r~~~~~~~~~~ t ~ .t ~ t t t THE t CAECILIA t t t t Magazine Devoted to t CATHOLIC CHURCH and t SCHOOL MUSIC t t - ~~-.,-,~"".-..---~ ~ t II Founded A. D. 1874 by John Singenberger 334 THE CAECILIA

CONTENTS

September, 1934

THE PROPRIUM MISSAE Edward A. Maginty 337

\VOMEN IN CHURCH CHOIRS Ludwig Bonvin S. J. 339 J. B. SCHMIEDELER, NOTED DIRECTOR OF CHURCH CHOIR, DIES 342 CONVERT MUSICIAN , 342 NEW MASS SUNG FOR SILVER JUBILEE OF MOST REV. JAMES A. GRIFFII\J D.O.' 342

THE LATIN LANGUAGE Rev. C. A. Sanderbeck 343

1~HE STORY OF ANTHONY JA~WELAK, YOUNG BLIND GENIUS 344 PITTSBURGH ORGANIST APPOINTED AT NEW YORK CITY CHURCH 346 , BRIEF BIOGRAPHIES OF WELL KNOWN COMPOSERS (Benjamin Hamma) 347 PROMINENT ENGLISH CHOIRMASTER COMPLETES SIXTY YEARS OF MUSIC ACtIVITY (F. J. Stone) 347 TWO ARTICLES ON GREGORIAN CHANT Arthur Angie 348 OUR MUSIC THIS MONTH 350

MUSIC APPRECIATION Sister Mary Cherubim O.S.F. 371 GREGORIAN CHAN'r ACCOMPANIMENT Leo P. Manzetti 375 QUESTION AND ANS\VER BOX Dom Gregory Hugle O.S.B. 379

COMMUNICATIONS 382 Editor. OTTO A. SINGENBERGER Associate Editor, WILLIAM ARTHUR· REILLY Coni7"ibutors: Ludwig Bonvin S.J., Buffalo, N. Y.: Gregory Hugle, 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, Wisc.; M. Mauro-Cottone, Mus. Doc., New York, N. Y.: Richard Keys Biggs, Hollywood, Cal.: Martin G. Dumler M.M., Cincinnati, Ohio; Joseph J. McGrath, Syracuse, N. Y., etc.

Vol. 60 SEPTEMBER 1934 No.9

AnnouncingI• A New Department

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Siace 1904 A National Supply House for Catholic Church and School Music 336 THE CAECILIA Most Popular Catholic Church Music of 1934 (January-June) A PUBLISHERS SURVEY BASED ON ACTUAL SALES RECORDS 707 Proper of the Mass 706 Missa Dei Amoris (STB) V~ Rev. Theo Laboure $1.00 Martin G. Dumler .80 ANew enlarged edition of this will One of the best examples of modern he issued in a few months at $1.25. music as, composed for present day Save money and order present edi- liturgical services. The absence of tion now. an alto part, makes rehearsals easy. 620 McGrath "Missa Pontificalis" .80 Separate Soprano parts 25 cents. Considered the best modern piece of polyphonic writing for the Mass, 704 Processional Hymns (on Card) by an American composer. Richard Keys Biggs .12 445 Singenberger, 'fFour hymns with English words, for Mass of the Holy Family .60 boy choirs. Meeting a demand hitherto unanswered. Another popular mass added to the Series of Easy Masses by the im­ 697 Miserere (TTB) mortal American Church musician Allegri-Manzetti .20 JohnSingenberger. For S.A.T.B. Msgr. Manzetti stands as an author­ New voice part edition, just en· ity on church music, and his three engraved. part arrangements for men's voices 741 Schweitzer, Mass in C .50 find great favor wherever liturgical An easy mass for 4 part singing by music is performed. men's chorus or quartet. (T.T.B.B.) The composer is a foremost expo- 683 Ave Maria (TTB) nent of the popular in the Caecilian M. Mauro-Cottone .15 school. A sin:Qle composition melodically, 718 Praise Ye the Lord (SATB) yet structurally representative of the 'Richard Keys Biggs .15 composer's great skill as a composer A splendid chorus for choirs with of church music. boy voices. Recommended by Father 693 Anima Christi (SSA) Finn in his summer courses at N. Y. City, and Los Angeles, California. P. Griesbacher .15 Father Griesbacher was one of the 751 Laudate Dominum (SATB) most popular composers in Europe. Rev. F. T. Walter .15 His works are always richly har­ A jubilant chorus, by the Director monic and appealing in their mu­ of music at St. Francis Seminary, sical form. Wise. 669 Missa Exultet (SATB) 736 o Bone Jesu (SATB) F. X. Witt .80 Rene L. Becker .15 A fine festival mass by the eminent Originally designed for Lent, it has founder of the Caecilia Society in found favor for use the year 'round. Germany. Special Iceremonies ob­ serve the IOOth Anniversary 01 his PROPERS ARRANGED FOR PART death, in Cologne. SINGING-MODERN MUSIC 660 .Emmitte Spiritum-Schuetky .12 93 Christmas Third Mass .20 Two arrangements, one for S.S.A. 94 Feast of All Saints .20 T.T.B.B. (easy) and one for 463 Feast of Christ the King' ·35 T.T.B.B. Universally a favorite 575 Feast of Sacred Heart .25 festival number. (Specify old or new feast) 627 Anima Christi 589 Feast of Immaculate Conception .25 Bishop Schrembs .12 Arranged for S.A.T.la. and T.T.B.B., (Missa Votiva de SS Sacramento1 its use has spread far beyond the 584 i (Forty Hours) with the ~ .75 diocese over which the famous LMissa Votiva Pro Pace J Musician-Priest presides. 730 Cantate Domino (SATB) 642 Rosa Mystica Collection Wm. J. Marsh .20 Rev. J. J. Pierron Ideal for festival occasions, musical, Popular collection of hymns to the yet churchly, by a composer whose Blessed Virgin Mary (for S.A.T.B.). works are recommended for average parish choirs. 17 Popular Hymns .15 Octavo collection of favorites such 713 Missa "Defensor Noster" as "0 Lord I Am Not Worthy"; (SATB) Rev. L. Bonvin S,.J. .60 "Jesus My Lord, My God, My All"; An entire edition was sold within a "Jesus, Jesus Come To Me", etc. month of its first printing. For unison, 2, 3 or 4 voices. THE CAECILIA 337 THE PROPRIUMMISSAE Edw. A. Maginty (London, Eng.)

T is scarcely necessary to remind This, however, though a ground for rejoic""' readers of "Caecilia" that the litur~ ing, is only a negative achievement. More gical tangle they have set them~ than one positive injunction was prescribed selves to straighten out is one of the by the Pian decree. Because these in the main evil effects of the Renaissance "which the have been neglected we are not much farther Council of Trent, preoccupied by the more forward than we were before; in point of fast serious issues of the Reformation, was un~ there is evidence of decline.. In England, for able entirely to rectify. Numerous authors example, in spite of the predominance of the have shown how kings and princes, lethargy woman chorister, and annually condemned or traculence their guide first broke away for the 150th time by the Motu Proprio, there from the Roman Road, drawing after them is even less of real music in the morning the more notable churches, the smaller office, the number of .Vesper or Compline parishes impelled by political pressure, pov,. missions, reduced to 170 by 1926, has de~ erty, inadvertence or bad example, gradually creased, and congregational singing at the following in their wake till, by the end of minor services, never remarkable in early the 18th century, the whole of Europe, ex~ days, appears to have lost in vigour. There cept in what might be called the Gregorian are items on the other side of the ledger and Diaspora, came.toflounder about in a kind of the balance is in our favour but it does not ritual morass. When, at the dawn of reach anything like.the figure expected as Emancipation, the remnant of· the Church, the result' of thirty years of labor. The in England launched out again into sacred failure is largely due to the exclusive prose-­ song t urged on by the Emigres from across cution of subordinate objectives (e.g. the the Channel, they found it the easiest course, study of the Chant which is first of all a whether or no they knew any better than, means to an end) while the primary intent togo with the Continental crowd. What is lost sight of or misunderstood. Until the was good enough for the Mother. Country two secondary but essential requirements of was good enough for the rest· of Saxondom the code are determinedly pursued we can ---the British Dominions and the States. It make no genuine progress. These are the was universally recognized in 1900 that as restoration of the Kyriale (mass: Kyrie the natural consequence of .:?OO years of Gloria etc.) to the congregation and the re-­ laissez,.faire the music of the Church had sumption of the Proper by the Choir. How fallen into an apparently hopeless muddle. much lee'way still remains to be made up may Then spoke Pope Pius X. The im'" be guessed from the score alleged to have mediate object of the encyclical of 1903 was been registered in England (whose foremost to banish the spirit of secularity which for liturgists are wont to claim that the liturgical over a century had reeked in Catholic Chor", level there attained in as far above that of alism almost everywhere. That a world other English--speak'ing countries as the Con~ wide pari fricton could not be effected all tinental is above their own) where, apart at once no one knew better than the saintly from the Cathedrals, ReligiOUS Houses and Pontiff. It wants more than a gesture to Residential Schools, no more than 100 of the clear away the slums when the rookery~ 2200 congregations sing their own mass or squatters are themselves the most strenuous 300 Choirs perform the Proprial duty for opponents of reform. But now that a gen-­ which alone canonically they exist. The col-­ eration has passed away it may fairly be lective mass I do not propose to touch upon said that the principal aim of the edict has but a few thoughts upon the mystery of the been crowned with success. It is true that Proper might conceivably be welcome. Catholics who go to Mass on important That a charge imposed upon all Choirs private business are, from t~me to time, in "with all the force of a juridical codett should one country more than another, constraiJ:'l;ed be systematically shirked gives rise to the in-­ to hear with gobbets of KaIIiwoda, Schmidt, ference that Choir~folk in general are very Van Bree, Mozart and Haydn, but, taken in wicked people who ought to mend their the bu.1k, the music that accompanies the ways; but it is to be remembered that for 200 Mass (and it is the Mass that matters) can~ years before the opening of the present cen... not now be called theatrical. tury the Proprium Missae outside the non- 338 THE CAECILIA parochial centres above referred to, had been Desrocquettes. I say nothing of the organ dead, buried and forgotten. Yet there were style nor .of the exiguity of the literation choristers in 1903, devout and wen--disposed, (Que voulez vous? it runs to 57 pages al-­ quite ready to carry out the .regulation if ready for a single dollar); the point to be humanly possible and if someone would emphasized is that all Choirs that have risen kindly tell them what it was all about. The by the archaic have now at length a Vade parochus was the sole interpreter available; mecum all the way along the stony path that but the only Proprial medium the clergy had leads to the full Gregorian system. any cognizance of was the Ratisbonne Chant Such Choirs live and move, however, only then slowly yielding to the Vatican. Alive on the upper slopes of the liturgical pyra-­ to the humour of any attempt to graft a Latin mid; those that have their being round the . literature and a Japanese mode of psalmody base are far more numerous. I. was wonder-­ upon his little Choir the priest quietly -and ing whether some wide--awake enthu-­ sensibly let the matter drop. A few years siast was going to forestall me by issuing elapsed and the Hierarchy announced that either an unnoted manual or at least a work the Vatican was not the only vehicle; in fact, of more elementary kind than Fr. Rossini's to for the sake of the long--suffering worshipper meet the needs of lower ranks who execrate 9.ownstairs, the Gregorian. were better the Chant as "difficult without being pretty", avoided; the Psalmtone or monotone would when I received from the McLaughlin and serve the purpose. ' Even then the Choirs Reilly Company "The Proper of the Mass" were no nearer the goal; for those that knew by Fr. Theo. Laboure. In this I recognised not "Tozer" had no books. I myse1£ was 30, at once that all but the lowest choral stratum thirty years ago, before I owned a pocket had been catered for (mysteriously enough missal and that was all in5--point roman according to its Imprimatur) as long ago as Latin. About 1920 a five--shilling specimen 1922. Simplicity and good practical sense was offered to the public and in 1928 a shill-­ are its most striking features. Recitation is ing edition appeared with the four Proprial prominent though the shortest antiphons antiphons in Latin. Because the average have three monotone pitches. Each reciting chorister reads with difficulty any Latin out-­ note is rounded off by a short melodic figure side the Ordinary, cantors competent to re-­ in inspiration neither Gregorian or modern cite melodically from a page of microscopi-­ but prayerful as the one and pleasing as the cal type are few; yet the pocket missal is res-­ other. The reader is assisted by varied ac-­ ponsible for the sudden rise of the 30 or so cent and punctuation marks. As the whole Gregorian or "Tozer" Proper Choirs to the of the text, except the Gradual portion, is present number somewhere about 300. melodised-every syllable under its own note The keener liturgists are unanimous upon -this compendium may be said to be fool-- the need of a handbook specially compiled; proof on the cantbval side. The accompani,., not' of necessity noted but presenting the ment is not beyond the reach of the child Sunday antiphons in type sufficiently large, pianist. Though not so full one might wish vertically scored and conspicuously pointed it has little of the gently zephyr style; it is to facilitate rendering in any of the four sim-­ strong enough to afford that minimum of pIe media viz., monotone, tonus in directumt support without which every se1£--denying Psalm--tone and the "Anglican Chant". As Choir goes out on strike. I earnestly hope yet no manual of this kind has come upon the that all who are striving for the liturgical market. The nearest approach is an· ar-­ kingdom will do their utmost to expand the rangement in very generous typography by circulation of'this manual. The artist will no Justine Ward, adapted to Psalm--toneand doubt describe it as pedestrian or common quasi--Gregorian formulas but 'without an 01'-­ place but these are just the epithets he gan part. It embraces only two thirds of flings at the "non--conformist" Choir. At the year and until it is completed there is any rate it fills a gap. Time enough for little to be gained by recommending it. In studied elegance in, say, 1994. September 1933 Fr. Carlo Rossini's valuable. I am not, however, quite so simple as to enchiridion saw the light. The letter--press is think that Choirs in general, though sup-­ scored under Vesper Tones; solemn for the plied with all the wherewithal, are straight-­ Introit, common for the rest. The Alleluias way going to buckle to; as though the '. are carried upon simplified jubili extended in habitat of all were Baltimore. I have long an appendix to their official length. The 01'-­ been famHiar with the gregorian (keen-­ ,gan provision is in the latest modal and skele-­ eyed) reputation of Baltimore. In his His" ton fashion associated with the name of Dom toire generale Felix Clement spoke of it with THE CAECILIA 339 pride in 1861. But I was astonished to.read and gloom. The verdict of the priest who in the March number of "Caecilia" that as hears it is "Weber in G may be wrong. I many as 95 % of its Choirs have already am no musician; I defer: but that I know for learned to .' se meIer de ses propriales af"" certain is not Catholic." He is perfectly right faires." So great a triumph is inconceivable for the exclusive Chant mass, except as a without. so to speak. the man behind the means to a collective end, has no justification gun. Of their own accord Choirs are not as whatever. Similarly with respect to the Pro-­ a rule disposed to budge an inch from the prium. "From all accounts" h~ remarks, accepted way. The pastor must take the -in"" "the ideal seems to be the Chant mass and itiative.The impression I have gained from the Chan,t Proper. Between the two, music of a fairest acquaintance with the sacerdotal every kind is outlawed from the Church al... Order is that the clergy are no wise inferior together, and that, is not Catholic". He is not in zeal to the priesthood of the past nor in far wrong. The Church has never rejected horse""sense to the laity of the present.. Yet music; melody above the common grasp or they often appear to be over""slow to move harmony the most splendid genius has in liturgical matters. The explanation is in created. For such music She provides un.­ part that experience has taught them to look stinted scope and opportunity; not in the askance at the measures proposed by intem.­ Common but in the Proper. The want of perate reformers. For example: a neighbour... space, however, obliges me to hold over to a ing Choir discards th harmonic for the future number the discussion of this import... Gregorian mass. The result is wretchedness ant phase of the liturgical problem.

Women In' Church Choirs By Ludwig Bonvin S. 'J.

