tunes to be brilliant and impassioned. hoped for the day when they should be free These strongly reflect gypsy influence. and an independent nation. In the old song The Roumanian national dance is called "\Vhere Is My Home?" the Bohemians give Hora. It is generally in the minor key. The utterance to this great longing of the Czech Latin word "hora" means "hour", and in its heart. (See "Americanization Songs"-Faulk­ oldest form, this dance depicted the daily ner). circle of the hour5. It is in rondo form, and Play "Where Is My Home?" V. R. 79182. danced in a double circle, girls forming the The second song recorded on the same side outer circle and men forming the inner circle. of this record is the very ancient Slovak song Gypsy musicians usually play the tune; be­ 'O'er Tatra Mountains Flashed the Lightning". ginning slowly, they gradually increase th'e This song strangely prophesies the rising of speed, becoming more and more impassioned. the Slavic people to a great nation. The Tatra Another Roumanian dance is the Sarba. :NIountains are the highest of the Central Car­ This dance tune is usually in the major key. pathian range. They rise abruptly to an al­ It is in a lively tempo, and is often used to titude of over 8000 feet from a plateal1 2600 follow the Doina when the latter is played by feet above the sea. In this ancient song the an instrument instead of being sung. It serves storms raging over Tatra Mountains prophesy as a direct contrast to the Doina. that after "the skies are rent asunder" the 224 The Caecilia

Slavonian people shall rise and be free. (See "Americanization Songs"-Faulkner for Eng- Publieation N otiees lish translation). ' CARY & COMPANY APPOINTED While the Slavonians were under Hungarian ~agyar (~ungarian) AGENTS FOR LaBOURE'S I rule only the language could be used In the publIc schools and in the "PROPER OF THE MASS" law courts. In the song "Hymn of the Slavs" Messrs. Cary & Co., 13 Mortimer St., Lon­ an .old Czech s~ng, the Slavic people voic~ don, W.I., England, have been appointed sole theIr protest agaInst the suppression of their agents for THE PROPER OF THE MASS language, and proclaim that the fearless FOR ALL THE SUNDAYS OF THE YEAR, Slavic spirit will not be quenched. Read the by Rev. Theo Laboure O.M.I., Society Gen­ English translation to the class, and play the eral of the Missionary Oblate Fathers. song. (See "Americanization Songs"-Faulk­ This very simple work, which may be sung ner). or recited by anyone who can read Latin, . The Czecho-Slovaks are very fond of dan­ uses only four melodies for the whole year. CIng. They usually sing dance music in chorus Yet the tunes are so alternated that monotony accompanied on the Dudels (Bagpipe). Th~ does not occur to the singer or the congrega­ old dances most generally used are the Sedlak tion upon rendition. Hulan) Dudik) and the Furiant. ) Recently a review appeared in "The Uni­ The Polka originated in Bohemia about a verse" which termed this work, as the "best century ago, and is now not only popular in and most practical" seen by t?e reviewer a~­ Czecho-Slovakia, but also throughout Europe ter years of attention to CatholIc church mUSIC and America. publications. The Soudeska is also of later date. The Residents in England, Ireland and Scotland, name is applied to a slow waltz movement may now procure this fine work, without delay, similar to the German Laendler. ' at the same price they would pay if imported Let the class hear a Polka and a Soudeska. directly. Play "IIomeland and Fisher" V.R. 79197. . Now let th~ class hear "Odkaz" (Didica­ THE TRAINING OF CATHOLIC CHOIRS t:on), a beautIful chorus composed by Fried­ by Donald J. S. Edeson (F.R.C.O.) nch Smetana (1824-1882), a Bohemian com­ A new book, by a scholarly .church musici~n poser, who was deeply devoted to the national and organist of England, has Just aPI?eared In music of his native land. He is known as the print. It is a brief yet comprehenSIve hand F ather of Bohemian· Art Music. book for beginners or it will serve as a valu­ Play "Odkaz" V.R. 79182*. able reference wo;k for use by choirmasters now conducting church choirs. . OTHER BOHEMIAN FOLK TUNES: In simple form, it treats of .suc~ subjects. as, Angels and the Shepherds, The Selection of Voices InstructIon In NotatIon, Autumn Song The Rehearsal V~ice Training, Points for Bohemian National Hymn Special Attenti~n in the S~rvice, Conduct,ing, Come Away Choice of J\1usic, AccompanIment, Hymn SIng- County Fair ing, etc. From the West Copies sell in the United States for the low Happy Shepherd, The price of one dollar each (paper covers). If I Were an Elfin Market Song, A Organ Compositons by Memorial Day Dr. Ernest R. Kroeger, A.G.O. Moon Song Opus 27 .' Mountaineer, The First Introduction and Fugue In C MInor November Opus 56 October Second Introduction and Fugue in D flat Once, Long Ago Opus 37 Organ Grinder, The No. 1. Scene Orientale in D minor Sowers, The No.2. Scene Orientale in B minor Spinning Song NO.3. Scene Orientale in A flat Wild Ducks, The NO.4. Scene Orientale in E minor Winter No.5. Scene Orientale in C major Whither, Dear Maiden No.6. Scene Orientale in G minor (See books listed in The Caecilia, September Opus 58 .' 1933, for these tunes). . Procession Indienne In E flat The Caecilia 225

Question and Ans;wer Box

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

Copyright 1934 by Mclaughlin & Reilly Co.

