MON TH富子MA6AZIN8・OF・ C/町HOLIC ・

CHVRCH & SCHOOLMVS[C.臆■

REM寡NISCENSES OF DOM GREGORY HUGLE. O.S.B. ● THE STuDY OF HARMONY AND 肝S∴RE」A〒冒ON TO GREGOR書AN∴e円A閏丁

Rev. F. 」os. KeI!y, Mus. Doc

GREGORiAN CHANT FESTIVAL AT FRIBOuRG Rev. CharIes Dreisoerner, S. M.

TH各 CATHOLIC INFLUENCE ON BACH Dr. Caspar Koch

1937 CHRiS丁MAS PROGRAMS

M. MAuRO-COTTONE OBITUARY

CONTR!BUT書ONS OF THE BENEDICTIN岳S IN THE ORGAN WORしD

Dom AdeIard Bouv帖ers, OS B, Mus. Doc.

N0. 10 CHOICE MELODIES from the MASTER COMPOSERS

Å Collection for Elenent卿y SchooI Orchestras Orchestrated by R. E. HILDRETH All String Parts BoWed and Fingered Con tents

BEETHOVEN BRÅ櫨MS .…… 亨脱誤誼ぷ鵠 GLuCK Ma重Chioness GRETRY 蝿ÅNDEL M祉ket Day ORATE FRATR要S HÅYDN Consぬ皿音t血ople MENDELSSOHN Canzの皿eくくa A Review Devoted to MOZÅRT M狐quis the重昂urgical Apo§tOlate PuRCE工L Scotぐh Åむ RÅMBÅu Tambou重in SCH uBERT Åspむa(ion SCHuBERT .……... ..…‥ Shepherd Dance 聖霊書○霊三豊嵩詰ニ SCHuMÅNN....…. On an Åp重i賞Mo皿血g TSCHÅIKOWSKY Legend Pation in the liturgical life of the INST R uMENTÅTION Church, Which Pius X has called “the 1st Violin (lead) Bass○○n

Violin AA (ad Lib.) … … lst Clarinet in Bb Primary and indispensable source of Violin A (obligato) …. .. 2nd Clarinet in Bb the true Christian spirit.’’ Secondarily Violin B (obligato).…. Eb Alto Saxophone it also considers the liturgy in its lit- 2nd Violin ….……………. Bb Tenor Saxophone 3rd Violin (Viola sub.〉 、. 1st Trumpet in Bb erary, artistic, muSical, SOCial, educa・ 2nd Trumpet in Bb tional and historical aspects. Cello.….…. lst and 2nd Horns in F String Bass Ist and 2nd Eb Homs Tub a Trom. or Bar., B. C. Fγの7♭ A Le枕eγ S匂伸ed bu Flute Trom. or Bar., T. C. H冶 Em祝e仇ee, Cαγ脇の! Gα8pαγ毒 Oboe Conductor ~ Piano “The Holy Father ‘is greatly PRICES Pleased that臆St. John’s Abbey Cbn血ICtOr・Piano….65 - All o血er books, eaCh…..35 Note: All numbers also obtainable separately. is continuing the glorious PRICES: Small Orch.…….75 _ Full Orch…….l.10 traditionタ and that there is emanating from th率abbey an Every Lesson a Tune. ‥. Every Tune a Lesson inspiration that tends to ele- MELODY. FIRST BAND BOOK Vate the piety of the faithfu] Å unisonal Instructor for ÅLL Band Instruments by leading them back to the by FORTUNÅTO SORDILLO . pure fountain of the sacred Assistant Director of Music, Boston Public Sch∞ls PRICES 事itu重9y.’’ Each bu血,.30; Piano Åcc. and Teacher,s Guide, ◆60 MR. BAND INSTRUCTOR: Published every four weeks, beginning With MELODY-FIRST BAND ,BOOK, there are no uninterested players, because (with two excep- With Advent, twelve issues the year. tions, and these players∴Can be assigned altemative Forty-eight pages. Two dollars the books) every book is a nrdody book. You can send a student home with something that he wi皿practise year in the united States. Write for 嘉:S;蕊書芸盈誓篭悪書霊聖霊 sample∴COPy and descriptive leaflet. ‡諾霊霊謹言盤㌔謹露盤豊藍 Accompaniment・ -Which makes even the playing of the scales a truly musical experience. THE LITuRGICÅL PRESS Collegeville Minnesota Supervisors′ B・ 8 O・ Teachers and OrganizlerS, only$ To富eCdve FREE