T is reported that at the May Conven... liturgical choir will be made clear by the fol"" tion of the St. Gregory Society, the lowing considerations and definitions. old debate concerning female parti... The history of liturgy teaches us that the cipation in church choirs was re... official church... choir originally consisted of newed. The documents and elucidations clerics. These clerics, stationed in the sane... which past years have offered seem to have tuary (choir) near the altar, not only been forgotten. The present article contents chanted, but also took part in various cere... itself with an extract of these documents and monies and functions. There existed, and, explanations. in many countries, there exist even today so"" The Motu Proprio of November 22,1903, called chapters, which are attached to cath"" was published by Pope Pius X as "a juridi... edrals and collegiate churches, and whose cal code of sacred music". What does it de... duty it is to promote the divine service by cide in our question? Does it forbid women personally rendering the liturgical chants in to sing in the church choir? The answer the choir. (Wernz, Jus decret II, pp. 922 is: Yes and No•..Y es, if there is is question and 949). In the mind of the church (ex-­ of the proper liturgical or canonical choir; no, mente Ecclesiae) the singers who perform if there is question of a choir which is not strictly liturgical functions must be clerics­ the official liturgical choir. To this non""li ... at least, in prominent churches. Should it turgical choir the Motu Proprio does not re"" be impossible to follow this regulation. con"" fer where it makes its prohibition. On the veniently (commode), it is allowed to take other hand, various decrees of the Congre... in laics, men and boys, (Wernz, Jus decret... gation of Rites, allowing and regulating fe ... II, p 484). Such laymen forming the H mu.­ male cooperation, refer to such a choir. sic choir" are stationed in the sanctuary, and The whole question then reduces itself to take there an active part in the ceremonies. this other one: What is meant by the liturgi-­ "The members of the Music Choir says Ben.­ cal choir? edict XIV, OMlist observe entirely the rules First, it must be premised that a choir does laid down for the priest choir (with which not become a strictly liturgical choir by the they are associated) and adapt themselves to mere fact that it sings liturgical texts in the that body". church. What is required for constituting a Whenever the choir or the singers are 340 THE CAECILIA named in ecclesiastical regulations and ru... countries declared only the male sex as en... brics this liturgical choir stationed in the titled to vote, even though the women there sanctuary, is understood unless the contrary had not yet endeavored to secure this right is expressly stated or is clear from the can... for themselves. Furthermore, it is a mistake text. Now the Motu Proprio nowhere (in to suppose that a choir with female voices Nos. 12 and 13) says that it refers to any stationed in the sanctuary is a merely thea... other than this choir. On the contrary, the retical possibilty, and was never in existence expressions "choir of the levites (clerics)," anywhere. We read, for instance, that in whose office also associated laysingers really the kingdom of the Franks nuns of the eighth perform", and the fact (in No. 14) that it century made free to sing in their monast... desires clerical vestments for the latter, dis... eries on the ambo placed in the sanctuary. tinctly point to the strictly liturgical choir. Pope Zachary took severe measures against These details show that the choir which it this intrusion. -In modern times we need but has in view is identical with the officiallitur... read the decree De Truxillo of September gical choir described above. 17, 1897. The question submitted in this This view is also borne out by Msgr. was: "Whether the custom introduced into Mancini, President of the Liturgical Com... a church, even a cathedral church, that wo... mission attached to the Congregation of men and girls, within or without the sanctu..­ Rites. In his official capacity he worked out ary, sing in solemn Masses might be re... some Animadversiones, which served as a tained?" basis for the answer given by this Congrega... The Motu Proprio decides our question. tion in a decree concerning the singing of However there exist also some decrees of the women ("quaeque responsiones ejusdem Congregation of Rites, published partly be... S. C. determinarunt". See Ephem. Liturg. fore, partly after, the Motu Proprio, which 1908, no 3). In this document (No. 12) he deal with the singing of women. defines the strictly liturgical choir indirectly 'De Truxillo --- (Deer. Auth. 3964) ---We as follows: "The office of singers is liturgi~ have just seen that here the question sub... cal (in the sense of the Motu Proprio), in mitted to the Congregation of Rites referred as far as it is exercised by levites (clerics) to female singing also within the sanctuary. in the choir, i. e., in the more sacred part The decree answered in the negative. (sanctuary) of the church". We may say: Another decree, Angelipolitana (No. by levites and the laics, men and boys, who, 4210) is dated 17, Jan. 1908; it was there... according to old usage, are associated with fore published after the Motu Proprio. The them. following question was asked: "Will it be This, then, is the choir from which the lawful to permit girls and women, in pews Motu Proprio excludes the women. "W0'" set apart for them and separated from the men," says Mancini (No. 12) "may neither men, to sing the unvarying parts of the be in the sanctuary nor be associated with Mass; or .at least, outside of the strictly litur... the levites. Hence the Motu Proprio says gical functions, to sing hymns or sacred that "women, being incapable of exercising songs in the vernacular?" To this the S. a liturgical office cannot be admitted to form Congregation of R}tes' Hhaving sought the the choir or to take part in it as members of opinion both of the Liturgical Commission the music choir (cappella musicale)". "On and of the Commission of Music and Sacred the other hand", continues the President of Chant'" answered: HIn the affirmative to both the Liturgical CO'mmission, "provided the questions." women take their place outside the choir--­ The third decree pertaining to our subject and by 4 choir' the whole space of the sanc... is dated Dec. 18, 1908. The query reads. tuary is here meant, provided they are as "Almost everywhere in the United States of far as' possible apart from the men, neither North America, the word choir designates the Motu Proprio nor any other law prohi... only a certain small body of singers of both bits their singing." (Animadv. no. 13) sexes, selected for the purpose of render... Let us here consider the objection: Who ing the liturgical texts at Solemn Masses. ever stationed the women in the sanctuary? This Choir, or collection of inen and women Why, then this explicit prohibition in the (or girls), is placed outside the sanctuary, Motu Proprio? In answer it may first be and usually as far as possible from the altar, remarked that the Motu Proprio is a code of in a location destined for its sale use. No law for Church Music. Now, codes of law other choir is used for singing the liturgical may set down principles, which nobody has texts. It is therefore asked: Whether, in yet violated. Thus the civil codes of many view of the decision concerning the singing THE CAECILIA 341 of women in church (Angelipolitana, 17 and constitute the music choir. One may January, 1908) in which a concession was . therefore suppose, and rightly so, young made that 'amongst the faithful, men and people of both sexes who are together, even boys, so far as possible, should contribute without witnesses, and who are bound to in... their share to the divine praises, yet with... tercommunicate, etc. If there were question out excluding women and girls (especially of angels, there would be no harm; but these if men. and boys be wanting), it is permis... are men, formed of clay. Hence such a sible henceforth to retain the choir or col... close contact, which would deserve grave lection of men and women above... described, censure even in secular intercourse, is noth... placed far away from the altar, and exer... ing less than abomination in sacred func... cising the function of a liturgical choir?" tions." The answer of the S. Congregation of A commingling of the sexes as described Rites was: HAs the matter is placed before and supposed by the President of the Liturgi... us, negatively and ad mentem,..Mens est: that cal Commission and by the Congregation of the men be wholly separated from the wo... Rites is, then, not approved. However, a men, unseemliness of any kind avoided, and choir arranged in another way is not ex... the consciences of /Ordi'naries obligated in eluded by the words: ' As the matter is pre... these respects." sented, Negatively", but rather indicated and To Hnderstand this decree, we must attend provided for. 'In fact, the Congregation closely to the clause: HProut exponitur, as adds immediately, Hand ad mentem,..Mens the matter is presented." For the Congre... est, what we mean and desire is Hthat the gation explicitly says that its "no" covers men be separated from the women and thus the case only as this was presented. any unseemliness be avoided" which accord... The querists, as we know from the history ing to the character, education, or discipline of the case, had no intention to submit it of the singers, might occur among them. from the moral aspect, however the Congre... "Now what is meant by being entirely i}ation saw the query just in that light. In separated, omnino separati1" asks Dom the eyes of the Congregation of Rites a Pothier's organ, the Revue du chant grego... choir such as described might give rise to in... rien (XX, No.1) which at that time was conveniences in other countries with other edited in Rome by Gom Pothier's secretary. social habits and views. The answer of the It answers: "Until the eventual appearance Congregation of Rites disregards the liturgi,.. of more definite official regulations; it is left cal aspect of the matter altogether-indeed to sound common sense to answer this ques... this had been already settled-and consid... tion. Weare of the opinion that the sep... ers the question from the purely moral stand... aration would surely be effective if some suf... point, ·~sint separati, vitato quolibet incon,.. ficient material barrier, as, for example, a venienti, they must be separated, unseemli... harmonium (reed organ), is placed between ness of any kind must be avoided." both sections of a mixed choir; or even if Msgr, Mancini, the President of the Litur... the men are separated from the women gical Commission which was again ex... merely by an equivalent space. If this rule pressly consulted, has published a comment... is observed, church choirs made up of both sexes are in principle allowed." In practice, ary on this decision, in the Ephemliturg. ( 1909, No.2). This Commentary leaves if the various groups of voices are to be no doubt as to t'hedetermining motive under... made to harmonize exactly, a certain sepa... ration of them is naturally demanded. That lying Rome's answer. We cite the principal passage: "The answer of the Congregation is practically observed by every choir. of Rites need excite no surprise. The dubium This, then, is the juridical position of fe... as proposed evidently supposes a prom... male singing, such as it folows from the pre... iscuous assemblage of men and women who, scriptions of the Motu Proprio of Pius X and separated from the faithful and very far dis... from the decrees of the Congregation of tant from the altar, take care of the singing Rites. 342 THE CAECILIA

J•. B. SCHMIEDELER, NOTED earnest prayer, study and various influences DIRECTOR OF CHURCH were shaping his course toward the Catho,., CHOIRS, DIES lic Church. Recent days have witnessed his resignation from his excellent position, fare-­ Tipton, Kan., Funeral services were held ~ells to his pastor and to his choir, his bap,., here recently for John Baptist Schmiedeler, tIsm. and that of his charming wife and baby, well,.,known choir director of Missouri and JustIne. . Kansas. The Rev. Dr. Edgar Schmiedeler, '. Almost immediately Mr. Johnston was of,., O.S.B., Director of the Rural Life Bureau, fered a position of organist in the Church of National Catholic Welfare Conference, the Holy Innocents, Brooklyn, N. Y., and it Washington, D. ,C., was the celebrant of the was en route to. this work that he stopped in Requiem Mass. Pittsburgh. At Mount Mercy, the Rev. An-­ Mr. Schmiedeler, who had directed the drew J. Pauley, the chaplain, and also a choir of St. Boniface's Church here for the member of the College faculty, introduced last 20 years, formerly had been choir di,., Mr. Johnston to his classes in ApologetiCS rector in the Cathedral and St. Patrick's and Catholic Action, and an interesting ses-­ Church, Kansas City, Mo., and in St. An,., sion followed in the form of a round table th~ny's, Holy ~ame and St. John the Evang,., discussion. His friends wish to Mr. John'" ehst churches, In Kansas City, Kan. ston success in his new field of duties and all the blessings and consolations of the CONVERT MUSICIAN Catholic Faith. Pittsburgh, Pa. James Philip Johnston, a recent convert to the Catholic ·Faith, visited Mount Mercy NEW MASS SUNG FOR SILVER JUBI", summer school last week and shared 'with his LEE OF MOST REVEREND JAMES fri~nds the joy of his recent reception into A. GRIFFIN, D.D., SPRINGFIELD, the Church. Mr. Johnston is an organist of ILLINOIS. exceptional ability and during his residence A new composition for three part singing i~ Pit~sburgh his enthusiasm, affability and by ladies voices, Missa S. S. Cordis Jesu, by sinCertty "Yon for him ma~y friends. The SIster M. Celestine Cannon, O.P., was writ,., announcement of his conversion will come as ten for and dedicated to the Most Rev. Bish", a surprise ·to many because of his ancestry op of Springfield, Illinois, James A.Griffin, and of the prominence of the positions he has D.O. for his Silver Jubilee, July 4, 1934.~·· held. Mr. Johnston, the son of a Methodist min,., !he first copy of the Mass finished by the ister,was born in Wooster, 0., was gradu,., prtnter was presented to Bishop Griffin, and performance of the work was given at va,., ated with high honor from the College of rious churches and convents of the diocese. Music in Cincinnati in 1919, and received Among the weB known churches were: St. the Springer gold medal for. organ. So ~ra~cis highly did Cnarles Heinroth think of his tal,., Xavier, Jerseyville; St. Mary's, Car", ent and attainments that it was 'under his hnvl11e, and the following schools: St. J0'" seph's Convent, Bradley; Sacred Heart Aca,., auspices that Mr. Johnston came to Pitts,., demy, Springfield; Holy Cross School, Men,., bur~h ~o take the position of organist aD:g dota; St. Thomas School, Crystal Lake; Don,., ~hoIr dIrector at the East Liberty Presbyter,., ovan Memorial School, Rantoul; St. Pauls 1~~ church. .For. ten years he'held this po,., sItIon,and WIth It the respect and friendship Convent Odell; and St. Joseph"s Convent, Philo. Performances were given in other of local musicians. In 1929, many of the w?rldly,.,wise felt that he was making a grave churches and schools also. This work is mIstake when he resigned his position with published by McLaughlin & Reilly Company. the. Mellon Church and its wealthy congre,., gabon to succeed Dr. John Finley William,., BENEDICTION SERVICE "Son with the Westminister Choir at Dayton By Sister St. Paul 0., but Mr. Johnston always looked more t~ a wider field for realizing his ideals than to A new simple set of 0 Salutaris and material advantages. He brought to his du,., Tantum Ergo, has been issued in the Mc.. ties in. the next five years the same sincerity, Laughlin & Reilly Co. catalog. The pieces capaCIty for hard work and the desire for a are choral and may be sung by two, three high standard in church music that had char,., or four part choruses. They are priced at acterized his former life. In the meantime, 15c for the set. THE CAECILIA 343 THE LATIN LANGUAGE By REV. C. A. SANDERBECK Secretary, Church. Music Commission Pittsburgh, Pa.

I HE ~hurch in her wisdom has decreed shall read the words distinctly aloud, giving that for her Liturgy there shall be a the Latin the full round Roman pronuncia­ II~.P universal language, and hence Cath­ tion (which, by reason of its suitability for . olics assisting at the Holy Sacrifice, musical purposes, he should insist upon the even In quarters of the globe remotest from choir also adopting), and then add a clear their homes, hear the priest use the same and accurate English translation. The tran­ sonorous and ancient Latin tongue, which they slation all the singers may scarcely remember heard of old in their native land. Our sep­ literally, but it will suffice to give them a fair­ arated brethren are often at a loss to under­ ly good idea of the meaning of the words stand how Catholics can follow a ceremonial which they are about to sing. in a strange tongue, but we of the household IV of the Faith know that this difficulty troubles The advantage of this would be specially not even the most ignorant amongst us and observable in regard to Plain Chant, and how sufficiently even the poorest and the'most would.tend greatly to remove the lifelessness illiterate can understand, follow, and join in so often noticed in its rendering, and which the spirit and intention of the prayers and arises largely from many of the singers not actions of the priest at the altar. understanding the meaning of the words. The II reading of ,he words aloud beforehand we re­ . But for such as sing in choir, a more pre­ gard as a· most essential preliminary. To CIse knowledge is desirable. It is theirs to "rush" a choir, for example, at an elaborated sing the sacred words, and every singer and Plain Chant Introit, comprising a number of teacher of singing knows, or should know, strange and many-syllabled Latin. words, is how closely the effect of vocal music depends certain loss of time, as at first the singers will have their attention fixed on the endeavor to upon attention, or the reverse, to the expres­ sion of the meaning of the words sung. Now, make out the unfamiliar words, and next to to a large proportion of amateur singers, Latin fit them to the formidable-looking groups of is practically an unknown tongue, and .unfor­ notes on the music before them. But let them tunately, this remark. is also true of' church once become quite sure of the words and of singers. I t is but seldom any arOe found to their pronunciation; and let them next obtain a general notion of their meaning; and the whom Latin is otherwise than as a sealed book. This fact, in our opinion, is not suf­ choirmaster adopting our recommendation ficiently taken into account by choirmasters, will then find the study of the vocal parts and hen~e .comes much of the inexpressive, proceed with tenfold interest and tenfold soulessslnglng so often heard in our churches. success. The same course should be followed with III motets, or other detached pieces, and the slight This remark does not apply so much to the additional labor involved will soon be repaid musical portions of the Ordinary of the Mass, in the increased devotional fervor and expres­ sion which a knowledge of the meaning of the such as the Gloria and Credo, of which ° the La.tin an~ English are, in most prayer-books, words and of their suitable pronounciation pnnted In parallel columns (and with the will impart to the singing. To our mind, meaning of which all must consequently be nothing in the whole range· of poetry can sur­ sufficiently familiar), but rather to the con­ pass the exquisite imagery, and "word-paint­ stantly changing Proper, namely, the Introit, ing" of the Lamentations in the Office of Gradual, Tract, or Sequence, Offertory and Tenebrae, but, while appreciating the pathos Communion. How can singers be expected to and beauty of the words, we have often sym­ enter into the spirit of the music Plain Chant pathized with the hard lot of fellow-singers or harmonized of these unless they either un­ who were laboriously, but conscientiously, derstand the Latin tongue, or, failing that, that singing their parts, with little or no idea of the choirmaster takes the trouble to translate the wonderful sublimity of the inspired words the words for them? Our recommendation is they sing. that, before a choir begins to practice the music The Observer-Pittsburgh, Pa. ,of any of these parts of the Mass, the conductor Jan. 18, 1934 344 THE CAECILIA

The Story of Anthony Jawelak, Young Blind Genius

NTHONY ]awelak was born in Pitts­ giving him regular instruction and his progress . .~ . burgh, April 1, 1896, and has been was so rapid that within a year or two he ~.'. blind from birth. His musical ability played Bach fugues and Mozart sonatas. was displayed at an early age. When From the day he began to play Bach he culti­ Anthony was a year and six months of age, vated the habit of transposing everything he his father purchased a piano and the child learned, so that he could finally transpose a immediately began to investigatE( this addi­ Bach fugue or a difficult Chopin etude into tion to the household. His father, noting any key, playing it with the same facility as signs of ability, told some of his friends. about in the original key. it, among them Dr. Caspar P. Koch, CIty or­ At the age of 12 or 13 years he began to ganist at Carnegie Music Hall in what was compose, being interested chiefly in piano then the city of Allegheny, but is now part etudes, and his compositions were so difficult of Pittsburgh. Anthony's father sang in the that only the foremost pianists would be able choir directed by Dr. Koch. to play them. By this time Anthony's hands One day Dr. Koch visited at the ] awelak were unusu~lly large, stretching a twelfth home, bringing some music for a concert which very easily-solid, not rolled. His first piano the choir was to give, and as Mr.. ] awelak had recital was given at Hamilton's music store in solo parts in this performance, Dr. 'Koch played Pittsburgh, before a gathering of musicians. the music over for him-a composition of some He was then 14. He played a Prelude and six or seven pages. Later, when Dr. Koch was Fugue by Bach, and transposed them to dif­ leaving, Anthony, who was then little more ferent keys called for by members of the au­ than 2 years old, climbed on the piano bench dience. Then came the "Moonlight" Sonata, and played the whole composition from be­ Beethoven; Spring Song, Mendelssohn; ginning to end, as much as he was able to Minute Waltz, Chopin,'and several other com­ reach with his small hands. Naturally Dr. ' positions. Shortly thereafter came a series Koch was astounded, and said to Anthony's of piano recitals in Pittsburgh, Chicago, Mil­ father : "You know you have a genius here!" waukee and other cities. Newspaper criticisms Dr. Koch's interest was thoroughly aroused, following these appearances contained such and he returned to the piano and played phrases as the following. "Electrified the something which was more suited to Anthony's audience," "wild applause," "created surprise hands-the Minuet from Mozart's "Dam Gio... and astonishment," "the audience did all but vanni"-and Anthony promptly repeated it. jump to its feet in clamorous applause." On So exact was the reproduction that one in the numerous occasions Anthony appeared with next room would have said tho.t Dr. Koch symphony orchestras, among them the Rus­ had played it twice. Then Dr. Koch started sian Symphony Orchestra and the Pittsburgh it again, playing the first few' measures in an­ Festival Orchestra. He also demonstrated the other key (F sharp),.dnd Anthony completed faculty which he had exercised as a child of it in the transposed key. Dr. Koch next im­ 3 or 4, that of naming instantly the tones of provised something in which a few octaves oc­ =:ny chord that he heard, and reproducin~ curred, wondering what Anthony would do, them immediately-not only tones of musical but without much difficulty Anthony was able instruments, but the vast range of partials that to play the octaves with the rigth hand, rolling are present in the noise of, say, a dishpan them slightly, but, being unable to reach oc­ when it is struck, which effect he could repro­ taves with the left hand, he played them with duce on the piano. In a single piano tone he his elbovv and fist. named as many as thirty-one partials. This faculty was tested by Dr. Schoen of Carnegie On the advice of his physician, Anthony was Institute of Technology and it was found that given no instruction at that time, for, on ac­ less than half of these could be checked by the count of his extremely nervous condition, it Helmholtz instruments. A set of scientific was thought that he might overdo both phy­ tuning forks was put to a test and it was dis­ sically and mentally. However, he was per., covered by Anthony that a number of these mitted to play the piano as much as he wished. contained flaws, in that some of the super­ When he was 10 years old Dr. Koch began partials 'were sounding which were supposed THE CAECILIA 345 to be absent. In organ pipes which were ex­ Madrigal," dedicated to Charles A.' H. Pear­ amined Anthony could name the super-par­ son of Pittsburgh, has been played at several tials present in the different varieties of tone, of the A. G. O. and N. A. O. conventions, and and many of these pipes contained flaws. is a lovely melody, so gracefully conceived that Mozart might have written it. "Grand composi~ When in grammar school Anthony had a Choeur," the other published organ great longing to play the organ, but the tion, is found useful as a closing number or opportunity did not come until later. It postlude. Both are published by Gray. came on an occasion when he accompanied Dr. During the summer of 1930 Anthony left Koch to Carnegie Music Hall, where he was Pittsburgh for the Carmelite Monastery at to assist in a recital. The doctor played a Niagara Falls, Ont., and he is now known as piece on the organ and then invited Anthony Brother Anthony. Several years before his to try the organ, saying in a jocular v:ein: parents died he had made up his mind that "It's very easy to play the organ." Anthony when. he was left alone he would join the Car­ tried it-and agreed with him. melites. At the monastery such time as is As an organist Anthony began his career as not taken up with religious duties and playing assistant to Dr. Koch at the Church of the for the chapel services Anthony devotes to Holy Trinity, Pittsburgh. Being unable to his art-playing the concert grand piano, ac­ find a substitute when called from the city, quired shortly ~after his al1rival there, a,nd Dr. Koch asked Anthony if he would like to composing for various instruments and com­ learn to play the organ, and the idea appealed. binations of instrum(}nts. Dr. Koch gave him three lessons in two weeks - THE DIAPASON. and Anthony played all the services in Holy Trinity Church during Dr. Koch's absence. Dr. Koch played the compositions that were GRADUAL AND OFFERTORY FOR to be played or sung, pedals and all, and An­ FEAST OF·THE IMMACULATE thony found no difficulty in performing them. CONCEPTION, DEC. 8, 1934 Pedals offered no difficulty from the start. The late Msgr. '1 appert, who was promi,.. Desiring to learn more of the organ, the youth enrolled as a member of the organ class at nently identified with THE CAECILIA Carnegie Institute of Technology. On ac­ years ago, and whose church choir was one count of his ability he received a scholarship of the very best in Kentucky, composed a from the school. Mrs. R. B. Mellon became two part setting of the Gradual and Offer,.. interested in him and paid the tuition fee for tory for December 8th which is both litur,.. the second year. At the end of the second year gical and simple in form. It appeared in Anth9ny played Guilmant's Concerto in con­ THE CAECILIA in November, 1912, and junction with the student orchestra in Car­ copies are available at 15c per copy. negie Music HalL There were only two re­ hearsals for this performance and after the first rehearsal Anthony knew the whole or­ FOR THE FEAST OF ST. CAECILIA chestral score. J. Vick O'Brien, who was con­ (Nov. 22) ducting the rehearsals, was surprised when the boy pointed out several errors on the part of Several,past Caecilia Supplements, were the orchestral performers. , devoted to material for the Feast of St. Cae,.. When Dr. Koch resigned his position as cilia which fallS on Nov. 22. Settings of organist and director at Holy T'rinity Church the Afferentur Regi, and a few hymns with in 1925, Anthony succeded him and held this English words to this Saint, are still avail,.. post until January, 1929. able.