Questions submitted in l\1arch 1934 is a repetitio'n in the text as given in the Gra­ Q. "How 1nany Psalms are there beginning dual, which repetition does 1lot occur in the with the words 'Laudate Dominum'? There text of the Jvfissal. E.g. in the Offertorium for seem to be several-when are they used?" Quinquagesi1na Sunday the words ((Benedictus i\. There are four Psalms beginning with es Domine, doce me justificationestuas" are the words "Laudate Dominum", viz. Psalm sung twice according to the Gradual, but the I 16, which is the shortest of all the Psalms; Missal gives them only 01zce. Supposing a it occurs in Vespers; it is also the one gen­ choir sing the O/Jertorium "recta tono" (not erally sung after Benediction of the Blessed being skillful enough to render the Chant of Sacrament. The other three, Psalm 146~ 148, the Gradual), should they make the repetition and IS0 occur in the morning service of divine or not?" praises, called "Lauds"; they serve as daily A. They should make the repetition by all and official invitation to the Priests and Re­ means. In restoring the traditional (original) ligious to spend the new day in praising God version of the chant it was found that certain Most High. texts of the ancient Gradual differ from those Q. "In the Agnus Dei of Palestrina's of the Missal of to-day. On March 14, 1906, (Missa A eterna Christi M unera' the text does Pope Pius X prescribed through the Sacred not appear to be liturgically complete. There Congregation of Rites that the original version are no repeat marks; we find (miserere nobis' of the Gradual must be followed without any once, and (dona nobis' once in one edition, change whatsoever. (See 'Decree' prefixed to and varying treatment in other editions. How the Roman Gradual). Hence the same order did Palestrina write his music? He is the must be observed in reciting as in chanting. model of liturgical compositions, yet the words Q. "Are the M ensuralists bent upon dis­ of this part of the mass are not clearly litur­ carding the Solesmes editions in order to get gical in any edition we have seen." out editions of their ownt) A. It must be remembered that the Italian A. There is a misapprehension in this composers of that period (1550-1600) did not query concerning the term "Solesmes editions". follow a fixed and definite system of text By Solesmes editions in the widest sense are treatment; they were satisfied to make indi­ designated all the chant books published from cations at the beginning of a sentence or their press prior to the expulsion of the Monks clause how the words should enter; a few from France A.D. 1901. The principal work words served as ((cues",. the singers had to was the Liber Gradualis, published by Dom apply the rest of the words to the notes ac­ Pothier in 1883, and its second edition, in cording to their own judgment. In doing so 1895. This second edition formed the basis they followed certain rules, but no written ac­ upon 'which the Vatican Gradual was pro­ counts of these rules have come down to us. duced. With the appearance of the Vatican We may trace them to a certain degree from edition, the term "Solesmes editions" as ap­ the works of Orlando di Lasso, who made it plied to the Gradual, became a misnomer. a practice to place the syllables exactly below I-Ience the query should be worded thus: "Are the notes. With regard to the "Agnus Dei", the Mensuralists bent upon discarding the the composers generally wrote an "Agnus Dei Vatican Gradual, provided with rhythmical ]" with "miserere", and another, in more elab­ signs by the Monks of Solesmes, in order to orate setting, "Agnus Dei II" \vith "dona". get out a new edition provided vvith rhyth­ The first one could be repeated, to make the mical signs of their own?" To the query thus text complete; eventually also, the first Agnus modified we are informed to make this reply: Dei could be given out as a ((recto tono" "The Mensuralists are not bent upon discard­ recitation. ing the Vatican Gradual, endowed with rhyth­ Q. ((In the Proper of certain it,!asses there mic signs by the Fathers of Solesmes, nor do 226 The Caecilia they intend to get out a new edition with Q. (( What do you think about the recent rhythmic signs of their own." booklet GREGORIAN RHYTHM: A PIL­ Q. aHave the M ensuralists published to GRIM'S PROGRESS?" any extent, i.e. any Gradual, or is there any A. The author of the booklet, Dom Gre­ place where the Chant edited by them, can be gory Murray, monk of Downside Abbey, Eng­ land, has been adjudicator of the Plainsong heard perfectly sung?" Competitions in 1932 and 1933 at the Dublin A. The Mensuralists have not published a Feis Ceoli. In this booklet he tells the story complete Gradual for practical use. The 30 how through conflicting methods of interpre­ Mass Propers which Dechevrens incorporated tation, changes of opinion, and finally through in his great scientific work "Etudes de science compelling arguments he found the solution musicale" (Studies in musical science) are not of all his troubles in the musical interpretation a complete Gradual and, besides, they are not laid down by Dom Mocquereau in his monu­ meant to serve practical requirements. With mental work "Gregorian Musical Rhythm" regard to the second point we have received (Le N omble Musical Gregorien). For twenty the following information: "Thus far no defi­ years he tried to find fault