□ lst Violin book of ``Choi⊂e・Melodies’, □ Co重皿et bo弧o重`’Melo重曹競t’, regdr edition, Wi瓜strikin9 COVer・design, check in

Square ProVided, dip, and mall to us with yo調name, na細説Of sIChool or organization, and your musical

WALTER JÅCOBS, INC.

120 Bdylston Street Boston, Mass. Entered as second dass mat_ ter, October 20, 1931, at the

Post O航ce at Boston, Mass., under the Act of March 3, 1879. 軸p他派章描執 Formerly published in St. Francis, Wisconsin. Now is・ sued monthly, eXCePt in July. MonthIy M∂gaZine of CathoIic Chu「ch

Subscription: $2.50 per year, and §chooI Mu§ic payable in advance. Single copiesタ3与c.

Vol. 6与 October 1938 No. 1O

C ON丁倍NTS

REMINISCENSES OF DOM GREGORY HUGLE, O. S.B....…. 328

THE STUDY OF HARMONY AND ITS RELATION TO GREGORIAN CHANT ……………..……… 329 Rev. F. Joseph Kelly, Mus. Doc.

GREGORIAN CHANT FESTIVAL AT THE UNIVERSITY OF FRIBOURG Rev. Charles Dreisoemer, S. M.

RECENT NEWS WHAT OTHERS ARE DOING

3 3 まJ 3 -ヽノ /o CHOIR PROCEDURE AT LOW MASS

CATHOLIC INFLUENCE ON BACH Dr. Caspar Koch

328 355 OUR MUSIC THIS MONTH

QUESTION AND ANSWER BOX Rev. Gregory Hugle, O. S. B. 35635936 1 OBITUÅRIES

SOME OF LAST YEAR’S CHRISTMAS PROGRAMS.………....

DR. MAURO.COTTONE DEAD

CONTRIBUTIONS OF THE BENEDICTINES IN THE ORGAN WORLD Dom Adelarc] Bouvilliers, O. S. B.. Mus. Doc.

Rev. Gregory Hugle・ O・ S. B・, St. Francis Hospital, Maryville, Mo・〆Consulting Editor; Wm. Arthur Reilly, 100 Boylston St., Boston, Mass. - Business Mgr.

McLAuGHL霊N 8 REILLY CO・, 100 Boylston St・タBOSTON, MÅSS.● u◆ S◆ A◆ Pub腿hers

Price $2・5O pervear Single Copies. 35 cents 328 THE CAECILIÅ

瀦 �豪華

□圏 蓮壬 �ロ

-i-i--i †

EDITORIAL PÅGE By DOM GREGORY HUGI,E, 0.S.B.

REMINISCENSES OF On hearing the Abbey choir? Coming from DOM GREGORY HuGLE, 0. S、 B. a five・year PO量yphone surrounding Dom

Now Chaplain of St・ Francis Hospital Gregory was surprised to hear a group of M脚叩i重賞e, Mo. youthful rponks singing the Gregorian mel- Odies with unusua=ightness and .皿笥in申h。ithe t Having spent餅ty-three years at Concep- With freedom and expression such tion Abbey’Dom Gregory Hdgle was as・ had not heard in Europe; by and Signed to the chaplaincy at St. Francis Hos〆 daYned on him that the secret Iay Pital, Maryvi量le, Mo・ exclusive and intensive concentratibn upon It was on August 30, 1885 that a caravan this one kind of music. Abbot Frowin never