Jawelak has to his credit about thirty piano MESSE SOLENNELLE compositions, but they are so difficult to play By Carl Koenig that publishers are disinclined to accept them. These compositions are highly original, how­ A new three part mass (SSA) made its ever, and when played by one who can master appearance late in the spring, which should the difficulties, they are replete with interest­ become very popular. It will appeal espe,.. ing details. Two organ compositions have cially to choirs of adult voices, attaining as been published, which, on the contrary, are if does, a character of devotional appeal well within the grasp of the average organist through simple musical form. A clioir with which probably accounts for the fact that good rich alto voices will create fine har,., publishers were readily found for them. "A monic effects in the singing of this work. 346 THE CAECILIA

PITTSBURGH ORGANIST AP" During her 46 years of singing in every POINTED AT NEW YURK country in the world-over which period the CITY CHURCH great soprano has earned ·more than $4.000, OOO-she has helped the Church whenever Albin D. lVlcDermott, for the last eight possible. years organist at St. Agnes church, Pitts,... "I have built three churches!" she ex,... burgh, has been signally honored by the claimed proudly! When she visited San Most Rev. Stephen J. Donahue, auxiliary Francisco she found that the Church of the Bishop of the archdiocese of New York and Sacred Heart there was built of wood. This rector of Holy Name church in New York could not be tolerated, so she staged a con,... City, in his selection of Mr. McDermott as cert with herself as the attraction, charged organist of Holy Name parish, one of the the Californians 20 dollars each, and raised largest parishes in the United States. Mr. some 10,000 dollars. This she handed over McDermott received from Bishop Donahue to the parish priest and a stone church took last week the offer of the position and he place of the wooden one. The inscribed and immediately wired his acceptance. He will autographed album which the priests of the go to New York about Septemberl. town gave her in recognition of her help is Mr. McDermott is widely known through,... one of her treasures. out musical circles in the Pittsburgh district On one occasion when Tetrazzini joined in for his ability as an organist. He was born the singing of the Sanctus in church the in Charleroi, November 26, 1908, a son of priest told her afterwards that he almost for,... Mr. and Mrs. M. M. McDermott, and a got what he was doing. "He said he thought short time later his family moved to Knox,... it was an angel singing," added the great ville, where he attended St. Canice's school. soprano with a gay laugh. He made his college preparatory studies at Her smile vanished, however. and she told Duquesne University and entered the Uni,... me sadly that it was the great sorrow of her versity of Pittsburgh, where he was awarded life that she could not sing alone in church. the A.B. degree in 1928. In 1929 he received "I should like to thank God for the voice He the A.1VI. degree at Pitt and continued his has given me by singing to Him," she said. musical studies under eminent organists of Tetrazzini always makes a point of taking this city. Among those with whom he stud,... the bouquets she receives to the nearest ied were pro Caspar Koch, present city or,... Catholic church. ganist at Carnegie Music Hall, North Side; She has had three audiences with the Pope J. Vick O'Brien, Dr. Charles Heinroth, and last year the Holy Father blessed her former music director at Carnegie Institute, throat. and W. K. Steiner. Mr. McDermott has fur,... On her death her family dies out, for when nished the music for numerous radio broad,... her 'sister, Evas, who was a dramatic so,... casts, being director of the choir chosen to prano, passed away. she became the last of represent the Catholic choirs of the city in a the Tetrazzinis." municipal broadcast in March, 1929. In June - Philip A. ,Kelly, in The Universe Mar. 23, 1934. 1929, Mr. McDermott had charge of the mu,... sic in broadcast over Station KDKA spon,... sored by the Holy Name Society. Holy Name Parish is where the famous "Father CHRISTMAS OFFERTORIES BY Curry" was Pastor and where the much dis,... FATHER GRUENDER S.J. cussed hymn HGood Night Sweet Jesus" Among the most popular settings of the

came into fame. Laetentur Coelit and the Tui Sunt Coeli for four mixed voices, are those composed by Rev. Hubert Gruender S.J. whose works TETRAZZINI IS HAPPY-BUT SHE have appeared in past issues of THE CAE,... HAS ONE GREAT 'SORROW CILIA. The Laetentur Coeli is ,also avail,... able for two part choirs. A Bri~f Interview With The Great Singer Father Gruender's masses, his setting of "Her eyes were full of liveliness ,as she the Lamentations for men's voices, 'and mo,... spoke in broken English alternated with tets published in the CANTABO DaM,... ;smooth~Italianand rapid French. She peeled INO for women's voices deserve a high off her gloves, clasped her hands and occa,... place in the list of good compositions by sionally leaned oack, trilling and laughing by modern American composers of Catholic i turn• Church music. THE CAECILIA 347

Co.) have been widely appreciated. His other works include anthems, motets, and BRIEF BIOGRAPHIES OF songs. As a lecturer on school music he has WELL KNOWN COMPOSERS visited many Catholic and non,..,Catholic sec,.., ondary and elementary schools. In the earl­ ier days of his parish work he organised a successful dramatic society and operatic BENJAMIN HAMMA class, and the members by their united efforts Benjamin Hamma was born October 10, contributed a considerable sum towards Ii... 1831 at Friedlingen, Wurtemberg. Studied qUidating the church debt.. Mr. Stone is mu... counterpoint with Dr. Peter Lindpainter, sic master at St. Joseph's College, Stoke,..,on,.., completing his musical studies, practical and Trent, and Brownhills High School for Girls, theoretical, at the Royal Music. School in Tunstall, England. Munich. For several years Mr. Hamma re,... sided in New York, where he held the posi,... tion of organist at Our Lady of Sorrows Church. A meritorious composer of church, vocal and instrumental music, he died June 2, 1911 in Stuttgart. SPECIAL MUSIC FOR THE FEAST Hamma composed a long list of Motets, OF THE HLITTLE FLOWER" Offertories, etc. and likewise published with (Ste. Therese de Lisieux, Oct. 3.) several American publishing houses anum,... ber of arrangements and adaptations. Among his outstanding Masses are a Mass in honor . 314 Hymn to HThe Little Flower" of St. Francis for mixed voices with organ or (Unison) 2 Settings. orchestral accompaniment and the following Rev. J. G. Hacker, S. J. $ ..15 somewhat easier works, Mass in honor of the Sacred Heart of Jesus, for S.A. with T .B. ad 601 Hymn to HThe Little Flower" lib. and a Mass in honor of St. Dominic, for (Unison) Religious of the Cenacle .15 unison or two,...part chorus. A Missa pro Defunctis for mixed voices with organ like,.., 549 Hymn to HThe Little Flower" wise enjoyed considerable popularity during the days when quartet choirs were still in (SATB) 2 Settings. vogue. Several members of Hamma's fam,.., J. J. & C.. Meyer .15 ily are residents of the United States. Proper of the Mass Gregorian Voice part only-- (Desclee Edition) PROMINENT ENGLISH CHOIR... Modern notation. .15 MASTER COMPLETES SIXTY YEARS OF MUSIC 773 Hymn of the HLittle Flower" ACTIVITY (SSA) Sr. M. Rafael B.V.M. .15 Mr. F. J. Stone, Mus. Bac., F.T.C.L., 457 0 Magnify The Lord A.R.A.M., has just completed 60 years of (Unison) HM.G." .15 unbroken Catholic activity in Hanley, Eng... land, where he was born, and where, at the 121 Magnificat age of 7, he began as a choir boy. At pres... (SATB) C. Ett .12 ent he holds the positions of foundation manager to the schools, choirmaster to the 373 Magnificat ,Church of the Sacred Heart, president of 8th Tone Harmonized the Conference of S.V.P., as also of the .20 Longton Particular Council of the S.V.P., By M. Hayan -chairman of the Little Sisters Flag lJay Committee, a movement which he originated ,and acted as secretary for many years. McLAUGHLIN & REILLY CO. In church music Mr. Stone is well known 100 Boylston Street, Boston, Mass. as a composer, his two Masses H St. Philo... menatt and "The Sacred Heart" (Cary and 348 THE CAECILIA

Two Art~cles on Gregorian Chant By Arthur Angie

THE RHYTHM OF THE GREGORIAN Omnium (at the asterisk) and. the pas... CREDO sage "Ex Maria Virgine .. :' offer some rhythmic difficulty. On omnium there was Owing to its bright major character the perhaps but a slip of the pen; while in the Credo of the so called Missa de Angelis~ edition~ other passage the writer wished the quart... the third in the Vatican is probably ers to be executed perhaps as dotted notes; the most often sung among the Gregorian a sudden change to ternary measure is melodies of this part of the Mass. What scarcely to be supposed in this popular piece. is its rhythm? The melody does not belong.to the Greg... Notice the f sharp on factus. Weare in orian era proper. However it is possible the XV century; the Gregorian modes be... to trace it as far back as the XV century~ gin to feel the influence of the new times. when it was sung in Florence in the HOffi"" At adoratur the author prescribes double cium Nativitatis U. N. J. C. a I Vesp. usque lengths in order to express the text more ad totum Completorium." A small chant plastically. book gives us this information and repro... Our present version in the Vaticana--­ duces the melody "according to the. old the reader certainly has noticed it---does chglnt books of this church." (1) Two not entirely agree in certain passages with sorts of notes are used in it: the square... the Florentine figures. note and the rhombus or dTamond...note. Let us now examine an older~ genuinely I quote here the first phrases of the piece Gregorian Credo, which the monk Joachim as found there. Brander in his manuscript (St. Gall 546) 1 ~J JI>j?JJ PPl?Prtffi~J ~";mQ2l.. at. ~e\'"ra.e, v l.~ i. b·... \ L..._ 0'" - \'I.L...",

~ J J ~ J J ~j. I WIr-'----·· "'-"'~'" ~"",~\'\~m J.esu.~ ~eL.J+---t-J- et :vtSl. bi.""::. l." t\.h'l, £.i: i.n ChY"LStLot.t\1 ri ltu.W\

~ rS:§J' J ~ J F@re A t-t-)--Q-~---~ h.OMO fac:t:.u.s est. ~ .. st.Yl\u.L 0.- do-.,...~-i:"",Y"'. A simple glance through this musical re... calls Husuale", the usual because it was presentation suffices for convincing us that sung during the whole year, except in Ad,.. the writer, with his different note forms and vent and Lent. It is offered as the Vati... their special arrangement~ intended to rhy'" cana's first Credo. thmize the melody~ and wrote in really pro,.. "This traditional Credo." we learn from portional long and short values: the square Dechevrens~ "offers us the most ancient notes being. let us say. quarters and the and probably the only Credo that was first rhombes, relatively being eighths. In com,.. sung in the Occidental churches. since the posing he did not, it is true~ proceed with great care in respect to the quantity and the ( 1) See Dechevrens. Voix de St. Gall accent of the syllables of the text. VoL 1, p. 183. THE CAECILIA 349

Council ?£ Frankfort (794) under CharIe... script, as well as a facsimile of the same Se... magne, tor the Credo was not generally quence from the St. Gall MS no. 484 (IX to sung previously." X century). This second MS contains here, HThe whole choir of the monks executed as in its 43 other Sequences, only the melody it in monastic churches, and doubtless the without the text, except for the word AIle.... people in the other churches or, at least, the luja; and curiously, the piece must be read o~cial singers and those of the faithful who with the lowest line first. On the other hand were capable to do so. It was therefore a the Bamberg MS besides the text has the very popular melody which was often re... melody written in twice, first WIth the single peated during the liturgical year and which notes of the neume groups distributed over tradition must have preserved more intact the several syllables of the text, and, besides, than other less usual chants. Thus a rhy... written as composite neumes on the margin thm perfectly definite, of a form entirely of the page. simple and natural and still existing in the St. Gall and Bamberg tally substantially Credo is easily accounted for, a rhythm with one another. A striking feature is the which indeed fits a popular chant and is abundance of rhythmic indications of these apt to be engraved in all memories." (2) manuscripts. In some strophes the notes marked as long far excede "in number the Zjt:e;l 1 j fj) 1 111 1 1 QJ short notes, and repeatedly a whole series of longs follow immediately in succession. On looking at the St. Gall MS the first glance gives us for instance, In each of the first two r ~ 1 1 8' tv: J J JJ tr p I If lines (or rather of the la~t two, since we must read from the bottom) ten positive epi... semas. Brander composed his manuscript in the year 1507. On a five line staff he used This fact induces us (1) to make some re... rhombes for proportional long notes, C\nd marks concerning the nuancest or indefinite for the pes the rhombus with the horseshoe... prolongations as Neo,.,Solesmes interprets nail... virga, both notes in the pes being long, the signs and letters forlength in the Gregor... while he employed the rhombus with a stem ian codices. We en'quire: How impractical turned upwards' for the short tone. In our and difficult, even impossible for a choir be... transcription the quarter indicates the long comes a regular execution of so many nu... note and the eighth the short one. ances, nuances often coming one right after Here also one notices at the first glance the other! Is it likely that the great monastic that·a proportional musical rhythm was in... choirs of the Middle Ages did sing.in that tended by the notator. Now, while these fashion? Such a supposition is the more im... documents are indeed precious guides for probable when not even a singIe old text of us regarding the rhythm of the pieces in the best Gregorian era can be quoted for an general, our now somewhat perfected sense execution in nuances. Indeed the authors de,., of quantity, verbal accent and artistic flu,., clare the very opposite: HThe long note ex,., ency will certainly be allowed to make some cedes the short always by double." HEvery improvements. Music at the divine ser,., long must be equally long, similarly the short vice, besides its primary aim of honoring must be equally short," etc. God is to edify and gratify men of our own These observations in Dam Jeannin's publi,., time. The Medieval composers, if they cation (2) suggest our looking at the Sol,., could reappear ~ among us, would them,., esmes transcriptions of this Sequence. We selves invite us to do so. open the variae Precest and what do we find? Of the many highly authentic rhythmic (2) Etudes de Science Musicalet Vol. signs of prolongation found in the MSS there II, p. 31, with a phototypic reproduction of is not so much as one to be discovered in the Credo on pages 35,.,7. the Variae Preces (except, of course, the dur... ations treated as mora ultimae vocist at the APROPOS OF THE SEQUENCE end of phrases.) Nothing but equal eighth,., HSANCTI SPIRITUStt notes look us in the face. Can we help but exclaim: Is this giving us a true reproduction In the Ephemerides Liturgicae ( 1931 ) of the ancient chants? From an artistic stand... Dam Jeannin, O.S.B., published a phototypic point, to suppress one's thoughts! reproduction of the Greporian Sequence Sancti ~piritus from the Bamberg manu,.. (Continued on page 386) 350 r-rHE CAECILIA