with the Solesmes nite place or definite church choir has won interpretation; he made a study of all existing public recognition as being notably conspicu­ theories and put them to a practical test with­ ous or exemplary in the rendition of the Chant out however getting the results he desired. according to Mensuralistic Principles." Resuming the discarded volumes of Dom Moc­ quereau for a new attack, he gradually dis­ Q. aDid I correctly understand a certain covered that his doubts vanished. It was a rumor to the effect that there is a split in the hard-earned progress but one which may bring light to many a ~eader. Copies of the booklet School of Solesmes?" can be procured from the publishers of the A. It is true there have been some (e.g. Caeciliae Dom Lucien David) who based their interpre­ Q. aWhat shall I tell my singers when they tation of the Chant upon the aoratorical pass remarks at rehearsals about the conflict­ rhythm" inculcated by Dom Pothier (Les ing views on chant interpretation?" Melodies Gregoriennes) as long ago as 1880. Dom Pothier laid the basis of the School of A. Tell them there are abones of conten­ Solesmes. His ideas were fundamentally tion" in school matters as well as in problems sound, but manifestly incomplete. Already connected with the interpretation of the liberal the followers of Dom David are beginning to arts. Nay, in matters musical personal taste submit to the superior science and skill of has always exercised a decided influence. the monks of Solesmes. Ever since man has lost the precious gift of infused knowledge, he is struggling with ig­ Dom Mocquereau and his disciples maintain norance and error. There is hard labor all that the word-accent is ONLY ONE of the around. Luckily, disagreement in chant in­ many elements which may influence the terpretation compels the opposing parties to rhythm of the Chant. There are other ele­ make serious investigations to discover solid ments which affect the Gregorian rhythm in arguments in support of their tenets. Hence a decided manner, e.g. the fusion of two opposition is a blessing in disguise. Chant neums to form a Pressus; the rhythmic form theory is important, but the practical testing of a Scandicus and a Salicus which are quite out of theory is still more important. distinct from each other; the numerous con­ sellations of the strophic notes which certain­ Q. aWhy do the so-called aswell singers" ly exercise an influence over the rhythm etc. shrink back from Gregorian Chant?" Of course the word-accent is always the prime A. They shrink back because they hate the factor, but it is so powerful that a counter­ idea of being submerged in a unison chorus, balance is simply a necessity. By a constant in constant submission to one supreme direc­ comparative study of the musical manuscripts tion. It is an open secret that the sacred chant and by an uninterrupted daily application in demands uninterrupted obedience and sel£­ the monastic choir work Dom Mocquereau denial. Humility also must be practised: the and his pupils have developed what is now rich and sonorous voice is thrown together called GREGORIAN MUSICAL RHYTHM. with the less sonorous and the poor voice. In It may be more proper to call these last devel­ the sight of luan this submersion is hard on opments a perfection of method rather than pride and vanity, but in the sight of God it a split in the school. is a glorious and meritorious practice of virtue. The Caecilia 227 COMMUNICATIONS

REMARKS ON DOM GREGORY matic group." (We might ask here of Dam MURRAY'S PAMPHLET: Pothier's system, from which Dam Murray derives this role for the first note, if the neu­ "'Gregorian Rhythm. A Pilgrim's Progress" matic groups thus have their rhythmic factor By ARTHUR ANGIE in their first note, why are they suddenly rhythmically helpless when accompanied by REGORIAN Chant, as we now have words, so that they then need the word-accent it, seems really in a condition requir­ in order to have rhythm?) Often one and the ing assistance, for physicians have to same melody in the same Gregorian piece, re­ be called in continually; or at least, marks Dom Murray, is "sung to words with the latter feel they should give it their atten­ a different accentual scheme." Located dif­ tion. The literature on cha,nt rhythm ha~ ferently the word-accent changes and distorts gradually increased until it now forms a com­ the rhythmic sense of the melody. While Dam plete library. Recently there appeared, from Murray was being "exercised in mind, over Downside Abbey, England, a new physician, these rhythmic problems", he was given Dom Dam Gregory Murray with his well inten­ 1\1ocquereau's book "Le Nombre Musical Gre­ tioned work "Gregorian Rhythm. A Pilgrim's gorien.)) From it he learned, he says, "that Progress)). rhythm is something quite apart from periodic 11 his work contains many interesting and intensity or stress . .. Rhythm is not in many fine points. The Pilgrim depicts in it essence a question of periodic accent, but of how, being originally a follower of the Older periodic cadence... The down-beat (or Solesmes with its word accents as the rhyth­ first beat of a measure) is not by any means mic factor, he approached step by step and necessarily a point of stress." Consequently finally arrived devoutly at the shrine of Neo­ he now "admitted that the position of the Solesmes, where such a role is denied the ·word-accent