Of twenty-eight arrived in the prairies of fai重ed to set forth the principles of monastic northwestem Missouri. This caravan con〆 Orientation・ “It is our privilege:, he would Sisted of four students, eight candidates for Sayタ“tO Study and practice incessantIy the the brotherhood, four Benedictine Sisters SaCred chant of old; SeVen times a day we and twelve candidates for different con_ Chant the divine praises, and as for mgh VentS・ The founder of Conception Abbey, Mass I sincerely and firm量y hope that jn the Rt. Rev. Abbot Frowin Conrad, had at_ this beautiful Abbey Church, the Gregorian tended the Council of Baltimore and from melodies will never be replaced by poly- there crossed the Atlantic to revisit his Mother Abbey Engelberg, Switzerland. Be~ Phony・ Le=he big choirs in cities sing Part・muSic, but let us remember that in the mg SOrely in need of material he]p and of monastic choir stalls the monks in their Candidates he extended his trip into Ger~ flowing garments are the o航cial singers: it many▲ and Austria and gamered the ma量e would be a crime to condemn them to COntingent of the above∴CaraVan. Of the silence.’’ trip we recall one curious feature・ Having arrived in New York it so happened that a “wild-gOOSe~Chase’’was on between the rail, The books used for the Divine O億ce were the venerable folios of Einsiedeln Way COmPanies; it was a haphazard sport and St. Gall; for the Mass the Rheims. Of shipping immigrants for a nominal fee to Cambray was used first, and since 1883 any part of the∴COuntry, and as good luck WOuld have it, Our CaraVan rOde from New the Solesmes edition. For theory the Mag・ ister Choralis by Haberl, the Choral・Sch山e York to St・ Louis for a dollar a piece・ by Ambrose Kienle, O.S.B.タ and Dom

Pothier’s Gregorian Melodies were in con・

During the fifty-three years, Father stant use. “Caecilia’’ wasノthe faithfuI Gregory had always been organist at the month重y magazine which was read with Abbey, uSing a reed organ till 189l, P]aying great attention; Musica Sacra; Gregorius a Schtilke pipe organ for forty-five years, Blatt, and others came in gradua11y. Abbot and receiving as a golden jubilee present Frowin gladly gave pemission for anything a beautiful Wicks three-manual organ in that might be a help towards improving the 1936. In the∴COurSe Of time the number of divine service. It is needless to say that with Organists increased and at the time he took the coming of the Vatican books the Sol~ Charge of the Hospita量 there were four esmes editions were withdrawn. The o億. Priests and one・deric organists. What were cial monastic Antiphoner appeared in 1934. the first impressions Dom Gregory received (Continued on page 334) こ=二二三三三三三斗臆臆喜一__二二Å竺一二二二〇____」臆臆 _ 書聖 冒he Stl晴dy o重HaI.mOmy a皿d its鵬e案atio皿

宣o Gおe答oおiaⅢ C血a血書

REV. F. JOSEPH KELLY, Mus. Doc、

Who possesses a knowledge of this price~ T諾。誌議書嵩h詰ま ]ess art, Will be forever thankfulタfor it the practical value of the study of harmony SaVeS him hard work, muCh time, and deli.

to vocal and instrumental pupils・ It is

nothing less than an absolute necessity・ But when we consider the study of Har一 That there are a great many persons,高ho teach vocal and instrumental music, Who are 芸霊。誓書詩語隷書。誓豊 not aware of this necessityタis due to their mony js the very foundation of the art of OWn deficiency in the knowledge of this modem music. The chords of which it most important phase of music study・ The treats, are built on the tones of the two Study of harmony has been much impeded modem scales, the major and the minor. by this lack of knowledge on the part of those who attempt to enlighten others in 畠謹書nC悪霊S謹霊誓書 the divine art・ From a scientific standpoint,, the old Gregorian melodies, neVer dreamt it is a great help to sight~reading and to Of hamonizing these melodies・ In the料rly ages of the Church, the Chant was never 霊露語聴音霊宝霊宝。葦 harmonized. It was not until the advent of