OUR MUSIC THIS MONTH

Among the many prominent members of Mass, this Benediction Collection, a new the Society of St. Gregory of America, who ~usic col~ection for Palm Sunday and Holy have contributed music to the catalog of the V'!e.ek, (tor S0~), and her Music Appre-­ publishers of this magqzine we find the Cl~t1on course will be a part of the reper-­ names of such modern composers as Joseph tOlre of every worthwhile Catholic ladies J. McGrath, Rev. George V. Predmore, and choir.. Note that the present music may be the recently honored Doctor of Music, sung In four parts by singing the accom-­ Martin G .. Dumler. Soon to appear are paniment part. works, by Norbert E. Fox, Choirmaster of Two numbers for the Feast of Christ The the Toledo Cathedral, and Joseph A. Mur-­ King, are interesting also in this issue. One phy, Assistant Editor of the "Catholic an adaptation of English words to a piece by Choirmaster". In this issue we see a new M. Altenburg has present day musical inter-­ composition, .~J ubilate Deo" by the Rever-- . est in. spite of its great age. The other of... end J. Leo Barley, Archdiocesan Director fertory for this feast is anewly published of Music, in Baltimore, Maryland. This composition which first appeared in a Ger... composition was rendered at the recent man catalog. W here the voices are avail... Conve~tion of the Society of St. Gregory able they may be'divided, as indicated on the in Washington, D. C., having been sung by composition, with great effect. choir of M t. St. Mary's Seminary in the Otto Singenberger has arranged an old presence of the Apostolic Delegate. It is a Christmas Carol for Children's Voices, practical contribution for average Seminary HCome Children, Come Hasten", which choirs, having melodic interest, and vocal will appeal to the many who are tired of lines well within the range of untrained singing the same old things every Christ· voices. mas. For women's voices, we take special in-­ terest in the first published compositions of Sister M. Rafael, of Mundelein College, Chicaqo. The widespread observances NEXT MONTH marking the Feasts of Christ The King, and HThe Little Flower", in October, have More short pieces by L. Raffy, will ap'" brought out many new compositions from pear in THE CAECILIA, beginning with various sources. These hymns were de-­ the next issue. .n.majority of subscribers signed for use at Girls academies and col-­ seem to find this type of music devotional, leges, obviously, and they have indications interesting enough for the best organists to of a fine technical skill behind the melodic elaborate upon, and helpful enough for less treatment of the words. The words of the talented organists to enjoy. When this HLittle Flower." hymn, you will note, were series is completed, we will commence with written by that Saint herself. a group of numners by the eminent Italian musician, clottazzo, to be followed by a The Benediction music, is by our loyal group of numbers by our best American friend Sister M. Cherubim O.S.F., whose Catholic organists, such as Mauro--Cottone, music and writings have been a feature of Richard Keys Biggs, Rene~ L. Becker, Jo-­ this paper during the past two years. It may seph J. McGrath, etc. interest readers to know that the course in "Music Appreciation" has created such fa-­ Mauro--Cottone will present a new Christ... vorable comment that it is very likely to be mas piece from his collection HMELODIAE issued in book form at the completion of the SACRAE" for SATB, in the next issue, it course, in this magazine, so that it may be is the motet HJ esus Christus". Sister Rafael, made available to those who. missed the will give us a Christmas number, in the early installments. The music in this issue same style as her present contributions. The by Sister Cherubim, is number 3 and 4 of a Benediction Collection by Sister Cherubim new series of numbers for Benediction, not will be continued. Father Walter of St. yet published. In a few years, we predict, Francis Seminary, Wisc., will contribute Sister Cherubim's work will be better ap-­ some Christmas numbers for T.T.B.B. preciated and formally recognized. Her choir. - THE CAECILIA -Part2 (lan~.1916)

Issued as Part II of Vol. 62, No.1, Jan. 1936. INDEX FOR YEAR 1935 LITERATlIRE Bonn (Professor Eugene) dead 230 Page Boston (Pius X School of Liturgical Agnesine (Sr. Mary) -The Necessity Music at) ; 386 of Musical Training in Schools 495 Bruckner (Anton) as an Organist...... 387 Appreciation (Music) --Sister M. Cher~ Boerger (F. J.) Organist 50 years 474 ubim, O.S.F. 43, 103, 157,213,265,313,417,465,513 Cherubim (Sister M.) O.S.F.-Music Antcliffe (Herbert)-About Sweelinck 19 Appreciation Angie (Arthur) - Latin Accent: Long or 43, 103, 157, 213, 265, 313, 417, 465, 513 Short? 110 Church Music Is Too Fast-Franz Angie (Arthur) - Response to Dom Reissman'n 9 Church (The) and the Musician- Murray on Gregorian Rhythm...... 219 Kenneth Ryan 70 (Bossi~Reflce~Dubois~Haller) Church Music in England (Terry) 83 Biographies Church Music (Harvard Professor 10, 112,316 Soles~ Traces Through The Ages) 191 Boisvert (Roland) - Use of the Cleveland (Eucharistic Congress) 54, 393 mes Editions...... 5 Instru~ Communications On Various Topics) Boisvert (Roland) -Only One 48, 108, 322, 474 ment Belongs to The Church...... 243 Composers (American) 68 Boisvert (Roland) - A Boy Choir for Composers Take Notice 438 Every Parish 388 Composers Whose Music Appears Fre~ Bonvin, Fr. (Jubilee) 71 quently on Catholic Church Programs 518 Bonvin .(Ludwig) -On Syrian Liturgi~ Congress (Music at the Eucharistic) in cal Chant 127 Buenos Aires 190 Bossi (Biography of Marco Enrico).... 10 Comments (Current) 137,289,369,390 Bossi (Review of Memorial Concert).... 318 Conducting (Lecture Given by Dr. Bragers· (Mr. Achille) at Union City, Hugh Ross) .. 399 New Jersey...... 18 Catholic Action and the Mass (Dom Bragers (Mr. Achille) -Currently Used Gregory Murray) 439 Harmonization of Gregorian Chant.... 139 Chant (The Denominations of Liturgi~ Boy-Choir (The) Training-W. M. cal) Dom Adelard Bouvilliers, O.S.B. 487 Hammond 16, 73 Boy~Choir Problem (The) -Cecilian.... 187 D'Evry, Leaves London Oratory ...... 252 Boy Choirs Ordered in Pittsburgh (In Dreisoerner (Rev. Charles, S.M.) -The Parish Schools) 444 Prayer~Element In Church Music...... 466 Boy~Choir Training (A Practical Course Dubois (Clement Francois Theodore) in) - Peter Meers 469 -Biography 112 Boy~Choirs (Does Gregorian Hurt The Donahue (M. E.) Organist 56 years in Boy Voice)-G.E. Stubbs 561 Pittsburgh-Dead 71 Bouvilliers, 0.5.B.-L'Escolania of Dubuque, Iowa (Editorial in Catholic Montserrat Abbey in Spain...... 11 Tribune, Notes Fr. Bonvin's Jubilee) 71 Bouvilliers, O.S.B.-An outlook on the Discography (Gregorian Chant) - Dom Centenary of the Solesmes School of Adelard Bouvilliers, O.S.B. Music 77 170, 195, 246, 294, 395 Bouvilliers, O.S.B.-Gregorian Chant Dupre (Recent) Organ Recital...... 72 Discography 170, 195, 246, 294, 395 England (Liturgical Music and)- Bouvilliers, O.S.B.-The Denominations Edward A~ Maginty 51 of Liturgical Chant 487 England (News From) 576 Boy~Choir (A) for Every Parish­ England (Catholic Music in) -R. R. Roland Boisvert...... 388 Terry 83 Biggs (New Music by) from the Caecilia widely used 76 Fox (Norbert E.) in Organ Recital Boyle (Gregorian Chant Lecture Re~ With Son ,...... 445 cital by Father) in San Francisco 293 500 Voices Sing John Singen'berger's Boyle""-Teaching Liturgical Music 491 Mass of St. Gregory J 91 T'HB -CAECILIA

Finn (Random Notes from Father)- Lond~n Oratory Loses Its Two Or... Lectures 450 ganists, (D'Evry and Mantell) 252 Gajard, Dom-(Music and,Prayer) 570 Liturgical Music (Do You Like?)- Glennon (Catholic.Choirs.Participate in Cantate DOlnino (1933) ...... 186 Archbishop's ,Sacerdotal Jubilee) 137 Liturgical Wave (The) Moves on 286 Glennon (Address by Most Rev. John Liturgical Music (Teaching)-Rev. Ed... J.) At Organists' Guild Meeting 193 gar Boyle, San Francisco, Calif 91 Gregorian Chant Discography (Bouvil... Hers) ' 170, 195, 246, 294, 395 fvfourningCustom (Unusual) 18 Gregorian Chant-Denominations (Dom Midnight Mass in The Tropics-Rev. Adelard Bouvilliers, O.S.B.) 487, 544 J.Mullins 535 Gregorian Chant (People Don't Like) Motu proprio (Papal Decree and Inter... -Robert Holzmer, S.M 239 esting Letter Preceded) -Short...... 129 Gregorian Chant Lecture-By Father Mauro... Cottone (Dr. Noble Praises Boylein San Francisco 293 Mauro Cottone Music 191 Gregorian Chant-Currently Used l\1auro... Cottone Engaged by N. Y. Phil... Harmonizations-Achille Bragers .... 139 harmonic Orchestra 445, 494 Guilmant, Alexandre (A 'Chat With Maginty (Edward A.) - Liturgical and a Student's Note Book)...... 537 Music and England 51 Montani's (Nicola A.) Biography; -Hammond (W. M.)-Training The Teaching, Literary Activities (July... Boy Choir 16 August Issue) 335 Hiigle,O.S.B. (Dom Gregory) -Ques... Music and Prayer-Dom Gajard 570 ,...tion and Answer Box Music (New) by Otto Singenberger 380 55,113, 167,223,271,319,423,471, Music (New) by Norbert E. Fox 380 519, 567 Music (New) ,by J. A. Murphy, Fox, ,Haberl's -( Franz Xaver) Biography...... 138 Biggs, Mauro Cottone, McGrath 49 Habert's(J. E.) Biography 490 Meers (Peter) - A Practical Course in Hacker (Rev. John G.) S.J.-Communi... Boy Choir Training 469 cation-Women in Church Choirs.... 218 Murray (Dom Gregory) ~Catholic High Mass 534 Action and the Mass 439 Holden (Edward M.)-On Rhythm 219 ivIercure, O.S.B. (Recording directed Holzmer (Robert S. M.)-PeopleDon't by Dom) 522 Like Gregorian Chant? 239 Magna Charta of School Music (by Harmonizations of Gregorian Chant- John P. Sullivan) 47 Achille P. Bragers 139 !v!cDonald (John) Answers on HWO'" Haller (Michael) Biography 316 men in Church Choirs" 268 Hymns-Alleluja (Marie Schulte Kal... Montserrat L'Esolania-Dom Adelard lenbach). 183 Bouvilliers; O.S.B. 11 Hymn (The) in The Parish School- Pittsburgh Observer .. 493 Nashville, Tennessee (Bishop Smith How, When and What to Play-Rev. Issues Music Regulations for) 443 Giuseppe Villani, S.C..,...... 226 Indianapolis (New Church Music Com... Organ (The) Is The Only Instrument mission for) 137 That Belongs In The Church- Indianapolis (New Regulations) -Of... Boisvert 243 ficial Bulletin 287 Programs 55, 115, 298

Jewish Music (Rabbi Wolsey Speaks Palestrina Choir (With Montanit and l\IIauro... Cottone Present Program in on) .' 291 Philadelphia) ,...... 318 Kallenbach (Marie Schulte) - Hymns, Pittsburgh'( Regulations on Boy Choirs) 444 Alleluja 183 Pius X School (Renowned) Coming to Klein (Bruno Oscar) Biography...... 194 Boston 379 Lemare (E. H.) -Noted Composer Or... Pope to Radio Greetings in Cleveland ganist, Dead 18 (Sept. 23 25) 393 L'Escolania of Montserrat Abbey in Prayer... Element (The) in Church Music Spain-Dom Ad. Bouvilliers, O.S.B. 11 -Rev. Charles Dreisoerner, S.M 446 Largo (Poem)-Leo J. Sehring,er...... 76 ~aris Singers Concert in New york 494 McLaughlin & Reilly Co., 100 Boyls1 Question and Answer Box (Dom G. Terry (R. R.) -Catholic Church Music Hiigle, O.S.B.) 55, 113, 167, 223, 271. InEngland ~ ; - 83 319, 423, 471, 519, 567 Training (The Necessity of) inEle~ mentary Schools-Sr. M. Agnesine, Reissmann (R. Franz) -Church Music S.S.N.D 495 Is Too Fast 9 Ryall' (Kenneth) - The Church and The Ubi Caritas.et Amor (The Neglected Musician 70 Hymn') - 133 Rossini (.Rev. Carlo) -Women in Church---Choirs.... 108, 162, 221, 269, 322 Villani (Rev. Giuseppe) S.C.-How, Rodenkirchen (John) -Communication 322 When and What to Play 226 Ross (Notes From A Lecture Given by Ward (Justine B.) - Rhythm in Educa~ Dr. Hugh) on Choir Conducting...... 399 tion -...... 20 Ren.ce's (Msgr. Licinio) Biography...... 10 Wilkins' (Rev. Ignatius) O.F.M.- Rhythm in Education-Justine B. Ward 20 Biography...... 136 Radio Programs. from Sistine and Wolsey (Rabbi) Speaks on Jewish Lateran Choir, Japan, Paulists, and Music 291 Pius X Sch. 248 Women in Church Choirs (Communi~ Rheinberger (Joseph Gabriel) Biog--- cations and Answers) .. 162, 221, 268, 322 raphy 470 Wisconsin (New Liturgical Choir Rap.. Reviews-The Liber Usualis---Parish idly Progressing) 189 Kyriale---Credalia .. 477 Ward-Method In France 380 Recording Directed by Dom Mercure, Walt.er (Father) Directs Music atCon~ O.S.B 522 secration Ceremonies 494 Sullivan (John P.J--Magna Charta of School Music 47 CHURCH MUSIC Stone (Dom Raphael) -The Turning Page of The Tide 165 An Example of a Type of Falso~ Short (Frederick T.) Biography 133 Bordone Bro. Raymondien, E. C. 24 Schirrman (C.F.) --Anton Bruckner as o Vos Omnes (S.A.T.B) an Organist 387 L. T. da Vittoria 25 Solesmes-An Outlook on The Centary Crux Ave Benedicta (for three equal -Dom Adelard Bouvilliers, O.S.B..... 77 voices) 0. P. Endres 31 Solesm.es Editions (Use of The)- Ingrediente (for Palm Sunday) Roland Boisvert 5 Ed. Hurley 33 Saint Caecilia (Poem)-Ethel King...... 18 OMary, Heav'n's Delight (S.A.) or Sweelinck (About) - Herbert Antcliffe.. 19 (S.A.B.) ..Sister M. Cherubim, O.S.F. 35 Schools-Pupils Make Gregorian Chant Jesus, The Very Thought of Thee Records 54 (S.A.) or (S.A.B.) School (Liturgical) for Directors of Sister M. Cherubin,O.S.F. 36 Choirs Announced 182 Festive Mass-Kyrie- (S.A.T.B.) Saint Louis, Mo.-Silver Jubilee of St. L. Bonvin, S.}. 37 Anthony's Choristers 72 Terra Tremuit (S.A.T.B.) St. Gregory (Society of) -Annual J. Singenberg 87 Summer School at Oxford...... 449 The Saviour Lives (S.I.---S.II---A.I.'"'A.II.) Singenberger's Mass Sung ill' Cork, Jos. Stollewerk 91 Ireland 72 Be Joyfu!, Mary (for two equal voices) Singing The "Three R's" of 541 C. Greith 94 Syrian (On) Liturgical Chant-Ludwig Missa Brevis (S.A.T.B.) ....J. Furmanik 95 Bonvin, S. J. 127 I Love Thee, 0 Mary (S.A. or S.A.B,) St. Paul (Liturgical Music in) 137 Sister M. Cherubin, O.S.F. 101 Singer-The Accompanist and The Jesus! for Thee I Live (S.A. or S.A.B.) Time (Viola Irene Wells) 513 Sister M. Cherubin, O.S.F. 102 Singers and The Art of Song- (Boston In Silence Deep (S.A.T.B.) H. Braun 146 Ev,ening Transcript) 393 o Sacred Head Surrounded (S.A.) Silby (Dr. Mills) at St. Joseph's Col--- F. J. McDonough 149 lege, Princeton, N. J. 71 Surrexit Pastor Bonus (S.A.T.B.) Silver Burdett Co. (50th Anniversary) 238 A. Schwanderla L. O. 150 on Street, Boston, Mass.-Publishers TH'E ~CAECrLIA

Mother Mary, Fount of Pity (S.A. or Adora Te (T.T.,..B.B-.) -. S.A.B.) ....Sister M. Cherubin, O.S.F. 153 Frederick T. Short 506 Jesus, My-Lord, My God, My All (S.A. Let The Heavens With Joy Resound or-S.A.B.) Sister M. Cherubin, O.S.F. 154 (S.A.T.B.) R. Keys Biggs 509 Ave Verum (S.A.T.B.) Stephen A. Erst 155 Jesus, Jesus, Come To Me (S.A. or Ave, Maria (S.A.T.B Frank Breen 202 S.A.B.) ....Sister M. Cherubim, O.S.F. 512 -Ave, Maria (S.A.T.B.) Crux Fidelis (S.A.T.B.) Charles Francis Meys 205 Melchiorre Mauro,..Cottone 550 Ave Verum(S.A.T.B.) James P. Dunn 208 Hail, Mother Merciful-and Good Sister M. Cherubim,O.S.F. 553 o Heart Conceived -Without a Stain Attende Domine (T.T.B.B.) (S.A. orS.A.B.) SisterCherubim 212 W. M. Hammond 555 Dearest Jesus, Friend and Father . o Esca Viatorum (S.T.B.) (S.A. or S.A.B.) ....Sister Cherubim 212B W. M. Hammond 557 o Faithful Cross (T.T.B.B.) Ave, Maria (No.2) (S.S.A.) Arranged by F. T. Walter 212C Sister Mary Elaine, C.D.P 559 o Salutaris Hostia (T. I, II,..B. I, II) Ph.B.ellenot 212D ORGAN MUSIC Sit Laus Divino Cordi (S.S.A.) Priere in E Flat Alexander Guilmant 145 Sister Mary Gisela, S.S.N.D. 255 Elevation Theodore Dubois 201 o Sacred Heart! Arranged for S.T.A.B. Postlude in A ,..Adolph Hesse 253 J. J. Meyer 257 Invocation Thea. Bonheur 254 I Place My Trust In Thee, Arranged A Hymn of Prais.e ]. C. H. Rinck 301 for S.A.T.B Sister M. Gisela 259 Grand Choeur A Helle 302 Ave, Maria (S.LILA.) March, from Ode on St. Caecilia's Day Sister Mary Elaine, C.D.P. 261 - George F. Handel 501 It Is The Name of Mary (S.A. or S.A.B.) Elevation William Faulkes 549 Sister M. Cherubim, O.S.F. 263 To Praise The Heart of Jesus -(S.A. or PAGE INDEX BY MONTH S.A.B.....Sister M. Cherubim, O.S.F. 263 o Maria, Sine Labe Concepta (S.A.T.B.) Pages 1 63 Jan. -- Joseph J. McGrath 303 64 123 Feb. 124~17S Mar. Sweet Heart of Jesus-J. Singenberger, 176~231 Arranged by James Reilly 304 April My Saviour's Heart-J. Singenberger, 232 279 May Arranged by James Reilly 306 287 328 June Ave, Maria (S.A.T.B.) 329--381 Aug. 382~432 Arthur C. Becker 308 Sept. Mother Dear, Oh, Pray For Me 433 481 Oct. S.A. or S.A.B.) ..Sister M. Cherubim 311 482,..528 Nov. Vespertine Psalmody (Accompaniment 529 576 Dec. of) Bro. Raymondien, E. C. 24 Credo "Missa Solemnis" (S.A.T.B.) Reprinted From The Caecilia M. Nicola A. Montani 351 Kyrie, Gloria, Credo Missa Tertia- . The Popular S.A T.B. ad libitum M. Haller 401 HQUESTION and ANSWERH BOX o Sacrament Most Holy (S.A. or Conducted by V.Rev. Gregory Hiigle, S.A.B.) Sister M. Cherubim, O.S.F. 415 O.S.B. Missa "Spiritus Domint' (S.A.T.B.) Conception, Mo. Kyrie and Sanctus N. E. Fox 453 Tollite Hostias (S.A.T.B.) Most Common Questions Received C.St. Saens 458 During 1933 and 1934 Cor Jesu (S.A.T.B.....Joseph J. McGrath 461 Now Published in Booklet Form at Tesu Dulcis Memoria (S.A.T.B.) 75c per copy under the titIe- Joseph J. McGrath 462 Daily, Daily, Sing To Mary (S.A. or HTHE SPOTLIGHT ON S.A.B.) ....Sister M. Cherubim, O.S.F. 463 CATHOLIC CHURCH MUSICH Respice In Me (T.I.,..T.II,..B.I.,..B.II.) McLaughlin & Reilly Co., Boston T. G. Gahagan 502 35{ To Tlte 8eltola C(JnfQrU/ll of Mf. Sf. Mary's Seminary,$rnmi.tslJu1'g",Maryland perfOrniedat'iheSO~letYOf St~Greg- Jubilate Deo ory Convention, W,ashington, D. C., 1934, In the presence of the, ;Most ' , Reverend Apostolic Delegate. J. LEO BARLEY Moderato

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'. - - ] mf '~:: :u. __ r-.-. r-- r u. I ....