is not a certain indication of the word accents and where homage is paid rather rhythm of a plainsong melody." to a neutral ictus. Dom Murray explains the steps and argu­ In estimating his entire attitude, one should ments by which these conclusions were reached. not fail to note the standpoint from which :His first step, under Dom Mocquereau's guid­ Dam ~Iurray speaks. He explains, that is, ance, was to study a series of sounds whose that owing to the present deficiency of chant only variation was in duration, length, or books edited differently, he can take into ac­ quantity; for instance, a regular series of count in his pamphlet "only the systems eighths and quarters in alternation. By sing­ which, rightly or wrongly, take as their start­ ing such a series "immediately we have the ing-point the equality of the notes." In fact feeling of an intimate relation between the -be it noted here- the square notation em­ Jhort note and the subsequent long one)), the ployed in chant books does not express even feeling of rhythmical motion, of rhythm. the "equality of the notes"; it simply abstains (The very thesis of the mensuralists! Only, from a definite note-value (cf., "non per se rnensuralists-in conjunction with the medieval ad temporis rationem pertinee', in the GRA­ C~regorian authors and musicians in general DUALE ROMANUM, the section entitled --here always make use of proportional note­ De Notularum Cantus Usu). Reproduced in values, the longer twice the shorter.) Dam modern form therefore, the square notation J\/furray feels the short tone as a point of de­ would be more correctly represented, not by parture, an elan, and the long note as a eighths or by quarters, but by oval note-heads "term)). A term? Certainly, if he begins without stems or pennants, as one at times ac­ iambically, with a shorter tone. But in the tually sees the chant so transcribed from the several thousand verses of Virgil's Aeneid, for square notation. instance, and in the thousands of musical The first chant method taken into consid­ compositions which begin trochaically) with a eration by Dom lVlurray "maintains that the longer tone, this long tone is not a term but a ~Nord-accent is the chief, if not the sole (Dam beginning. It is an absurd makeshift to as­ Pothier said: the sole), constituent of the sume mentally in such cases an unexpressed (C;regorian) rhythm. In elaborate melismatic arsis (up-beat) before all these verses and passages, where the syllables are relatively rnusical theses (down-beats). The idea that few and far betvveen, the function of the word­ every melody necessarily must begin with an accent is supplied by the first note of the neu- expressed or unexpressed up-beat is a con- 228 The Caecilia fusion with the motion of the arm in direct­ as it sounds in the orchestra with strongest ing or in beating time, when, it is true, the accents, when Wotan is singing his final arm does begin with a preparatory up-stroke; strains· at the end of the Walkuere. And will voice, and melody, need none. anyone say perhaps that this rhythm in the Dam Murray concedes that (what all the "Prize Song)) "isolates the groups and digs a verses of our modern languages indutiably trench between them"? prove) stress can produce rhythm, i.e. "duple But was Gregorian chant rhythm essentially and triple groups", that "it renders the rhythm and clearly felt to be based on the word-accent more readily perceptible"; but, with Dam (as Dam Pothier's system had it) or even, Mocquereau, he says that "nothing in the na­ as a general thing, on strong and weak beats? ture of rhythm requires that a special place A close study of the Gregorian melodies and of be reserved for inte.nsity.)) With this assertion the Gregorian authors of the best medieval we cannot .agree. Stress, if employed as a period inclines us toward the negative. The rhythmic factor-and it can and is very often Gregorian musicians indeed never speak of the employed as such-claims naturally the same word-accent as a rhythmic factor of their mel­ place in the rhythm that (with the approval odies; they base their rhythm on quantity) on of Solesmes) the length or the long duration proportional length and brevity of the tones. occupies in it; the function of intensity, like And their melodies, as Dam Murray not un­ that of the long duration, is to put order in the justly emphasizes, offer too many passages in beats) and this order is rhythm. conflict with the word-accent. Dom Murray, Stress is not an essential factor in the sense however, and Solesmes as well, exaggerate the of an absolutely necessary element; I the fact. Though not supreme the ,vord-accent rhythm of the classic Greek and Latin poetry, had more influence than Solesmes concedes. as is known, was based on quantity, not on According to that great modern Gregorianists,. stress; nor is organ music based on stress, Dom Jules Jeannin a.S.B. (cf. L. Bonvin's ar­ stress being foreign to the organ. But em­ ticle in "The Musical Quarterly)) Jan. 1929: ploy stress, if you will, without regard to a The Measure in Gregorian Music), "the regular order and you disturb that order. neume codices allow us to conclude that in Irregularities, however, may be intended Gregorian music the first beat of the measure sometimes so as to create a new, a transitory was comparatively really strong. This quality rhythm; but regularly stress cannot be