PerCeive the art of music in an entirely new POlyphonyタthat we meet with the harmon_ light when the knowledge of harmony il・ izing of Chant melodies. The modem 1umines the way・ Without this knowledge, SenSe demanded that the Chant be accom. they are mere automotons, for they have Panied by harmonies played on the organ. These harmonies served a twoイold purpose: 毒豊能言霊書証霊霊霊霊 they support the voices, making the sing一 Sity of classes of hamony in all schooIs, academies and colleges that make a specia重・ 議蒜r霊罷霊器豊。碧龍 ty of vocal and instrumental music. It is a great injustice to deprive young pupils of 三隷書1藍詰藍謹霊露盤 this knowledge. modem tinge.

Bu白t is to the organist that harmony is How then, does the study of Harmony SuCh an important factor, for without it, benefit one in the study of the Chant? A he becomes a mere machine manipulating teacher welしversed in the study of Har- the keys of the king of instruments. Most of mony言n the first place言s able to identify the work of the organist consists in im~ the intervals in any one of the eight church PrOVisation, Or the art of extemporizing. modes, and the principles which he has The art of improvising or extemporizing has leamed for the correct connection of chords always been taken as a test of the qua捕・ in the two modem modes or scales, he ap- Cations of the organist. An organist is ex~ Plies to the chords built upon the interva]s PeCted to conduct a service through smooth~ Of the eight Gregorian modes. In addition, ly, and this cannot be done without some he must apply principles of Harmony, that knowledge of the art of improvising. The are distinct to the Chant. We∴CannOt gO ability to extemporize evinces a very high into detail as to these principles here, but degree of musical cultivation. It means a in a broad general way, We Sayタthat the mastery over technical di鯖cu量ties and above hamony shou量d be strictly diatonic, aS that a宣l, a thorough and clear knowledge of is the spirit of the Chant, and that the triad Harmony. Organists then should be most alone with its inversions should be com_ expert in the knowledge of Harmony, for monly used. The hamony should never they are obliged to apply it, day by day’ assert itself, but should always be subordi・ in improvising and otherwise. Their o億・ nate, aS it is nothing more than an omament cial duties demand quick thought and quick・ to enhance the beauty of the Chant melody・ er action, and a mind well stored with the From these few words, We Can eaSily real- principles goveming the comection of ize the great value of the study of Har- chords will never be at a loss to know what mony, and moreover its practical use in to do when the unexpected happens. He the harmonization of the Chant. 330 THE CAECILIA

GI?egOria皿Chant Festiva萱at the

University o宣Fr宣I'Ouおg

By The REV. CHÅRLES DREISOERNER, S. M、

most countries of the wor工d, State Chant Execution Today:’by K. G. Fe11erer; 間1 universities and Catholic universities are “The New Monastic Antiphonal,’’by Dom COntraSting institutions. But the StateタOr Bonaventure Sodar, O. S. B.; “Congrega・ more exactly the Cantonal, University of tional Singing of Gregorian Chantタ’’ by Canon Joseph Bovet, Choirmaster of St. :r親iぎ霊露盤貴誌霊宝 Nicholas Cathedral. of the term. The Canton itself is Catholic, Recordings of Various SchooIs and therefore its institutions are Catholic. At ten in the moming, Dr. Fellerer pre~ On June 17 and 18, 1938, this Catholic Sented a series of recordings of Gregorian Cantonal university had a Gregorian Chant Chant. The Beuron Benedictines sounded Festival. The Rector Magnificus, Dr. Sev~ rather lifeless, although the details of their erin Bays, Professor of Mathematics, made Chant were if anything too emotional. The the openin9 SPeeCh. He recalled that the Divine Word Fathers were∴rePreSented by late Dr. Peter Wagner founded the Gre~ a rendition of the Gradual Timete Dominun; gorian Academy at the University in 1901・ the tempo was sIow and the pauses very With the approval of Pope Pius X this long. The Austrian White Fathers pre~ Academy devoted itself to scientific research sented Kyrie and GIoria X・ They seemed and to the popularization of the Chant, SO to render the text very naturally; in the that for many years Fribourg University GIoria the∴∴eXPreSSion seemed excessive・ was the only one in the world that offered There was a curious Haec dies and Vic・ regular∴COurSeS and exercises in Gregorian timae paschali by a Dutch Franciscan choir,