...... -...... I ~ ...... ­ .~ .... - ,...- . ~- = ,- .- .-- ..... r..."I' '" -- ~ - ,...... "" - -- -... - - - -.I - .....-- r '" - - - ~U - te et na ..... ra - bo vo - te It ~u - dr ie I -I I .. ---- .. ,0 ..g. .. ~ ~ ~ .. mf I Il _I _;; ... _ ,~_ r- __ J I I r:J ...... - ..... -.. .- .- - .- r... ,. .- ...... - - -- - r-" r - r- - -I ~- I I I - mf ) ~ ~ I ~ 4 ~ .,JJ. .- r-'- I·; Ir' - - Iiiiii------Ill. r-- - - - ' -I- ---I U I - - I I ra - bo YO - bis. Om-nes qui ti - me-tis De - UR1, __'_ .u. I --.. I .-tJ ., I I , ...... ~- ~",;.,.- .- .... .~ .. - .... - ., r- -_ u - - .- !~ m! I '60. ••• -.. r- ,..- - ••'MI ~'.'~~ .- r ...... - -' - _---..L..-, ::-...... -.J - ,I 1 I I I 1'a - bo vo - bi,~ Om- nes qui ti - me - tis De - urn, I -- I ~~:: '" r -. -.I - r-- - .- ~ ...... - fl.,. - ~- - - - - ;~ I - l I I I -'- - - Q ra - bo vo - ,bis. ,., ~ ,. ,.....-" "- ... - ... -- . - - .-.:. t.J GI - ~ ~------~~ 1'- - I .J J I I -I- '6,..,.. III ~- .-. :..;.] - ~ "/P "lI:: - --_. - --- ...- -~ -..:1'. r - . • • ./ ------'I P I U- 1 I

t.J ~ f _. ,.., .- ., ..- .-. ,.. t"'" r-- .~ '1"1' - - - - +ffi~~ U I ~ quan- ta fe - cit Do - mi -nus a ni - mae rne ., ae, quan - ta fe - cit· ~. - ..- ., I l I I I 1----:':" , _. r~ . ., ,- r'J - -- ~~ ·u - I I- - -- I f ,~ ~- ,.., .-. .- ...... - ~ r- ,..-- - . ~ ~ I U. - - - ~ .... - - f=f-~-3 I I- I r I - quan - ta fe - cit Do - mi - nus a - ni - mae me - ae., quan- ta fe - cit I.. -.- ~~:: . - ,.... I ..... t- . -~ .... or .... - III! .-I .....-.I - J==E~ D .,- I I F ~ ~. t\ I I I I I I J -~ J J J. J -'-'I , ..., ..- . -- -~ "- . - j: - -, .... - - -- u r ~ I f I L:...J I r 'I f~ ~J J -..... 1'------.- 5 J ...... -- -- ,., -LJ. -- .... , - .------r ...... - , ...... -- ..:!':. - - '==r.z==:::-~ - I I I r I r I I I I I 354

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= mf~ ~ r-. .- -~ .- 1""1 .... .- ..- .... - ••'. WL - .--- .. .. - ./ - - I I , Do .- mi- nus a - ni - mae me - ae. Al - Ie-Iu -

I ""'-_...... ,.. , ,.... I- .. .;;- '1"1 .. - ,~-- - ) r I -

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-=::::::::::= ,f ~

Ie-Iu ia, "aI- le Iu ia, aI- Ie - Iu - ia. ,f

Iu - ia, aI- Ie Iu ia., al- Ie - Iu - ia. ~ = ------... ,J. =

ia, al - Ie, - Iu ia, al - Ie - Iu - ia. ,/ .."

Al - Ie - Iu ia, aI- Ie - Iu ia, al - Ie - Iu - ia

.0.. .0..

M.kR.Co. 7680:- 4- Hymn of The Little Flower 35Ji (0 How I Love Thee,Jesus) ,Words by , Music by St. Therese of t,he Child Jesus Sister M. Rafael, B. V. M. Mundelein College ~ !i ~ndante SOPRANO , ~ ~ - , 1....;11 .----H

ALTO )u Andante fJ I I I I I I I I I

p - ~" I~ -~- , v rl .1 I-I

PEDAL ,~.:;- • -- - fJ , PI l l I , :I = I I I ... I r-1 J. pJ .-I , ... .-I -_. - ~.,."- ~ :.: , - ..,-_. ,..". v ...... - - .....-- ...... - ...------I - t.J I V V I I I ------II I r"1 I ------I- I 0 how I love Thee Je - sus, My soul as-pires to Thee- And t1 , IJJ ~ II ~. .- .. .. ::- ~ ,-.v .- __ 11- , - [}- . e". )u - -- - ~-_::.,/~ - - -'7 ~ .. 0 how I love Thee Je - sus, My soul as-pires to Thee And ,...... , ~ t ' I 'I I I' I I I J. _.- .- d ~ ~ Moll .-. .- r. .- .... - .r v .- ,-1- .-Ir~.. - -- - r ...-- ,-.v - - - - : J «J pr ~r - - I I I pr 'r 'j p . j .J } I I J J .J ,d . I J ~ . .. r~ r r- r- r-- _. -- - ,..". ,--, hi' -- - '/ v II -.- I - I - I I ~ i ,.... : .... .-I r. (JI - - CtI - 4 ~4-

~ J, , L _. I I I lo.. I I I rl _ I ,I 'I, ... .-. _. .. .-"', v- ...... -I ~~~ ~ ....-. 1""\- - - -. ... - ...LJ t.J - - -- - I r 1 - -=- I I ~F---r- P I P r r- 0 yet for one day On - ' ly My sinl - pIe prayer I'll pray. ~ , ~ ';- :; II , - t==I )tJ p"...... ~ 7f ~. q~J 7· ....; ~ ~ - '0 yet for one day on - ly My sinl - ple prayer I'll pray. - ~ L t' 'I 'I I I ,I v J MoJ ... ~ , ,...... l.- Lo y:... r~ ...... - r-, ...... r~ r- 'Z • .-I '- .v - .. -- ---e------I - -- -- J tJ I r I I r i -r ~ .J .J. .~ ~. ) i ~ ~ 1 IS. . ,.,.. J/ r- - , Mo r-' ~ .. -r" v II -- . -- ./ -- ,.,. - - t.J fJ"· .. llr ... - I~I- ---rI ...... _ , v .... 1.01_ --, - ~e" -- • - -& M.leR.Co.773-2 Copyright MCMXXXIV by McLaughlin ftc Reilly Co., Boston 356 - Duet for solo voices 0, . smile . ten-der-ly on nu~, .. ..-= ~ .~ t1 I _.I t\ I I ~ I ~ I L. I _ a. J II. I"" _...... " - ~ ..- r~ -"...... • r ...."" - - - . · - -. -- ~- .... --... r: t.J I r, L..J r r' r- vr· , ~ ~ "p r r r' V I Come and reign wi th- in my heart, O,smile ten-der-Iy on me, ~olo r1 I II " .- AJ • r.,.·""... I l"". ',,"v· - - -- . DtJ . ..-: ~ ., , I ' - .J . -I ,I .:... -I 'l. ' 1 ,...., . I r~ ...... - ° , - ~-I 11II-...... - .- r~ " ... {~'_;;'"k"II r~ - r,j - -.-. - .- .- - - ~ . - I - I I .~ I I .' ~J J ~~ J JQ 1;JJQJj~ J r~ J ..r-'" ...,...... I""" 11II-- - w ...... - - r,j r~ r- I ...... , .... -- I I -

---_.----- _.- :::::::=::=- ".,.. .. -=

- ~ I ...... , ...... ,...- . • .. ~." :;). ~

Cho. -r~p~ pp ml =='. " _r1 vL miD I I I _. ..- r~ " ...,.. - _. ~ ~...... - r~~ II . .- 11II .... " _. - - ,...... 'iJ ------.- - I' ,\ r' \ I I I I -I Smile ten- der':'ly on- me, 0, come and pp pp fJ I mf ---==' p ==---- mt = (I ===== ""- II 1""0. Ito. L ..... , . ~ • -r:" .... _. ...,.. ..- ..... )t) t1.,_ ~ -,tJ 41· -f9- - .,- - - - ,Q. • - T come and reignwith-in my heart, Smile ten-der-Iy on me, 0, come and fJ I. 1 1 I , I 1 I ( " ....(I , ...... - .r r~ , - 11II_. y~ ~ . · " - ... ~ r~ ,... - - -~. 't.J v'! '-- ,- I " • - 1- ' mj r· pp mj ...... j. iI..,..• -~ • .t •• II --- ,... r~ • I ...... - '- II - .. " I'" -- - r I .t

.. II I .... . , ------

I":', pp-==--- !":'. )fJ J Ifj. I 'I P 1-= =- II ---=-=---- I...... " ~. I. • P",",,'" _. - .-I. .-l I• tf I""" ..-- .... " - .-. " .-I ...... I. I I r F r" r- r F f Pf 0- reign v;ith - in my heart to - day, dear Lord, to - day. ~ .,1 ' p I":', pp:::::==--. I':'. '- ===--- I. .... -- = I• • r II ./' I• · I. , . )t.J 4" ... ~4i ~ ~~. ~ -; ~. ~ - . ;J.. "tJ" reign with - in my heart to - day, dear Lord, to - day. ~ I n· I I I I":'. I":', II r " _. , r~ - ... • ..- - .,..; r~ v .- . ... - c; '-J J - - .5- 1_r-L r F_ :=1- P# i- 1-. J 1":'\ PP:=:= (.: "II;, .J ~J. J L.J. ,J. -J .I .. I ~ .- - ... - - "..., ,...- r~ ... I .... r. • -- I'" !"""_" - r-~ -~ - - - I I I I I I I I -e- 1'- .... I.' : ...... -. ',' ... ::' U -- ,~- M.& R.Co. 773- 2 857 To Christ the King For S.S.and A.

Words from the Psalms XCVI, XCVII Sister MARY RAFAEL,B.V. M. Mundelein College

ALTO

ORGAN,

Lord King of glo - ry ev - er - last - ing The

Lord of glo-ry ev - er - last - ing The

II r =- - :: ~.IJ, j I' I l ~ 1 'I= I ~w ~ .-I ~~ . .-I. .-I .-I • ...., .-I '011[ •• -..; . .. . r-I .J. -.--- - -. - ....- - - U 1 I I- r r r -r- I Lord doth reign, Let the earth re - joice. ~ ,~ .- .IJ, = II. .... -=:- ~. .. .-I . .-I. -.liP' .J. .. "T7 -, .-I. -=- "'" .- • ------rr- Lord doth reign, Let the earth re - joice.

~ .IJ, n I I I I I .-I n. -:;;r .-J :::--- - .-I " ~~, .-I " .... """ '4!1' .. {~- ~ '-- - - -WI' ~ .. - ~ - 0 -- . 0 - ¥f--f """ -1.---1 .. -• 7:7" T .I I I I I -I A -~. .-I , II - ~~...-r r:J. , ~. --:. 'rT"I .-I ~ -" - - -l • .-l .-l JI' - -- (7 -6- ~ ~. - """ ,t)

M. & R.Co. 772-4 Copyright MCMXXXIV by McLaughlin &: Reilly Co., Boston 1"; . ~"

Solo 01' Unison Chorus

} ItJJo mil 1 1 l 1 L. Iil' -.. ~ --.-_------..M. -- u ------Sing joy - ful-Iy un-to the -a~ r_------DU • ~J I 1..1 . ~. Ii JJ, j .J -f#- 1 I I . l "I ~ r-~ .l01I ... _ ,. J ~ ~ (:~ -J- ~ ...... - "..J }U I --a - ml" I I I ..0.. u. -~ - J! U. ~~ "I' .-I ~ "7 -= -~-= i/' ~ ;,.c. ""'" -- --...... -- - tJ --""" -- .:::::. ;t ~ - r r r r I I =

Lord our King Let the sea be nloved and the ful=- ness there- of! The,

Let the sea ·be moved and the ful - ness there - of! The

Solo mf

shaH re - joice pres- ence of the Lord. Sing

shall re - joice At the pres - eIice of

M.& R.Co. 772- 4- 359 ,~'

~ , It I l I -======--I lilT -_ - . ~ .-. ~ ~- -- -~. ------.... """tJ I -I -r r- -r -r joy - ful-ly to God, all the earth; Sing, re-joice,and ghre praise, ~ .-.u. . -~ --If_ - - - )U

~ ~ JJ, I I I I J. I I I ~-~- , -I .-J .-I -=- .-I , , .. r-. ---,-- ~- 1:0-'- '7 • .-I .- - .-4 • ... - - - 1~ I 0 - I - - - f j, r .~ I I j 1~- Ii L~"'~· ~ - .-I r--- ~- -e- I.. 1.1. ~:.- ..... -~'" - r.J ... -- --- ~ I ~ I I r

Cho. Solo 1'1' --~---~ p --======~= pat'empo

Sing and give praise, The p : , , = f

Sing and givel?raise, Sing ye, re-joice and give praise f

= mf allargando pa tempo

Solo Cho. -=:::::::= ~ J.I, I -~ I .... I· m . -.:;: ..... if .. .. --~ .~ ~ ,-or .-l -. - . - .-r- .-I ..-I.'" .-II .-I • -.If' - --- -"f;iI - l:7 - ..... -- --- I I -- u r I' . 1 y 1 ,. Y i r- King of Kings sits up - on His star-ry throne, Praise ye Him, Praise ye Hinl The ~ -==== -~ f::::==- r:'-. ...J.I, ...... ~ .a. - . -JOe" .,,------p-- -, -- bU T r r I Praise ye Him, Praise ye Hinl

~, fJ. .u. I I I I ... , -. , .-4 ~ 1- .-l .-f .-I • -I .-l ,. -...., ~ - -..... -..,- .l. ,~- ., ,.... ,.'"

M.& R.Co. 772-4 360 Chorus mJ :: J l tJ.,U II I -. -. ~. ... ~.- .-I. :; ,... -.I 1:1- II!!'!' _. - .,. rp - - \l ...... v v - v- iJ -r r I I King of Kings sits Ul? - on His star-ry throne, Praise ye Him! a~ ml ...::./ -= -....;;.. ... -.---. - - - ..3. I DU I Praise ye Him!

~ .u. -....:.... I· ,I .I I~I ~ ...... ,.. :~~ ~ ,- -:= '- -=- ( ~ -...; ...... / . -- ..,. -- n 'IiiiII[ I"'I - -- .~.; -- ~. r------~ ~ r r. - ~~:- I ~ , ... ..- .-I - -.-I- .", - - .-- .jj: "i~ - -'-if I -i."

Praise be to Thee 0 Lord

Praise be to Thee 0 Lord

A II )It.u. I ~ ~ ~ ~ .~ ',J~I= I I~ III':'. j -...-, rw -~ J - ...... -I .-I .-I ..-1 ... r- ...... ~ , - .-r .~ .~ . .'- -- - = ... ,. t] - -,., - r~ r r r'r I I I King of glo- ry ev- er -last- ing. A ... men. A - men. --It .u. 11;- -=::::::;::: II·~ r .. _ -. ~ ....-- ...-- ,. -- ..- --..:l:. , ,. ". - 'T ".-1. -, .,., '7 - . ),.J 'Y"--,., r - r- '--" '---"'" King of glo-ry ev- er ... last- ing. A ... nlen. A ... men,

It .u. I l I I I ~ I I~I t":'. .-I -:;;;r '7 .~ J .=- ""'I I';"';: • ~ ,~ =..•. ... .~ - " ~ _. -t J.oII: • ..3 - ... ~ .... ------,...... ,. ., Q Q ~u ------I 7.7 f -- ~. II :: : II( I':'. ) f':j. I n' .- I -,-..,...- .... -...;I' . . ( ":.. '-..:1' .... 1- ~ " w ~ -- -.... 4 I - - I I i r r I I

M.&:R.Co.772-4 361 3. Jesu,dulcis memorIa SISTER M: CHERUBIM, O.S.F. Op.20,N~.3 ...... ::======

Sed su-per mel et Quam bo-nus te quae-

a, - bus! I

sed su-per -mel et 0 mni­ quam bo-nus te quae - ren - ti - ~

o mni a, ren ti - bus! ~.I I

- ~ - ~ - ..... a, et 0 - mni- a, bus,quae - ren· -. ti- bus!

P jf It ~. dl I J~ rl I I I

I I

Copyright MCMX,XXIV by McLaughli~ Be Reilly Co., Boston 362 4. Tantum Erg,o Sacramentum

SISTER M. CHERUBIM,O.S.F. Op.20,No.4

go era - men - tum, ri, ni - to que,

mur cer ,> - Et an­ hi - Ia 0: Sa - Ius,

quum eu - tum No - vo nor, vir tus que, Sit et f "-- .~.

.M.8cR.Co.764 Copyright MCM~X.:XIV by McLaughlin &: Reilly Go~,Boston 363 :

Prae - stet fi-des sup-pIe- 0: Pro- ce - den-ti ab u- ,1

,. I L __t1 ~ l~'~ I I I I: II II I I ~ ...... - -... L• ,I.r or .... .- .- r.J • ,..... r.J - -r-~ • I. Y - ,- ·,. -.J .I I I~r- - I r I -I I r C men - tum, Sen - su - um de - fe - ctu - 1. tro - que, Com - par sit Iau -

__~.u u. .... oJ .w. I ,. , u. Ir-, _..... • I. .-I .,.-1 r .. .-I .-I - )«J --.....-'- ~-1f-- ..,- CI~- • 06-

~.u. ~ .I .I ·1 ·1---.:.1 I .I .I .I .-I ~ ,~ ~ ~ .- I ...,. - :.J .- .- - ...... r.J ...- ...... , - .. -,- - r - - · :, tJ . I, I I I I r 1f r I "'r I r r i ,~ ~J J J J J J 1 " .- ) I"" t -:~- ~rr! J.lo. . ----- , ..... r.J - .., - ,,~ - · ~ - !:.I I r~ r r I I I I

A men. f.~

men, A men.