used of the first beat follows from the fact that with satisfaction in that way. the Latin word-accent (as primary or To Dam Murray's assertion: "Rhythm is secondary accent) selects with preference, not in essence a question of accent (stress) that is, in the majority of cases, the mu­ but of periodic cadence))) I feel it necessary sical thesis, the first beat of the measure. to point out that the opposition implied by Now the Latin word-accent was intensive from Dam Murray between periodic accent and the end of the epoch of the Antonines, hence periodic cadence is non-existent. It is periodic from the very first beginnings of the Gre­ accent itself which constitutes periodic ca­ gorian chant. Even in the editions of Soles­ dence, precisely as this cadence can also be mes one notices that (in the organized mel­ produced by periodic lengthening followed or odies proper) the word-accent, far from coin­ preceded by brevity. Cadence in poetry and ciding only exceptionally with the musical music is nothing else; the rest is mere imag­ thesis, coincides with it at least in two thirds ination. of the cases, and that this obtains although In regard to stress applied in music we the Solesmes system eliminates a great num­ hear from the adherents of a certain school ber of theses and has them appear as arses. so much talk about "meretricious art manifes­ When the manuscripts are correctly inter­ tations hardly to be included in the term preted, the word-accent is found on the arsis music)); and of "con1positions of the most (up-beat), on an average, in only 2 out of 10 trivial character, of the lowest type of inspira­ cases, because the doubtful cases must, in tion"; "dynamic shocks"; "brutal force re­ good logic, be decided in the sense of the ac­ vealing itself only in the most vulgar per­ cent on the thesis; formerly a doubt could be formances." Of course. But, what cannot raised; to-day, as the paleographic preference be abused ? Yet, in our musical repertoire, of the accent for the thesis is scientifically do we not know numerous compositions of proved, no doubt exists anymore." the highest beauty, in which the measure­ "This attitude· of the Gregorian chant in stress makes itself felt (artistically, of course) this regard agrees with that of its prototype, more or less continually? For example, the the oriental liturgical chant, and with that of "Prize Song)) in Wagner's Meistersinger; and the medieval Ars illensurabilis, which evolved the wonderful Siegfried motive, the latter even from it, and with the attitude of our modern The Cae c: if i a 229 music, its last development. In the dynamic FAMOUS HYMNS OF THE marking of the first beat of the measure· on SAINTS BERNARD the part of the Gregorian chant there is, there­ By C. E. MILLER fore, nothing new, nothing extraordinary or improbable." One of the most glorious of all hymns is These the finding of Dom Jeannin. They that of St. Bernard of Clairvaux-who must not be confused with St. Bernard of Mortaix, rightly deserve as great credence as opposed a century later-the ] esu dulcis memoria assertions, and they may be controlled and (Jesus, the very thought of Theef, welcome at verified by examination of the neume manu­ all times, but usually associated with the Sec­ scripts. ond Sunday after Epiphany, and the Feast of the Holy Name. We have dwelled here especially on points on which we disagreed, because these points This good saint was the son of a knight who had a castle in Burgundy, near Dijon, where are important to the question of rhythm. We he was born in 1091. He entered the first of wish to repeat however what we said in be­ the Cistercian monasteries in 1113, and was ginning, that Dam Murray's pamphlet con­ the author of what is known as the "Rosy tains many a fine remark, which, let us add, Sequence." Both of these hymns are to be makes the reading of his publication worth­ found in the English Hymnal, but the Jesu dulcis memoria alone is to be found in Hymns while. A.ncient and Modern. This hymn was an especial favorite of the late Queen Alexandria; and in the early days of 1892, when her eldest son, the late Duke of Clarence, was so seriously ill and lay on \vhat proved to be his deathbed, she often re­ peated parts to him, and it was one of the last things his conscious ears heard.. At that time I-Ier Majesty frequently paid private visits to St. Paul's Cathedral when Holy Communion vvas being celebrated, hidden in an almost in­ visible spot, where the present writer, how­ ever, used to see her. St. Bernard of Mortaix or Cluny was born in France early in the twelfth century, but both his father and mother were English. For him, however, like his precessor of the same name, the world had no attractions, and he CATHOLIC CHURCH MUSIC soon entered the Abbey of Cluny, and re­ nlained there, so far as is known, for his life. With us, Church Music is not merely 1~0 him we owe the glorious H ora novissima, a side issue. IVlusic is our sale specialty split up in various hymnals into separate and our Catholic Department has been hymns. The proper order of these is as fol­ founded for the purpose of giving a lows: (I) The world is very evil; (2) Brief highly specialized service in Catholic life is here our portion; (3) For thee) 0 dear) Church Music. dear country,. and (4) Jerusalem the golden. Our latest complete catalogues wilI be AlII these are compiled from two hundred and forwarded on request and all enquiries eighteen lines of Latin! Objection has been will receive immediate and careful atten­ taken to the meter used not corresponding tion. v;rith that of the Latin, of which I give the first line as an example, "Hora novissima" J. & W. CHESTER, LTD. tenlpora pessima sunt;" but anyone will see 11, Great Marlborough Street, that an attempt to reproduce this meter in English, with accents and all, would practically London, England abolish the use of these beautiful hymns. - Musical Opinion. 