~ -& men, A men.

M.& R.Co. '764 364 .Glory to Christ the King . (Processional) .English Words by MICHAEL von ALTENBURG WILLIAM ARTHUR REILLY . (Ul83- i640)

I ~I I I I' ~ ~ /1 j .. ..,.-l I "- . r~ "~ ...... ~ ,-. .- .... II ,"' \J .£ "- r.I --.... --.... 7 -= - """ u I ~I I· . ·1 r u r Glor - ryr to GodI __ GIo - ry to God! Christ ~ I I I I I '. , -= ,..,...... -. ~ , .... -. >4: --;;;;;:"'" '-" .-. ( " "'" -.... -IJ' ~' -. j rr r I ,I r r u r ORGAN fU I IJ J J .n. .; I 'j ~ ., ~ f.<: ....• :.~ r~ " . -;- -~ .JI' '- " I I I I I

Christ is-_ our Lord! GIo - ry to

J

1\ I II 1 I I I I I ~ J J...-.....l .-I __ e -. J."(,. 7 ~ I.L~ , TJ -- -- U I -----..---,--- I I -r T *(.J God, How won-drous, how won-drous His works.

11 I I I I I I I ,..--....1. I I I I' .-I ..... , ~~ ~.J --=- -r.J - - - '-" (i! - - ""'" '7 -=--...... T f I I T I TTl ~J ~.J .; fV -e- J .J J ~...... ".J ., . -101 -, -= - -:;:- -- 7 ...... - J- I - I I I I I Ill/ 11 I '1 J~I 1 I r..J .-I ., ., .-I ..... , -~ .,. .-:-. ~- "'" - ...... ,,--- ..- u . I r, r I ·T I King in Heav - en, and King- on· earth, He

~ I I 'J~I 'I 'I -.., '7 , ,,. .-I' .. I .-I . , -.--.- .,. .,,- ., .,.. .WI - ....'-JII' -...... -- I 1 'I.- m/ I ~ 1 .J~ ~,~' n. ~~. ,= lIr" J J .,. .,...... _.- -. .-. -= 7 r.I "1'0'" ~l ... , ,.... '- r.J ,. -:7 -- """ -. - T I I - I I 1 - I I M.&R.Co.776-2 Copyright MCMXXX-IV by McLallghlin & I,teilly Co., Boston 8·65 ::

earth.

~ I ~ I I I I I r,j r d "JI "- r.J aw .... "JI ,~- .'- I'll -. - r r~ ':J ~ ,., - ,., .- - t) r I I - I I r I I I His pow - er is e - ter - nal, His king .' dom :> . I .I ./ .I ~ I I r.J . J I "JI r~ .... r~ -- ..-' I'll ...... aw '\.. ~ ,., - - .- t) I I -... I I } --====:::' I=- L J ~. -,j ;.- I 1 J ""' J J '~ -- .. - i .- ~ -:. '~ - r.J - r- - I " I I I I

through the

~,j II :> ~ I ,I I ~ I I , - r.J, _. r .-... '~ ..: --- - \.. r~ ,.... ,., l- -. lIlW - .. u II~r- I I I I -~r F day He is our Sa - viour Di - vine.

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M.te R.Co.286 THE CAECILIA 371 Music Appreciation By SISTER MARY CHERUBIM, O.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; The grass of yester~year Is dead; the birds depart, the groves decay; Empires dissolve, and peoples disappear; Songs pass not away. ,-BREWER.

1. ORIENTAL MUSIC exaggerated this method of singing is, the greater is tne merit of the performer. Pre--requisite: l...napter One Arabian music fell under the ban of the The music of the eastern countries is called Prophet lYl0hammed, who had said, "Music Oriental music. Oriental music is of great an... and singing cause hypocrisy to grow in the tiquity and sounds peculiar to our ears. heart, as water makes corn grow." Thus the Much of it seems strangely out of tune. Mu... songs of the Arabs were in those days a sort sic is found everywhere among the Oriental of recitative followed occasionally by a light people, and is considered of great import... refrain. Restricted in its subjection to the ance, especially as a part of religious cere... words, Arabian music made slow progress monials and dances. untiLJhe reign of Caliph Ali in 656. In Mo... Broadly speaking, Oriental music is pre... hammedan countries, at dawn of day, at dominantly sad. The peculiar character of noon, and at sunset there resounds from an Oriental music lies in the application of the opening in the tower of a mosque the voice scales or modes used by these people. The of the muezzin (priest) calling the followers effects of these scales are often weird and of Mohammed to prayer. The tune of this strange, and the constant use of embellish... call has come down to the Mohammedans ments adds to the peculiar primitive errects. from ancient times. While some Oriental characteristics are Let the class hear the "Mohammedan Call found in European folk music, the music of to Prayer", and the "Prayer to Mohammed", the eastern countries has not been influenced as recorded on V.R. 25003. Note the nasal by that of the Western W orId. For cen... tone quality, the drawling from tone to tone, turies little change has taken place in Ori... and the recitative style. ental music. Arabian music of today is prac-­ Arab music comprises only melody and tically the same as the musical utterances of rhythm. Arabs know nothing of harmony. the Arabs that lived in the Middle A~es. For them harmony exists only in the rhyth... From Arabia this style of music spread to mic accompaniment of the drums. The arum other Mohammedan countries. In Egypt, AI... is the most important of Lie native Arabian giers, Morocco, and Syria many old Arab... instruments. Various sizes are found. Some ian tunes are to be found. The Oriental tint are round and others are square. The square... giving Spanish music its peculiar character shaped drum is mostly used by the wander... shows Moorish influence. The combination ing Arabs of the Sahara. An Arab singer of Magyar melody with Oriental gypsy mu-- will easily dispense with a melody... playing sical characteristics gives us the' type of mu... instrument, nut the drum for beating the sic called Hungarian music. Returning Cru... rhythmic accompaniment to his song he must saders of the eleventh and twelfth centuries have. If a drum is not at hand, he will sub... brought many Arabian tunes into Europe. stitute for it by stamping the beats with his The early Arab musicians seem to have feet and marking all kinds of other rhythmic been of the minstrel type, who, like the west... patterns with his hands on a piece of wood. ern minstrels, were poet... musicians. Of these Historians say that we are indebted to the Arabian minstrels the most famous was Ma... Arabs for the Kettle... drums or tympani used bed of Medina, who wandered all over Ara-­ in our orchestras. bia. The Arab uses a nasal method of sing... A common orchestra of the Arabs com... ing, and slides from tone to tone. .fhe more prises a rude flute called gosha, and various 372 THE CAECILIA sizes of drums on which musicians play a pIes, the Chinese use music only for religious kind of rhythmic harmony. processions, and their Buddhist priest sings rThe tirst musical instruments in the West... some sort of rude chant, but the solemn reli­ ern World were introduced from Arabia by gious rites in the temples are conducted in th~t the Crusaders. The lute of the lVIiaale Ages, grqve silence. It is said, however, when t~e the ancestor of the modern guitar, mandolin, the gods came down to China beanng banjo, and balalaika, is descended from the gift of music, they failed to teach. the dIS­ Arabian oud. According. to some antiquar... crimination between music and noise. From ians, though discredited by others, our mod... ancient times native Chinese music has been uni?~u­ ern violin' had its origin in the ancient Arab... noisy and unmusical. It has been lett ian rebab. The Arabian drum, oud, and re... enced by western civilization. To the ChIn­ bab were brouqht into Europe oy returning ese, his music does not sound unmusical, but Crusaders. has the power to soothe his sorrow and grief, to make his heart beat faster with joy and Let the class hear the Oud Solo "Takasim exhilaration, and to inspire him to deeds of Nahawand alaI Wahda" from V.R. 73466... B. daring and valor. Pupils should note the rhythmic accompani... ment executed on the body of the instrument Confucius, the great Chinese philosopher, by the solo player himself. taught that by the music of a land one can know whether the people are well governed, Arabian dance tunes are of various types. or whether they are of good morals. He gave Some are slow and sentimental; others are music a high place for its social power "to brilliant and impassioned, accompanied by makethe whole world kin." strongly accented rhythms played on drums. The dance tunes are usually sung by the Chinese music is mostly instrumental. Arabs, who by their music express the most There are seventy... two different kinds of re... ~he ~argest varied feelings. In Algeria we may_ find a cognized Chinese instruments, singer pet.torminq to a calmly listening au... number of these being perCUSSIon Instru... dience. Presently we see that the women be... ments. Drums are of all sizes. We find big gin to stare and breathe heavily. Slowly drums, little drums, middle...sized drums, they move an arm, then a leg, while turning round drums, square drums, etc., etc. Other first slowly, then faster and faster, at the percussion instruments, such as gongs of va... same time leaping into the air, until they fall rious sizes, cymbals, bells, castanets, tam... exhausted to the ground. bourines, and other noise... making instru... ments, are also found in abundance. Drums Many Arabian tunes have been modified and gongs are most in evidence at ordinary by musicians of western countries, and our funerals, weddings, and theatrical perform... system of harmony applied to them. Let the ances. class hear "Danse Des Almees" from V.R. 22173. Although Chinese musical science treats chiefly of stringed instruments, the firs.t im... Also play for "'the class "Danse l\:abe" pression when a '-.Joinese orchestra hegIns to (Dance of the Arabian Dolls) from the .Nut... play is that it consists mostly of drums, cym... cracker Suite" by Tschaikowsky. It IS an bals, gongs, and other percussion instru... imitation in modern form of a characteristic ments. Arabian dance. Note its minor mode and The most honored string instrument is the the employment of florid passages. V.R. ch'in (pronounced "jin"), also known as kin. 6616*. The name implies"restriction." The Chinese The music of China is so old that only leg... believed that its influences could suppress end and tradition can tell of its origin. Long evil passions, purify the human heart, and before any other people had a system of guide the actions of the body. It :was, there... musical sound, China had her Bureau of Mu... fore, highly venerated by the ChInese. The sic. The earliest Chinese scale dates back to sages alone were allowed to play it. ,The 1500 B. C. This scale has only five tones, present... day ch'in has seven strings. They and is called the pentatonic (five...tone) are plucked with the fingers to produce scale. Later the Chinese also began to use a sound. It is very difficult to play upon. scale similar to our chromatic (half... step) A more common string instrument is the scale. three... stringed fiddle called hsien. This in... The Chinese believe that music is a gift of strument, with its rasping sound, can be the gods. It plays an importan.t part in a.l ... heard in almost any Chinese village. most every activity of Chinese hfe, except In The most important wind instrument is the their religious functions. Unlike most peo... cheng. Its shape resembles an old...fashioned THE CAECILIA 373 teapot with the spout serving as mouthpiece. Modern writers of Occidental countries Into this pot-shaped reservoir seventeen have written music typical of the music of bamboo pipes of various lengths are inserted the Orient. Let the class hear "Danse at the top and played by the wind blown Chinoise" (Dance of the Chinese Dolls) through the mouthpiece. This instrument is from the "Nutcracker Suite" by Tschaikow­ supposed to have Jirst suggested the idea of sky. It being a dance for toy dolls, no hea­ the reed organ. vy.... sounding instruments have been em.... The most common wind instrument is a ployed in the instrumentation. However, sort of flute. Itis a simple bamboo tube with Chinese musical characteristics can easily ten holes. It produces harsh, piercing· tones. be recognized. V.R.6616* The wind instrument of a Chinese arches.... The music of Japan is similar to that of tr? that succeeds in penetrating through the China, yet, it is distinctly Japanese. The noisy percussion instruments is a kind of Japanese are great lovers of music. They clarinet. It has a copper mouthpiece, and possess many tunes and songs that are very the bell on the end is also copper. Peculiar old. An ancient Chinese song tells of how tones are sometimes played upon it by the some two hundred years before Christ musi.... nose. cians from China came with their music by Chinese brass instruments are few. We way of Korea to Japan. It is thus assumed find a horn or trumpet with a shaft that can that Japanese music is of Chinese origin. be lengthened and shortened like our tram.... However, Japanese folk songs are of a much bone. Its tone quality is gloomy and sepulch.... more distinctive type than the ancient tunes ral. There are various types of this horn or of the Chinese. In symmetry, balance, and trumpet. 'l'hese add booming sounds to the design, many of them are surprisingly simi.... Chinese· orchestra. lar to those of Western peoples. Also, while Let the class hear "Chinese Orchestra", in China instrumental music is· considered of V .R. 42480. This recording is an exceuent greater merit than vocal music, the Japanese representation of the Chinese orchestra with are fond of singing. 'they possess many folk its noisy and harsh effects. Let pupils note songs. Among these the national anthem is the flutes, the bells, and the gongs. If this given first place. It is sung at all important record is not available, then use for illus.... celebrations that are of national character tration "Tao.... Yin March", as played by the and also on other festive occasions. Ancient Victor Orchestra, V.R. 22173.... B*. Though Japanese songs are intensely serious and less typically Chinese than the first number melancholy. 'Their ancient dance songs also stated, it gives a fair idea of the character ar'e grave and void of hilarity. The singer's of Chinese music. voice is trained to sing far be?,ond its natural Vocal music is not given a high position pitch, both in the low and high registers, in China. The folk songs are a peculiar making it sound harsh and rasping. This high nasal whine. The words are not pro.... voice quality, together with the intensely nounced distinctly, for the singer's lips and melancholy mood of the ancient tunes, pro.... face remain fixed and motionless. The im.... duces a weird effect upon our ear. pression is that something inside the singer In their temple worship of Buddha the is making the noise which to our ear does Japanese sing a monotonous chant or one not at all sound like a song. Many Chinese tone accompanied by the sound of cymbals tunes have been handed down trom ancient ana gongs. times. We know of one tune that is very Japanese music of later years is less seri.... pretty when sung in our style. It has been ous, and some of it is not at all unpleasant to set to English words, and harmonized ac.... our ears. cording to our system of chord progression. It is entitled .. fhe Jasmine Flower", and ac.... Play the Japanese cradle song, .. Sleep, Sleep, dear Child", as sung by an American cepted as a Chinese cradle.... song. Let the class hear this tune from V.R. 20395*. singer on V.R. 20395*. Present.... day Chinese boys and girls at.... The musical instruments of Japan are tending schools conducted by European and very similar to those of China. American missionaries 'show talent for both The samisent a small guitar, is the most vocal and instrumental music. A traveller popular of all Japanese instruments. It is a may experience the pleasant surprise of great favorite, and is in evidence every.... hearing Chinese children singing church where. hymns and school songs in a pleasing and The biwa is similar in shape to the sami.... musical manner. In instrumental music the sen. Its use is preferred in accompanying Chinese young folk also show marked talent. songs pertaining to deeds of war. 374 THE CAECILIA