230 The Caecilia Music on the Radio It is hard to recall a year, when more per­ Father Finn's Radio Choir was heard formances of Dubois' "Seven Last Words" throughout the country Good Friday Night, were given. Like "The Messiah" at Christ­ as it rendered selections. with the sermon of mas this has become entrenched in the minds Rev. Fulton ]. Sheen, D.D., on the NBC net­ of the public, and associated with Lent. Per­ work. Some selections were rendered as a haps next year the trend will swing back to musical background as Dr. Sheen spoke. the "Stabat Mater" settings by Rossini, Others were rendered alone, effectively punc­ Dvorak, etc. One hardly ever hears the old tuating the sermon. Among the selections rec­ Gounod "De Profundis" now. It was rated ognized were Kyrie (Gounod-Reilly), Ave as good as the Dubois or Dvorak Cantatas, in Maria (Arcadelt), Tenebrae Factae Sunt the old days. Stainer's Crucifixion, was done (Palestrina) Veni ]esu (Cherubini) and at the from Radio City, Good Friday night. end of the hymn "Good Night Sweet ] esus". *** Radio program makers take notice. When asked by a music lover, what a fugue was-to Paul Whiteman the orchestra leader, WITT FESTIVAL IN COLOGNE, the following answer is attributed- GERMANY "A fugue is a composition in polyphonic style, in which the theme keeps coming in, July 22 and 23, 1934 and the audience keeps going out." Observance of the lOOth Anniversary of the birth of The moral of this might well be observed by Dr. F. X. Witt, will be marked in Germany by a two many choirmasters who arrange programs for day program of demonstrations and lectures, by pre­ eminent German church musicians. Concerts and Radio· Programs. At the Cologne Cathedral, on July 22, Raphael's *** l\1ass will be sung, with Witt's Offertory. On July 23rd, Witt's Requiem Mass will be rendered. The theme song of Father Coughlin's Hour, Witt as the Lecturer, Musician and Priest will 'be is an example of how repetition can fix a mel­ descrihed, and all phases of church music during his ody in the minds of the average audience. time, down to the present time will be discussed, in People ask for the hymn "Come Home", others general conferences. The German President of this Festival is the well ask for "Softly and Tenderly", others recall known church musician J. Molders. the words "Calling for You and for Me". This opens the old question among song writers, as to which is the more important, the CONGREGATIONAL RENDITION OF· words· or the melody. Some refer to the many CHANT IN DETROIT AND "Songs Without Words", and others describe SINSINNAWA, WISC. the beautiful poems known musically now, Gregorian Heard Regularly at St. Bernard's which ,vere just. as famous but not as well Parish, D·etroit, and Santa Clara Academy, known before being set to music. Sinsinawa, Wisc. Recent issues of the magazine "Orate Fratres" have *** contained communications, pointing out that gregorian Edward ~1acHugh wfhe Gospel Singer" now can be rendered congregationally. heard on the NBC chain, twice weekly at At St. Bernard's Church, Detroit, the children of the parish sing the "Missa de Angelis" every Sunday and 10 A. M., has been singing Parke Hogan's Holyday, and gregorian Requiem on week days when song "Thy Will Be Done". This was first in­ scheduled, according to one writer. troduced on the air by ] oseph Ecker of Bos­ Another calls attention to the fact· that "a 'Missa ton, when it was sung on the program with Cantata' in Gregorian music is sung every Sunday and the Catholic Truth Hour. on the principal feast days, by the entire·congregation" at Saint Clara Academy, Sinsinnawa, Wisconsin. *** It was interesting to hear a violinist's con­ CONCERT IN AUSTIN, MINN. ception of appropriate Sacred Music, for ren­ New Ave Maria Solo by Margeret Zender dition during Holy Week from one of the big New York Radio Stations. He used Panis Beaulieu Heard Angelicus (Franck); Ave Maria (Gounod); At St. Augustine's Auditorium, on March 11, an in­ strumental group gave a concert, during which was Largo (Handel); 0 Lord I Am Not Worthy featured the rendition of Beaulieu's Ave Maria, for (Traditional). While Holy Week Music is not high voice, accompanied by Harp, Violin and Piano. readily suitable for violin instrument, this in­ Marjorie Phillipss Melone, Harpist; Charlotte Sten­ dicates what an orchestral musician has found seth, Violinist; and :Mary Tichy Cronan, Pianist, took part in the concert. as the best sacred music. Note the absence of Two secular songs, by Mrs. Beaulieu, (Contralto) any modern compositions. were sung by the composer, as a feature of the program. The Caee,ilia 231 PROGRAMS Good Friday Palm Sunday THREE HO;URS SERVICES WINTHROP, MASS. BOSTON, MASS. Palm Sunday Concert J. Herbert Sheehan, Organist and Choirmaster St.. Gabriel's Monastery Church Organ Prelude: Father Justin, Jr. C.P., Choirmaster Ave