The koto-this is probably the oldest ragas for the day and ragas· for many string instrument of the Japanese. It is said other special occassions. The. natives be,. to be derived from the Chinese cheng. lieve that to sing any of these songs The fue, a flute made of bamboo, is a very out of season will bring misfortune upon ancient wind instrument. It is about the them. Leqend tells of a Hindoo noble~: same size as our flute, and, like it, is played man who sang a night song during daytime, on the side. bringing black night over all things within~i The shakuhachi, a wind instrument, has the sound of his voice. a round full tone resembling that of our clar,. Music plays an important part in Hindoo inet.· It is played mostly by the blind. The ritualistic ceremonies of worship. In Ceylon shakuhachi and the koto are best suited for (India) on each night of the full moon/from music of a quiet and serious nature. dark to dawn, the texts of the sacred books Drums and gongs are of various sizes. are chanted Dy yellow,.robed priests of The temple gong is large, and produces a Buddha. This custom has prevailed for all deep, rich sound. of twenty-eight centuries. Play HProcessional and Dance" V.R. Dancing is also very popular in India. 22173,.B*. Girls are especially trained in da~cing for performance at social functions. Since 1880 Japan has been greatly influ­ With the Hindoos instrumental music enced by western civilization, and has made held almost as high a place as vocal music. m.arvelous progress in its music. Though Songs with Sanskrit text accompanie.d by the musical accomplishments are still far be,. instruments are believed to instill heroism, low the standards of those of western coun,. rectify the heart, and banish evil and harm. tries. modern Japanese musicians may yet Hindoos prefer string instruments. Of reach a high position in the art of music. these the most characteristic is the ancient Music of India. like all Oriental music, vina, a purely Hindoo invention. It is us,. s_ounds shrill and out of tune to our ear. ually made of a strip of bamboo, with five Most of India's music makes the impression or seven silk or wire strings stretcned from of sadness and depression. Even music that end to end, and placed over two or three accompanies joytul festivities sounds sad to gourds "that serve as resonators. Sometimes a western listener. The songs are always in sound'is produced by plucking the strings, minor, and pitched so high that the shrill and sometimes by drawing a bow across and weird effect is very unpleasant, yes, them. If a picture of the ancient Hindoo even painful to listen to. vina is available, show it to the class. There are seventy... two different arrange,. Our violin had its origin in the ravana~ nlents of Hindoo scales. These scales com,. stron, an instrument of Ceylon, said to have prise not only half,.steps, but also quarter,. been invented by a Hindoo king about 5000 steps. The range of notes that we call Oc,. B. C. tave contains sixteen notes, and. according The sitar, an instrument like the lute, is to some historians ,as many as twenty,.two found in many varieties in India. Various notes. From this it is evident that Hindoo kinds of viols are also used. melodies cannot be played on our instru,. ments without changing many notes. The Hindoo flute, so legend says, was given to the natives by the goddess Inda. . According to Hindoo legend the gods The Hindoos believe that this goddess gave music to the natives of India. To the dwells among celestial musicians who play present day the Hindoos use music to ap" on magic instruments and sing magic songs. pease the wrath of the gods, to plead for rain or sunshine, or merely to please the Other wind instruments are bagpipes, gods. Almost all activities of the Hindoos crude trumpets, horns, and oboes. are regulated by some religious superstition. Percussion instruments are tambourines, In India you may hear continuous singing cymbals, castanets, and drums. and beating of drums for several days at a The Russian composer, Rimsky,.Korsa,., time to obtain some favor from the gods. kow, wrote a composition entitled HSonH of Songs called ragas or raginis are believed India". The Oriental flavor of this work is to be under the guidance of speci~l gods. very pronounced. Let the class hear it. Play These sonHs can be sung only during the "Song of India". V.R.45531. special seasons. Hindoos have ragas for If this record is not available, then play the rainy season, the dry season, the cold HOrientale" by Cui, V.R. 1354. This com,., season, the hot season; ragas for the night, position also has strong Oriental flavor. .mE CHURCH OF flfit£ etEsSED SACRAMEN: THE CAECILIA 375 GREGORIAN CHANT ACCOMPANIMENT LEO P. MANZETTI (Concluded) AI] the pre~eding questions being disposed ing its modal, diatonic characteristics. Good of, httle remaIns to reply to the minor tech­ organists are not at pains to adapt a proper nical points raised by the Rev. Carlo Rossini, accompaniment in free style with the various before the historical question involved be melodic forms of the Chant. also elucidated. Naturally my objector does As far as its essentials are concerned there not always advocate an homophonic accom­ never were two different styles of Gregorian paniment. He himself made somewhat of a Chant. At all events, what right have modern tentative excursion into a contrapuntal form of hOIllophonists to partially discriminate against harmonization in his Proper of the Mass. any of its essential characteristics? Why throw Were he to hold exclusively to homophony he overboard its all-natural melodic character, in would openly contradict himself. This, how­ order to counterdraw from an emasculated ever, he really does in principle. If the mel­ form of the Chant an hybrid sort of accom­ odic accompaniment, that he has been boast­ paniment that will represent but its second­ ingly deprecating, is necessarily "overpower­ ary features of diatonism and modes? Is that ing" and constitutes an "elaborate" affair a intelligent and honest art? Would it not be contention which he has made the gist of 'his more "convenient" perhaps to disregard them article, I ask in the name of logic, why does all and cease perpetrating an artistic contra­ he admit it at all even if only occasionally and diction? There is no architect who would then why all his indignation against it in his build a church in one style and the steeple in article? I should rather advise that no such another. Therefore one wonders why the musical contradiction be perpetrated for any "modal, diatonic system" alone has to be re­ ~eason whatever. What is essentially wrong flected in the accompaniment in preference to IS always \vrong no matter in what dose it is the melodic. Are modern organists perhaps administered. Both are equally poison whether more proficient in diatonism and Gregorian it be a hundredth fraction of an ounce or a modalities than in the Chant's intellectual, whole pound. The quantity only is different. melodic feature or viceversa? It would be In art, however, the quantity is negligible, it interesting to know how many of the five is the quality that counts. The case is the hundred organists of the Pittsburgh diocese, same as with chromatism in church music. examined by Dr. Ros$ini, have given a satis­ You hear musicians say that they realize that factory exhibition of being thoroughly con­ it carries no religious meaning whatever, on versant with the system of its authentic and the contrary; yet they make some use of it just plagal modes. to please or perhaps placate the public taste. Yes, there can be a certain material smooth­ What manner of religious art is that? Shall ness of legato style in the interconnection of mere expediency guide the church artist? No block chords whenever the common tone is secular musician who cares for the purity of kept stationary and the other notes move to his art would leave one single note of his com­ the nearest of the next chord, otherwise there position out of place. He feels that his repu­ is none as in most modern music. But it tation would be at stake, unless, of course, he must be stated that such interconnection is is an empiric and plays to the gallery. only material when compared to the syn­ Thus to hold, as Rev. C. Rossini implies, tactic, hence synthetic, coherence of har­ that one Gregorian melody would suffer more monies resulting from the melodic forms of than another from a melodic accompaniment passing, appoggiatura notes, suspensions and is mere talk. Of such sophistry is the follow­ retardations. Here again melody proves by ing: "The organist may take the liberty of far a more introspective and efficient factor in a choice between organ accompaniments of the creation of an intellectual legato style of different styles, as long as they reflect the accompaniment, for it then. partakes of the modal, diatonic system of the Gregorian mel­ very legato nature of the Chant itself. odies". If the organist knows anything about The same must be said of lightness, the op­ true art and sense he will take no such liberty posite of "overpowering". There is no light­ of mixing up his styles, even if graciously ness possible in harmonic blocks. Riemann granted by Dr. Rossini, but will select no was right when he said that melody is "diluted other than the one style of accompaniment harmony" as far as its individual notes are that perfectly reflects above all the essentially concerned, since it is read horizontally in di­ melodic system of the Chant, without neglect- rectly coordinated series of pitch units. Where- 376 THE CAECILIA fore lightness is affinitive to melody but not in Church circles up to the middle of the to homophony which moves by chords in nineteenth century. Sunol's-Method of series of vertical blocks. The word-block­ Plainchant-concurs therein with me. Now itself hints at heaviness and not at an "echo". in all that time, as far as the writer knows, Block chords necessarily give the impression not one Gregorianist, musician or churchman of something heavy plodding along at a clumsy ever arose to tell the world that such editions pace. In their dense simultaneous form, they were but a parody of the authentic version of are the very opposite of the swiftly moving the traditional melodies, until an obscure flow and scanty harmonic content of the Gre­ French monk, with the sole intent of reestab­ gorian melodies. Maurice Emmanuel reached lishing the Roman liturgy in France, unex­ the same conclusion when he wrote in the­ pectedly happened to be the cause of having Encyclopedie de la Musique-: "The eccle­ the Chant restored to its former technique siastical cantilenes, offsprings of the Greco­ and original beauty. Dr. Rossini may dare Roman melopoeias, also create their melodic to say that not all those musicians were on the harmonization by the emission one by one of wrong side of the question for over six cen­ their factors". Often, as Guido d'Arezzo says: turies, but he would have to produce a few "It is hard to guess at the beginning of a chant names to uphold °his assumption. Had any what is to follow, but once the last note is been instrumental in bringing about a restora­ heard we understand all that preceded it". tion of the traditional melodies before the time To determine, therefore, through definite and of Dom Gueranger, history would most cer­ complete chords a modality that is only mel­ tainly have recorded their names. No doubt odically and not fully harmonically established, they themselves felt more than sure that "it is to clothe Gregorian melodies too heavily would take some time to prove that they were when they should remain light and subtle. all wrong". Indeed it did take a very long Melody alone can truly transcribe and reflect time, but we know now that they were all a successively indefinite "melodic harmoniza­ wrong. Does not Dr. C. Rossini know it too? tion", for it is light of its nature. Is it also possible that Maestro Rossini may Moreover, if "for the benefit of the singers" have forgotten already about the so-called block chords have to save at least an "echo" of Viennese School of Church Music? It began the Chant's rhythm, then surely almost every to thrive at the time of romantic music and ictus has to receive a different chord, for the held the stage of religious music up to the same chord held for several ictuses cannot give very publication of the Motu Proprio of Pius the impression of movement. Such being the X et ulra, although, a few years before, Euro­ case, who fails to see that either this continu­ pean church music organizations had finally ous reiteration of block chords will generate taken notice of and broken away from such an monotony and a subsequent "overpowering" improper style of music for church purposes. form of accompaniment, 'while the holding of a Its theatrical solos, duets, trios and quartets, chord over several ictuses will certainly not its arpeggiati and block chord designs re­ save any rhythmical "echo". peated ad nauseam, its sentimental and Again, had Dr. Rossini studied the history of thor.oughly conventional melodies, its un­ music more closely, he would not have ended liturgical manipulation and incongruous re­ his article with the risky contention that, if iteration of the sacred text have formed, rather the teaching of an homophonic accompani­ deformed, the taste of generations of organists, ment of the Chant as given at the Pontifical choirmasters, singers, and churchman for over High School of Church Music in Rome, is the a century. I am told that they are still cher­ same as that taught in all the Conservatories ished in more than one memory. However, and Schools of Music in Europe, "one may the worst part of it was that the perpetrators be justified in believing that it will take some of such unchurchly absurdities bore the great­ time to prove that they are all wrong". On est names of the so-called classic period of the contrary, he. would have remembered .a music. Even the giant J. S. Bach was not few authentic instances I of, why not say it, in­ free from such idiosyncracies. He headed the famous musical phenomena in which the his­ procession although he lived in a transitory tory of his own churchly art proved to be epoch in which numerous discrepancies of exactly what he deems impossible, namely, styles were elbowing one another. His works that musicians can all be wrong for a certain made it manifest however that .he was versa­ length ·of time. Here are a few pointedly in­ tile enough to successfully handle them all in glorious cases. After the decadence of the a masterly fashion; nevertheless, his "over­ Chant in the thirteenth century, mutilated powering" B minor Mass remains a monument and unrhythmical editions, perhaps on the of unliturgical and fictitious church music. same pattern as the later Medicea, held sway Here the sacred text was but a pretext to THE CAECILIA 377 parade everything that conventional music had beauty and religious expression. No doubt, to offer together with the inventions of a musicians of that age also thought that it musical genius which served to make it· even would "take some time to prove that they more pompous and blatant. 'V\T ere not Mozart, were all wrong". It did indeed, but they Haydn, Beethoven, Schubert, Cherubini, G. were so proved when the restoration of the Rossini, Berlioz, Verdi and other minor lumi­ technique of the Chant showed that its melodic naries of the time whose names are legion, texture was of the highest rhythmical form in all wrong in their estimation of what style of the art of music. Thus history proves that music best suited the worship of God? Is it it is not at all impossible for generations of to judge them rashly to say that they in turn, musicians to'be on the wrong side of the together with hosts of admirers in all walks question for whole epochs at a time. These of musical life, thought it would "take some are, of course, but a few of the glaring blunders time to prove that they were all wrong"? In­ to be found in the pages of the history of deed it did and what a struggle some of us church music for many centuries. Yet they had to go through to prove to the world, not seem to be entirely overlooked by professional much later than a quarter of a century ago, church musicians and students of .musical that they were all wrong! questions. They see in its history things that Withal, let Dr. Rossini glance over the old never took shape and close their eyes to facts text books concerning the question of an ac­ that stare them in the face. companiment to the Chant as far back as he Surely, since the melodic and rhythmical can go, no matter what nationalities their character of the traditional Chant has been authors may claim, he will observe that a block restored, the contrivance of an harmonization chord is the rule for every note of the melody. note for note has practically disappeared, but This, of course, had been profusely taught and the accompaniment as a whole is still homo­ practiced ever since the inane and modern phonic. Obviously it is an anachronism by homophonic style came into existence and several centuries and therefore an artistic con­ musicians put their heads together to devise tradition. It is a remnant of the style of an harmonization for ~he liturgical song. secular music in the seventeenth century, yet Indeed it was the time when plainsong, per­ it still has its staunch supporters even among haps on account of its very plain name wrongly alumni of authorized Schools of Church Music, interpreted, was believed to be a kind of em­ in spite of all the severe lessons the history of bryonic music with no rhythm or melody of music should have taught them in the past, its own. It was considered just a sort of and from which they could profit were they Gregorian protoplastic jelly used by the dis­ to read it with an open mind. If past history, cantors and polyphonists of old as themes for however, is any warrant for the future, sooner their part-music, and in putting together their or later it will prove that they also are all own melodies they further emasculated it so wrong. Thanks be to God, there is in the that very little appearance of artistic music nature of things an inherent urgency of their remained in it. Samples of such primitive logical development that often mocks and for­ accompaniments, written by composers of tunately thwarts the illogical attitude of men. past generations and used by organists of an What Cardinal Newman said of Protestantism, age not so remote from our own, are still avail­ that "to go deep into history is to cease to be able. For brevity's sake may I direct Dr. C. a Protestant" may be equally applied to an Rossini to just one of these, that of a late homophonist. organist of St. John Lateran, a composer of The authentic and traditional melodies of repute and a member of several commissions St. Gregory have been happily restored to for the advancement of church music in Rome? their former technique through a scientific In the third series of his well known-Office parallelizing of the manuscripts of all epochs. Divin-where he paraphrases the age-old Their true rhythm has likewise been traced melody of the Stabat Mater, he introduces the b'i!ck to the metrum in rrosody and made clear first stanza in its Gregorian setting with an through the comparative study of nature's harmonization of his own, namely, an harmonic laws of motion as applied to languages and block to every note. Of course, he was simply music. It is but natural then that its accom­ following the current fashion of his time, which paniment will also follow suit, in its own good was "firmly standing on its own feet" from time, not as an illegitimate son whose features time immemorial. Such an unmelodic and un­ bear little resemblance to its progenitor, but rhythmical treatment of the Chant of the by reflecting and in turn enhancing all their Church was then naturally considered, .in all linguistic beauty. seriousness, by its perusers as representing all that the Chant stood for in antique, if crude, THE END 378 THE CAECILIA

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Question and Answer Box Conducted Monthly by DOM GREGORY BUGLE,O.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.

Q. "Some time ago I read in the Caecilia that - It is praiseworthy to sing appropriate during High Mass;after the Agnus Dei, nothing hymns in the vernacular after Benediction. else but the Communion-antiphon is to be sung. As I take it, one is not permitted to insert a Q. "I have been requested to playa Wedding Latin'motet or hymn during the communion of M arch. We have only a reed organ in our the faithful. Is the rule binding everywhere?" church. Will you kindly assist me in selecting a suitable number?" A.-There is no rule forbiddiing the sing,... A.-It is with a great deal of satisfaction ing of a Latin motet or hymn while com,... that we recommend HWedding Music/' munion is distributed to the faithful. In the The Rev. Author offers six HWedding first ages of Christianity, when no Low Processionals" which can be played Masses were said at an early hour, and when equally well on a reed organ or pipe nearly all the faithful received at High organ. What a happy idea it was to re,... Mass, a whole Psalm was sung in connec,... place the arrogant and spectacular name of ton with the Communion,...antiphon; the an,... "Wedding March" by the dignifie~ and ec,... tiphon was repeated over and over between clesiastical designation HWedding Proces~ the verses of the Psalm. Our forefathers sional!" The pieces breathe that festive could not conceive the idea of a Eucharist,... and joyous atmosphere which is in keeping ic Banquet without music. To be true to with the sacred place and the solemnity of herself, Holy Church will never forbid a nuptial celebration.-Six other organ in,... hymns and psalms at that time when God's terludes have been added to be used in the chosen children come forward to partake course ot a nuptial High Mass.-To this of the ~ leavenlY Manna.-On the other wonderful array of organ music has been hand, she cannot very well prescribe that added a complete set of the official vocal such singing take place, on account of music of a Nuptial High Mass.-The Pro,... changed conditions. per of the Mass (Introit, Gradual, Offer~ According to the rubrics given in the tory, and Communion) has been set to sim,... Missal (X,9.) it seems that the choir should pIe Psalm,...tones with accompaniment. To first chant or recite the Communion,...anti,... meet all possible demands of festive music phon, and then sing the insertion number. for wedding celebrations, sixteen settings for male or mixed choirs have been added, Q. "During Procession with the Blessed Sacra­ and of these, six numbers may be rendered ment, after the singing of the Pange Linqua, in unison. On the last page of the book can other hymns in English be sung?" the Mass Responses have been recorded. We cannot but congratulate the editor and A.-Yes, sacramental hymns. from an ap.. the publishers of t...HS collection. proved hymnal, may be sung in the verna,... In the course of the last forty years we cular. The Sacred Congregation of Rites have examined many catalogs for suitable (Sept. 27, 1864) declared "that the custom wedding music; allwe could discover was a of singing hymns in the vernacular before piece here or there, which more or less fit,... the Blessed Sacrament exposed and in Sac,... ted the occasion. But now, thank God, we ramental Processions may be retained".­ have a collection which far surpasses all ex,.. Repeatedly the same Congregation of Rites pectations. The price ($1.25 ) brings the has declared "that IMMEDIATELY BE,... work within reach of every choir. FORE Benediction no hymns in the verna,... cular are' permitted;" the Tantum ergo and Q. "1 have harmonized the chant formula for Genitori must always precede Benediction. the Ascension (from "The Sunday .Zv/ass set to 380 THE CAECILIA

Simple Gregorian 'Formulae"). I am very dis­ ficent simplicity. Whatever is true, good, appointed: there is such a note oj sadness in and beautiful cannot but be simple. Art is this melody that does not seem in keeping with not destined to encumber the mind with, a the Ascension and its Octave." multiplicity of things; on the contrary, it is destined·to lift us to a higher level that we A.--It is not easy to reconcile our modern may catch a glimpse of the simplicity and tone~perception with that of antiquity. unity of the spiritual world. Art addresses Many great mus~cians have deplored the itself to our senses in order to lift our limitations imposed on our present genera~ thoughts and desires to the invisible world. tion by the almost, exclusive use of the ma~ There is something quiet and monumental in jor and minor scales. The reason why the the very concept of art as employed by Angel Mass appeals.to beginners more than Holy Church in her liturgy. This applies the other .Masses of the- Vatican Kyriale to architecture and oratory as well as to lies in its tonality: the Lydian mode. Lec,.. music. Hence there is nothing showy or turers on music have not unjustly adhered exciting in the sacred chant. "Deep waters to the stock~phrase: "Modern music runs flow slowly and noiselessly". . in Lydian channels." The Lydian scale runs from F to f; below the fundamental Q. "Who is to blame jor this want oj apprecia­ tone lies the semitone E, "the darling lead~ t~on oj the Sacred Chant?" ing note". The formula referred to above A. Modern civilization is to blame. "The lies in the fourth mode which rests on Mi contrast between our modern age and anti,.. (E) . To the modern ear everything seems quity can be expressed in two words", says upset: the semitone F lies above, and the the French savant Taine \d. 1893); "their whole tone D lies below, the fundamental life and their spirit were SIM'PLE; our life tone. And besides, there is the highly un,.. and our spirit are COl\!lPLEX." l'he idea modern Psalm~ending which covers the the ancients had of soul and body furnished Pentachord b (natural) to Mi. A worse the material of art works which our civili,.. thing, seeminglY, could not happen. And zation no longer endorses. All details aimed still, our forefathers loved that mode, and at unity and perfect balance; no group of Holy Church is far from giving it up.What mental faculties or inclinations was devel,.. 'is still more strange is the fact that this oped at the expense of the others. To~day mode was characterised as Hharmonious we seem to live in an age of caricature; the and appealing". What then seems to be grotesque element asserts itself constantly wrong with the formula for the Ascension? tor the amusement of big and small children. We are afraid our correspondent ap'" Deformities of human figures are dished up proached the formula from the wrong an,.. and relished day after day not only in the gle, viz. from that of harmonization. Chant "funny papers" but in tlie press at large. harmonists will as:rree that the fourth mode In the field of music vulgar aberrations from is a hard case to deal with harmonically. orthodox melody and dignified rhythm sue,.. For this very reason we suggest to ap'" ceed each other; coon,..song makes room for proach this formula from the melodic angle, rag,..time; jazz,..music. rules until another ban,.. i. e. to hum the words and carry them ality gains the ascendency. A restless age gracefully over Phrygian Pentachord until resorts to exciting novelties on the bases of they begin to assume rhythmic life. By and surprise, dissonance and irregularity. by we discover in this melody the peculiar Like a mighty rock in mid,..ocean, Gregor,.. atmosphere of Hotherworldliness", some,.. ian Chant stands unaffected and unshaken thing like a longing for the absent Lover by the succeeding musical revolutions, be,.. who is drawing our hearts to Himself. As cause it rests, not on the musical whims of we go in patient practice the melody begins popular taste, but on the r'ock,..bottom foun,.. to haunt our mind, and finally we begin to dation of language itself. admit that a strain of homesickness for Heaven is fully in sympathy with the Li,.. Q. "I am a young organist without much ex­ turgy of our Lord's Ascension. perience and I would welcome suggestions as to the kind oj music to use at funerals. Some­ times I am asked to play sojt organ music dur­ Q. "Why does Gregorian Chant make so little ing the Mass. At other times the family .wish~s show?" to have some singing, and the custom zn thts Belonging to the arts of antiquity, the church has been jor a member of the choir or Gregorian art at all times betrays a magni,.. a friend oj the family to sing an· Ave Maria, a THE CAECILIA 381

Pie Jesu, or a Sacred Song in English. There seems to be little hope for the present of having a Requiem Mass sung." A ...... According to the ecclesiastical 'legis,... lation the only music allowed at funerals is Announcing the Requiem High Mass. With regard to the use of the organ the same Caeremoniale For September publication Episcoporoum (Book 1, chapter 28) says: HSilent organa, cum silet cantus...... Or'" gan--playing ceases with the singing". To THE GREGORIAN MANUAL enforce these laws in each diocese is the privilege and duty of the Bishop...... Accord,... , to accompany ingly, the young organist has to find out from the Pastor whether the Bishop has laid THE CATHOLIC MUSIC HOUR down in the Diocesan Constitutions any ruling bearing on this point of funeral mu... A basal series of music textbooks by sic. The correspondent says Hthere has been a custom in this church of singing cer", MOST REV. JOSEPH SCHREMBS tain solo numbers". In view of this fact we hold that the custom may be followed until Bishop ofCleveland the Bishop, or the Music Commission ap"" pointed by him, duly informs every Pastor of the diocese that henceforth no other mu... DOM GREGORY HUGLE, O. S. B. sic at funerals will be tolerated except the Prior ofConception Abby, Conception, Missouri one prescribed by Holy Church in her gen,... era1 legislation. SISTER ALICE MARIE, O. S. U. Q. "Among our difficulties is the Latin syllable 'ti' in such words as ultionis, sapientia, cle­ Diocesan Supervisor of Music, Cleveland mentia." HAmong our difficulties is the Latin syl-­ This teacher's book ,.- the first of its kind ,.-offers a ~ti' table in such words as ultionis, sapientia, complete authentic teaching program of Chant and clementia." t A ...... Rule No. 1. When the consonant modern music. Written primarily for the classroom "t' is followed by an 'j' and another voweL teacher in parochial schools it makes possible for the it is pronounced like 'ts'. Compare the fo1 ... lowing illustrations: average class artistic results that hitherto have been

Followed by 4 a'-sapientia; laetitia, clem,... attainable only by specially trained choirs. This entia. Manual and five pupils' books (now available) Followed by 'ae' nuptiae; divitiae. Followed by 'e' sitientes; munditiem; fulfill the spirit of the Motu Proprio in that Chant and patieris. modern music at last are presented in a practical, Followed by 'r.,-petii; petiit. Followed by '0' ...... ultionis; prefatio; men.­ co...ordinated program, worked out by acknowledged tio; generationibus. expertst and placed within the reach of every school, Followed by 'u' ...... propitius; militantium, every teachert every organist, and all school boys sapientium. Rule No.2. When the letter "t' is pre,... and girls. ceded by an's', it retains its hard sound, e.g. hostia; modestia; Eucharistia; an,... gustiae. Write our nearest office for circulars Q. uWhich is the correct pronunciation of ~heu and further information on the series. and ~euge' ? JJ. 'Heu' consists of two syllables, with a marked accent on the first one, thus ha'"'00. SILVERI BURDETT AND COMPANY In the word'euge' the first syllable contains New York Newark Boston Chicago San Francisco a diphthong or glide.-sound of '00', thus a ( 00 ) dge. The wor'd has only two syl,... lables; a marked accent to be placed on the first one. 382 THE CAECILIA

COMMUNICAliONS This section is set apart as an open forum for discussion of controversial subjects. Communications hereafter should be limited to less than 1000 words. Full name and address must be given. Anonymous letters, or those signed by "Pen names" will not be printed. The editors assume no responsibility for the views expressed in this section.

To the EDITOR of "CAECILIA" able conclusions to which it leads are dis..­ tasteful to him. July 1st 1934. Yours faithfully, Sir, (Dom.) A. Gregory Murray, O.S.B., I am grateful to Mr. Angie for the gener.... M.A., F.R.C.O. ous notice he contributed to the columns of [Organist and Choirmaster of Downside "Caecilia" concerning my brochure "Gregor.... Abbey] ian Rhythm: A Pilgrim's Progress." As he Near Bath, England. holds views in many respects diametrically opposed to my own, his article betokened a ~~~~~ very sincere effort not to adopt an aggres.... sively hostile attitude. Nevertheless he To the Editor of theCaecilia: raised a ·number of objections which might Mons. Manzetti was right when he wrote give your readers an impression that he had in the June 1934 issue of the Caecilia that found serious flaws in my argument. "certain church musician adapt the rules In the first place I would point out that of the church to their own views instead of these very objections are answered in the adapting their own personal·views strictly brochure itself-not (in Mr. Angie's fashion) to the rules of the Church". by· mere assertions, but by solid and logical Had Mr. Goodrich made any effort to di.... argument from the facts of musical history. gest what Mons. Manzetti had explained Mr. Angie admits that rhythm maybe in.... in his article on Gregorian Chant accom.... dicated either by str~ss or by quantity. It paniment (Caecilia, March 1934,) he never is elemental logic to argue from this that the would have written any communicaton at alL essence of rhythm is neither stress nor quan", There is nothing in all the opinions against tity. "Rhythm is the more or less regular the accompaniment of the Chant to match his recurrence of cadence," wrote Dr. Prout. clear and forceful arHuments in its behalf. Despite Mr. Angie's unsupported assertion, One example will be sufficient: "It is known most musicians will continue to regard"ca.... that the prayers of the Church were formu .... dence" and "stress" as two different words lated without any regard to being set to mu.... with two different meanings. sic for many were in existence before Greg.... orian melodies made their appearance, just Again, Mr. Angie has not authority at all as the Chant was composed wIthout any idea -apart from his own ipse dixi- for answer.... of an accompaniment. ing .that the Meistersinger "Prize Song" re.... Shall we say that the text of liturgical quires an interpretation based on periodic prayer, to be itself, should be heard without stress. Such an interpretation would reduce the Chant, just because it was composed a masterpiece of song to the level of a third,.. without any idea of singing?" In like man.... rate march. ner, shall we say that the Chant should be For a more detailed reply to Mr. Angie's heard without an accompaniment just be.... article I would refer your readers to the bra.... cause it was composed without any idea of chure with which it deals. In particular I being accompanied? Yet, whenever a would call attention to the argument drawn greater solemnity is desired, the Church ad,.. from the clear and constant practice of the mits singing as an artistic addition to.the fifteenth and sixteenth century composers. service of God, which otherwise H embodies This argument I regard as of supreme im.... all that is essential for proper effect". To portance in any discussion of Gregorian say therefore that an accompaniment to a Rhythm. Mr. Angie-rathersignificantIy~ monodic music would "destroy the effect of made no mention of it. Perhaps the unavoid":' such intention and manifestly be improper, THE CAECILIA 383 unnecessary and inartistic" is purely a mental vagary. Accordingly it would also be improper, unnecessary and inartistic to PLAINSONG destroy the eftect of liturgical prayers Textbooks, Vocal Works and which have been conceived without any so... Accompaniments called intention of bein9 sung. Singing and the Chant therefore should be banished Music Fourth Year, Gregorian Chant by Justine from Church functions. After all logic is B. Ward-contains a series of graded exercises logic. in rhythm and notation, which will prepare Now, in the regulation of the Motu Pro... the children to sing easily and intelligently from the official books of the church. Cloth, prio which says that an accompaniment is 262 pages, beautifully illustrated . $1.25 denied the ministers at the altar, Mr. Good,... rich sees an '''implication'' to the effect that Kyriale Seu Ordinarium (Solesmes Edition). Music 4th Year 2. Cloth, 146 pages .... $ .45 no other chants should. be accompanied, not even those belonging to the choir. He fails Ordinarium Missae et Missa Pro Defunctis (in however to quote the very essential expres,... numbers) $ .25 sion of the Motu Proprio "with the excep... (No. 724) Textbook of Gregorian Chant, by Dom tion of". Apparently the "exception" has Gregory Sunol, O.S.B. Translated from the Sixth French Edition by G. M. Durnford, cloth no meaning for him since he mistakes it for binding $1.25 the rule and extends it to the whole reper,... toire. Every intelligent being is aware how... Hymnal Vol. I, new edition, with rhythmical ever that where there is an exception there signs, cloth, 154 pages $.48 is an implied rule to the contrary, for if Hymnal Accompaniments, new edition, 87 pages, there are rules without exceptions, there can size 9~ x 12%, large' size music notes. Paper binding $1.50 be no exception without a rule. Popular Cloth binding 2.00 wisdom has worded it with the known ad... age: "The exception confirms the rule." Forty Hours Devotion-Gregorian Chants of the entire Liturgical service' of the 40 Hours Obviously Mr. Goodrich does not bother Devotion. about such trifles of logic and languages. Vocal Score $ .25 Yet he would, not concede such implication Organ Accompaniment .. 1.00 to other exceptional regulations of Church (No. 711) The Sunday Mass set to simple Gre­ legislation. The Church, for instance, reg... gorian Formulae, by Justine Ward ...... $ .50 ulates that meat is not allowed on Fridays (No. 640) Plainsong for Schools, 89 pages, paper throughout the year, and certain seasons of binding $ .25 the year bring with them days of fasting, (No. 702) English Translation, Le Nombre Mu- which is merely an exception. Is Mr. Good,., sicale, Vol. I, Part I $1.25 rich likewise convinced of the ''''implication'' The Art of Gregorian Music by the late that the Church intends that all the days of Dom Andre Mocquereau, O.S.B. the year must also be days of fasting and Paper binding $ .10 abstinence? Motu Proprio of Pope Pius X. All papal docu­ Mr. Goodrich also fails to quote para,., ments on liturgical music are listed, paper binding $ .15 graph 16 of the Motu Proprio: "As the (No. 780) Liber Usualis, black cloth binding, Chant should always have the principal 1603 pages $2.25* place, the organ or instruments should (No. 925) Accompagnement du Kyriale Vatican merely sustain and never oppress it." If par Ie R. P. Dom Jean Hebert Desrocquettes the word .. sustain" cannot be interpreted et Henri Potiron, cloth binding $1.75 or "implied" as an accompaniment, then (No. 647) Accompaniment to the Kyriale by perhaps, in his transcendent wisdom, Mr. Julius Bas, cloth binding ...... $2.00 Goodrich can enlighten us a little more; (No. 678) L'Accompagnement des Psaumes par although any man who has some acquaint,... Ie R. P. Don Jean Hebert Desrocquettes $ .60 ance with common sense would necessarily (No. 926) Accompagnement de la messe des morts et des Chants pour les Funerailles, by conclude that, if there are chants that must Dom Desrocquettes et Henri Potiron, .paper not be accompanied and the organ is al­ binding $ .50 lowed to sustain others without oppressing them , then surely the implication that none . should be accompanied is merely the child The Catholic Education Press of someone's· moody imagination and 1326 Quincy Street N. E. his "purism" is but a misnomer for musical Washington, ·D. C. vandalism. • (Continued on page 385) 384 THE CAECILIA

ORATE FRATRES A Review Devoted to the Liturgical Apostolate TS first purpose is to foster an intelligent and whole-hearted participation in I 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 erpanating 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. Forty-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 MUSIC as a contact with the field which 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, III. THE CAECILIA 385

Now, if we apply to the few examples of church musician, whom hosts of admirers music by J. S. Bach and Wagner, which look upon as the soundest exponent of they have left unaccompanied, the same church music in this country. His pupils way of arguing by "implication" used by indeed are unanimous in averring that he Mr. Goodrich tor the Chant, then surely he has a more profound comprehension of all must admit. that the minds of such great musical and artistic questions than a whole musicians show implicitly that none of their galaxy of professors in Conservatories of compositions should have been accom,... music. But an outsider would wonder if panied even if these constitute the bulk of polyphonic music is not already accom,... their musical works. Would not that have panied by its simultaneous voices which is been more H appalling" than if one would also indeed better than by mere mechanical in,... accompany the few? .. Yet what is good struments. Among Mons. Manzettfs pub,... for the goose is certainly good for the gan,... lications however there are a number of ar,... der, to argue exactly as Mr. Goodrich does rangements and oriainal compositions in concerning the Chant. But let us talk the pure polyphonic style. These he has sense. ,Mons. Manzetti has never advo.... naturally left without a so.... called accom.... cated an accompaniment for the chants at paniment. Incidently his latest, an adapta,... the altar, including the Exsultet which be.... tion of Allegri's Miserere, arranged for longs to a minister in deaconship; hence three equal voices and published in the Cae.... why should he advocate an accompaniment cilia, is, in the estimation of many choir.... for the opening scene of Act III of Tristan masters, the very best Miserere on the mar.... and Isolde, the sonatas for violin and the ket. The Gregorian setting has an accom,... suites for violoncello by J. S. Bach, paniment for the organ which is an addition if it pleased these musicians to leave them by the Monsignor himself, but none for the unaccompanied? He himself in his Kyriale polyphonic portion whose three concomi.... has left unaccompan)ed all the intonations tant parts amply make it "accompanied mu,... of the Gloria and Credo which are reserved sic". Does Mr. Goodrich presume that he to the celebrant. Neither has he composed alone knows the difference between mon.... an accompaniment for the Litany of the ody and polyphony? - Saints. Oftert indeed in his accompani.... Finally the climax of illogical assump,... ments does Mons. Manzetti even leave, not tions is reached when Mr. Goodrich a 1,... only one note as Wagner did, but whole leges that lvIons. Manzetti has become a intonations reserved for the singers them,... modernistic musician since he no longer ob,... selves without a bit of harmonization for jects to"clothing traditional figures of early the organ.. It would have been rather in.... Church History in modern costumes of the teresting however if Mr. Goodrich had told latest fashion". The truth is that Mons. us why those musicians left some of their Manzetti, as far as modernistic tendencies compositions without an accompaniment. are concerned, is more reactionary now than Their reasons surely were vastly different he ever was. Following somewhat in the than those of Gregorianists of old who did steps of Palestrina, he has done away with not know anything about an accompani,... all notes of purely chromatic character, tri,... ment, and even of those that prompted the tones and other secular contrivances of the Church to except the chants at the altar, modern school in his latest works of figured which, as Mons. Manzetti wrote in the last music. The first homophonic accompani,... number of the Caecilia, are of "such a ment he ever published in this country higher spiritual order that musical techni.... in the style he had learnt in old Eu,... que has nothing at all to do with it, there.... ropean schools, bears the date of 1905, fore, no musical conclusion, one way or the the second, his Kyriale, appeared in other, can be drawn therefrom" So what 1906, that is, nineteen years before he wrote have all these out of the way innuendos, his brochure "Church Music and Catholic dragged in by Mr. G'oodrich to do with Liturgy" where he is charged with having Mons. Manzetti's position on the matter; taken up the cudgel against the "use of rather, why do not certain musicians study modern music in the service of the Catho,... the history of music with a little perspica.... lic Church". We remember it excited city. the ire·of a certain organist of Portland, Mr. Goodrich wonders some more' why Oregon, which caused Mons. Manzetti to Mons. Manzetti does not advocate an ac,... write a second. This remained unan.... companiment to polyphonic music as well. swered. Mons. Manzetti was therefore I hold no brief for our venerable pioneer somewhat of a modernist a score of years THE CAECILIA

before he became a reactionaryt just the op.... ern and have the consensus of fully awak.... posite of what Mr. Goodrich says. Furth.... ened musicians as absolutely true to the ermore he is now deprecating even the mod.... style of ancient Gregorian music. There.... ern homophonic style and advocating an fore they are rightly viewed in quite a dif.... accompaniment that is chronologically ferent light than some of those of the Sol.... speaking archaict namelYt entirely melodic esmes School that borrow technical contri.... in' character to fit the mentality of the com.... vances from the ultra.... modernistic form of posers of the ninth and tenth centuries; music andt as we have readt give satisfac.... while the homophonic style is compara.... tion only when they keep silent. Mr. Good... tively modern being a product of the sev.... rich's inane insinuation to the contrary but enteenth century. in the very issue of the proves how utterly lacking he is in plain Caecilia: in which Mr. Goodrich asserts that prinCiples to judge the liturgicat historical Mons. Manzetti does not object anymore to and artistic status of a proper style of an "clothing traditional fiHures of early Church accompaniment for the Chant of St. Greg... History in modern costumes' of the latest ory. fashion" (the wording of this is entirely ·,-M. A. ADAMS. Mr. Goodrich's) Mons. Manzetti reiterates his conservative stand. He tells Rev. C. H.ossini: "The homophonic stylet as an ad,j CORRECTION junct to an essentially melodic onet is as In the August issue of CAECILIAt Page mucht in its contradictory stylet an artistic incong'ruity as a modern dress suit would 298. No identification was given to the be on a statue of Christ or the dress of a paragraph "Father Finn Conducts at Or.... prima donna on one of the Blessed Virgin." ganists' Convention". tt Surely enought to Hharmonize plainchant This convention was held in Rochestert in the very style in which it was composedt N. Y' t in June this year. is not to ··put a piece of new cloth unto an old garment" t but on the contraryt to dress The review was taken from "The "Dia... it in its very own style. Is it possible that pason" July 1 issue. Whereas credit was Mr. Goodrich is not aware of these obvious given to other papers for reviews which facts? originally appeared in other issuest in our Perhaps Mr. Goodrich believes that digest of various reviews of Father Finn's all styles of accompaniments are necessarily workt we neglected to mention HThe modern. 'Then the Chant itself is mode'rn and so is all polyphonic music. Yet the self.... Diapason". sufficient structure of the melodies Hthat em.... This oversight was accidental. As our bodied all that was essential for proper ef.... readers know t there is no more fertile fect" did not deter Gregorianists of oldt as source of information of interest to organ.... soon as they were aware of the possibilitYt from adding a, sort of accompaniment that istst than the Diapason. For that reason fitted the very essential melodic character.... we frequently quote it and in this case we istics of the Chant. No one indeed will should have identified our quotation. Our ever be able to deny that modernism is a apologies to the Diapason. relative termt just as Oregon is a Western State for the 'United States and an Eastern country for those lying beyond the Pacific. Two Articles on Gregorian Chant When therefore an accompaniment of the (Continued from page 349) Chant has its technique rooted ,in the very Of course on the grounds· already stated style in which the melodies reached their Solesmes could give practically no considera.... complete formationt it can no longer be tion to the long notes here indicated in the called modern. But if it borrows musical MSS. What are we to conclude? That devices that are either in part or wholly the sensiblyt Solesmes' nuance.... theory unsup.... product of later musical epochs it becomes t portedt as it iS t moreover by any documen.... modern hence anachronistic and out of tary sourcet ouqht to be given Upt and thatt place because out of proper style. in its steadt the proportioned. long notes All told Mons. Manzetti may be assured should once more have their proper dura.... tions as declared by the ancient Gregorian thent and congratulated upon the factt that his accompaniments are certainly not mod.... musicians themselves. THE CAECfLIA 387

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