Crux Benedicta Kreckel Meditation on "Stabat Mater" Guilmant Ave Maria Witt Processional: Parce Domine Gregorian Holy Art Thou Handel Requiem Aeternam Verdi Christ's Sacrifice Ancient Irish Melody Three Excerpts from Lamentation Gregorian "The Seven Last Words of Christ" by Dubois Stabat :Mater Nanini-Tartini Ave Maria Bach-Gounod Improperia Gregorian Cantate Dominum Wm. J. Marsh (First performance in New England) Litany of the Passion Gregorian The Palms Faure :Miserere Allegri-Manzetti Crux Fidelis Gregorian WEST ROXBURY, MASS. Christus Factus Est Martini-l\fanzetti Holy Name Church Adoramus Te Rosseli-Rossini Palm Sunday Concert Frank J. Mahler, Musical Director George Rogers, Organist COLLEGEVILLE, INDIANA Mrs. Chas. Lally, Assistant Organist Cantata: St. Joseph's College Seven Last Words Dubois Rev. Joseph A. Hiller, C.PP.S., Choirmaster Paul C. Tonner, Organist GREEN BAY, WIS. St. Mary of the Angels Church Improperium Witt Franciscan Theological Seminary Choir Eram Quasi Agnus Palestrina Fr. Angelus, O.F.M., Choirmaster Tibi Soli Paccavi Lasso DOMINICA IN PALMIS Miserere di Lasso "Hosanna Filio David" G. Fiorentini JesuChriste Chorale "In~v1onte Oliveti" G. Fiorentini Popule Meus Vittoria "Sanctus et Benedictus" G. Fiorentini Ecce Quomodo Handel "Pueri Hebraeorum, I et II" G. Fiorentini Vos Omnes o Witt "Occllrrunt Turbae" Gregorian Chant Omnes Amici Palestrina "Cum Angelis" Gregorian Chant Christus Facts Est Witt "Gloria Laus" Gregorian Chant Stabat Mater Henkel "Ingrediente" Gregorian Chant Tenebrae Factae Sunt Haydn AD MISSAM Crux Fidelis Erleman Proprium l\!Iissae Gregorian Chant "Kyrie" ex l\fissa "Dilectus meus mihi" Pietro Yon "Credo" No. 1 Gregorian Chant MILWAUKEE, WISCONSIN Offertory insert: "Tribulationes" Shweitzer St. Joseph's Convent "Sanctus" ex Missa "Regina Pacis" Pietro Yon "Benededictus et Agnus Dei" No. 12 Gregorian Chant Compositions by Sister M. Cherubim, O.S.F. Improperium SACRED CONCERT By the Blood That Flowed (March 11, 1934) o Come and Mourn o Bone Jesu MADISON, WISCONSIN Tribulationes Cordis Mei St. James Church Choir Sancta Mater Marie A. Endres, Director De Profundis Olive Endres, Organist Pie Pelicane Prelude (Organ) Couturier My Jesus Say What Wretch Missa in honorem B. M. V. de Loretto. V. Goller From the Depths Chorus, Organ and Orchestra Silentio et Devotione o Divine Redeemer Gounod See the Sun His Light Withdrawing Pie Jesu Scharbach Also Veni Creator (Men's Chorus) Eder Overwhelmed in Depths of Sorrow J. Singenberger Ave ~![aria Greith Pie Jesu Griesbacher God So Loved the World (Women's Chorus) Stainer Popule Meus Palestrina o Gloriosa Virginurn Deschermeier Jesus As Though Thyself Wert Here J. Singenberger Salve Regina Arens o Crux Ave Franz Koenen Emmite Spiriturn Schuetky 232 The Caecilia

Philip N. Ferraro, Guest Organist at NEW YORK CITY St. Polycarp's Church, Somerville, Mass. St. Peter's Church (Barclay Street) Recital on Palm Sunday, Demonstrates Robert Wilkes, Organist and Choirmaster Vidi Aquam Stewart New Kimball Organ. Proper of the Mass Gregorian Rev. J. Walter Lambert, Pastor Mass of St. Paul R. Wilkes Organ: (Prof. Ferraro) Terra Tremuit Meurers Toccata and Fugue Bach Adagio Bach CAMBRIDGE, MASS. Concert Piece Parker Largo Handel St. Paul's Church Selections by Choir: Easter Program Ave Verum Gounod Joseph Ecker, Choirmaster The Divine Praises Dethier Ruth Driscoll, Organist Solos: Ordinary of the Mass: o Salutaris Bailey Messe Solennelle Joseph Noyon The Voice in the Wilderness Scott Proper of the :Mass: A. E. Tozer o Divine Redeemer Gounod Terra Tremuit Greith-Marsh The Palms Faure COLLEGEVILLE, INDIANA New Organ At St. Brendan,s Church St. Joseph's College Dorchester, Mass. Rev. Joseph A. Hiller, C.PP.S., Choirmaster John J. McCarthy, Organist and Choirmaster Paul C. Tonner, Organist Assisted by Chapel Choir of Harvard University Organ: March 25, 1934 Prelude: Allegro con brio, Sonata IV Mendelssohn Organ: Postlude: AlIa Fantasia Nevin Andante Cantabile Franck Ordinary of Mass Joseph Schildknecht Finale-2nd Symphony Widor Offertory: Terra Tremuit Neckes Arioso Bach Gradual: Haec Dies Haller Largo Handel Recessional: Rejoice Maria Henkel Harvard Choir: Jesu Joy of Men's Desiring Bach Miserere Allegri BOSTON, MASS. Cantate Domino Hassler Immaculate Conception Church Salvation Belongeth to Our God Tschesnokov James Ecker, Organist and Choirmaster Mixed Chorus: Rev. Edw. S. Swift, S.J., Music Director Now Let Every Tongue Adore Bach Christus Resurrexit (Organ) Ravanello Ave Maria Arcadelt Missa Mater Admirabilis Griesbacher Kyrie (Mass in A) Franck Proper of Mass: Lord's Prayer Gretchaninof Introit and Communion Gregorian Jubilate Deo Mozart Gradual Rees Adoramus Te Palestrina Offertory Cherubini Panis Angelicus Franck Recessional: Terra Tremuit Wiegand De Profundis Gluck Let Their Celestial Concerts Handel GREEN BAY, WISe. EASTER PROGRAMS St. Francis Xavier Cathedral Fr. Angelus O.F.M., Choirmaster CINCINNATI, OHIO Franciscan Seminary Choir St. Francis de Sales IN COENA DOMINI Ad Missam: Pontifical High Mass - Easter Program Proprium Missae Gregorian Chant Compositions by Dr. Martin G. Dumler, M.M. Ordinarium Missae: "De Angelis" Gregorian Chant Easter Prelude (Alleluia Chorus) Dumler Credo No. III Gregorian Chant (Strings and organ) Offertory insert: "Panis Angelicus" Palestrina Missa Dei Amoris Dumler Ad consecrationem sancti Chrismatis Gregorian Chant Terra Trem~it Dumler Ad processiones Gregorian Chant Choir assisted by the principal strings of the Cin­ TENEBRAE cinnati Symphony Orchestra. Emil Heerman, Concert­ (7:30 P.M.) master. Olive Terry, Organ. Eugene Perazzo, Con­ Ad Matutinum: ductor. Antiph. et Psalmi trium nocturnorum Recitativo Dr. Dumler, conducted the Prelude. Lamentatio I J. Cornell Responsorium "Omnes Amici" G. Fiorentini CAMBRIDGEPORT, MASS. Lamentatio II Gregorian Chant Responsorium "Vellum Templi" Recitativo St. Mary's Church Lamentatio III J. G. Stehle Rev. E. Joseph Burke, Musical Director Responsorium "Vinea l\1ea" Fiorentini J. Francis Stevens, Organist Ad Laudes: Processional Spence Antiphonae et Psalmi Recitativo Vidi Aquam Yon Benedictus (fal.-bordoni) Neubeaur rMass in A Rheinberger Cathedral Male Choir and Friars Proper of Mass Laboute "Christus Factus Est" Witt Recessional Spence Cathedral Male Choir The Caec ilia 233

YOAKUM, TEXAS PLAINSONG Easter Program at St. Joseph's Church Textbooks, Vocal Works and Rev. F. O. Beck, Director Miss Mildred Hough, Organist Accompaniments High Mass

Music Fourth Year, Gregorian Chant by Justine Proper of the :Mass Gregorian and Tozer B. Ward-contains a series of graded exercises Ordinary of the Mass: in rhythm and notation, which will prepare "Missa Tertia" Haller the children to sing easily and intelligently Regina Coeli (SSAA) Witt from the official books of the church. Cloth, Benediction 262 pages, beautifully illustrated $1.25 Panis Angelicus Cesar Franck Tantum Ergo J. B. Jung Kyriale Sen Ordinarium (Solesmes Edition). Easter Hymn P. E. Kountz Music 4th Year 2. Cloth, 146 pages.... $.45 Ordinarium Missae et Missa Pro Defunctis (in numbers) $ .25 SHREVEPORT, LA. Easter Program at (No. 724) Textbook of Gregorian Chant, by Dom Gregory Sunol, O.S.B. Translated from the St. John Berchmans' College Sixth French Edition by G. M. Durnford, cloth Paul Gallus S.]., Director 0/ Music binding $1.25 :Mary J. Glorioso, Organist Hymnal Vol. I, new edition, with rhythmical High Mass signs, cloth, 154 pages $ .48 Vidi Aquam Montani Hymnal Accompaniments, new edition, 87 pages, Proper of the Mass Laboure size 9:tA x 12%, large size music notes. Ordinary of the Mass Carnevali Paper binding $1.50 Cloth binding 2.00 Regina Coeli Amorros, T.O.R. Forty Hours Devotion-Gregorian Chants of the Benediction entire Liturgical service of the 40 Hours Panis Angelicus Lambillotte Devotion. Tantum Ergo Verdussen Vocal Score $ .25 Divine Praises J. Lewis Browne Organ Accompaniment 1.00 Adoremus J\fontani (No. 711) The Sunday Mass set to simple Gre- gorian Formulae, by Justine Ward $ .50 (No. 640) Plainsong for Schools, 89 pages, paper binding $ .25 Let's Sing (No. 702) English Translation, Le Nombre Mu- sicale, Vol. I, Part I $1.25 The Art of Gregorian Music by the late Dom Andre Mocquereau, O.S.B. OUR HIGH MASS Paper binding $ .10 by Motu Proprio of Pope Pius X. All papal docu­ Arranged Rev. M. B. Hellriegel ments on liturgical music are listed, paper binding $ .15 Now tOe (No. 780) Liber Usualis, black cloth binding, 1603 pages $2.25* '(No. 925) Accompagnement du Kyriale Vatican par Ie R. P. Dom Jean Hebert Desrocquettes et Henri Potiron, cloth binding $1.75 (No. 647) Accompaniment to the Kyriale by Generally accepted by leading Catholic Julius Bas, cloth binding $2.00 institutions to further congregational (No. 678) L'Accompagnement des Psaumes par Ie R. P. Don Jean Hebert Desrocquettes $ .60 participation in the mass. (No. 926) Accompagnement de la messe des morts et des Chants pour les Funerailles, by Dom Desrocquettes et Henri Potiron, paper binding $ .50 Organ Score 15c

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ORATE FRATRES A Review Devoted to the Liturgical Apostolate ITS first purpose is to foster an intelligent and whole-hearted participation in the liturgical life of the Church, which Pius X has called "the primary and indispensable source of the true Christian spirit." Secondarily it also considers the liturgy in its literary, artistic, musical, social, educational and historical aspects. From a Letter Signed By His Eminence Cardinal Gasparri "The Holy Father is greatly pleased that St. John's Abbey is continuing the glorious tradition, and that there is emanating from this abbey an inspiration that tends to elevate the piety of the faithful by leading them back to the pure fountain of the sacred liturgy." Published every four weeks, beginning with Advent, twelve issues the year. Farty-eight pages. Two dollars the year in the United States. Write for sample copy and descriptive leaflet. THE LITURGICAL PRESS Collegeville Minnesota

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A Magazine for Music Educators Founded in 1900 by Philip C. Hayden Supervisors for 33 years have used the material in SCHOOL MUSIC to supplement daily class work. Superintendents enjoy SCHOOL M"USIC as a contact \vith the field vvhich requires no extra duties. Libraries-school and public-subscribe because SCHOOL MUSIC is not too technical to be most interesting and valuable to general readers. In General people everywhere consider a subscription to SCHOOL MUSIC an excellent gift, especially for graduating students. $1.00 for one year. Subscribe NOW Sample Copy on request. Address comnlunications to Managing Editor Dept. C 24 E. Jackson Blvd. Chicago, Ill. The Caecilia 235

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