Chant. In 1933 the present head of the characterized by expIosive blasts of tone・ department, Dr・ Karl Gustav Fellerer’ A much smoother style appeared in the founded the Institute of MusicoIogy, Which Alleluia and Cantantibus Organis for the includes the Gregorian Academy. After feast of St. Caecilia, Sung by a chorus of remarking in conclusion that Gregorian women’s voices at Maredsous in Belgium. Chant is the prayer of the Church in Mu一 But among all these interpretations the Benedictines of Solesmes seemed to have 塁岩盤謙語豊富器d謹書 what is doses=o an ideal one. opened. Dr. Fellerer also played a record of The first speaker, the Rev・ Mark de oriental religious musicタWhich represents Munnynck, O・ P・, Professor of Philosophy a kind of art very similar to the original at the University, treated “Gregorian Chant style of Gregorian Chant◆ The phrases in the Liturgy・,,1 Dr・ K. Gustav Fellerer were long and sung in one breath・ The followed immediately with a lecture on “The Status and Principal Topics of Gre・ pauses were also very long, OCCuPied at

gorian Chant Research today・’’ 霊S霊宝岩盤霊幕器。霊 The next moming there was a High The endings were not softened in any way・ Mass irr Gregorian Chant in St・ Michael’s The tune was pure melody without any Church. The singing was done by students harmonic implications・ under the direction of Dr. Fellerer in the manner he was later to justify in his lec~ A, five in霊忠霊親機F。.l。r。r and ture. Although this style of execution seems his Co11egium Musicum presented an un- dry and coIorless, and although some do usual concert of early sacred polyphony・2 not hesitate to call it unreligious, it does allow the melodic line and the text to 2Most of the pieces presented were taken from a

stand out more∴CIearIy. collection of fifteen called Conc鑓t V∝al Historique’ pieces choisies de polyphonie religieuse du IX au 富。嵩悪霊諸芸器e藍諾詫 XV siede, by Gastoue・ SOld for about forty cents by Procure de Musique Religieuse・ St・・Leu~laゼoret’

1A digest of these papers and lectures follows・ Fran ce. THE CÅECILIÅ 331

It included three examples of the ninth- tidns were rendered by the “Collegium mu~ and tenth~Century Organum, Which is a SPeCial way of singing Gregorian Chant The readers of Caecilia cannot a任ord to either by having several voices sing jt in ignore the high~dass efforts started in 1901 Parallel fifths and octaves, Or by having by Dr. Peter Wagner and continued by Dr. a v6ice sing another melody note against K. G. Fellerer and a class of enthusiastic note in contrary motion. The program PuPils. It was but recently that we came also induded some examples of the eleventh_ across a complete list of monographs which and twelfth ・ Century Conductus, Which is we take pleasure in submitting to our read~ in the same style as the Organum but is ers. The first series comprises twenty pub~ based on an original melody and not on lications of the Gregorian Academy; the the Gregorian. The accompanying voices second series contains the MusicoIogical are no Ionger note against note, and jn~ studies of which thus far five numbers have StrumentS have been introduced, eSPeCia量ly appeared・ For more detailed information’ the organ or trumpets, tO Play at least the apply to =Musico量ogical Institute’univer- CantuS窟mus along with the singers・ Dr・ sity of Fribourg, Switzerland’’・ Fellerer used the trumpet. The crowning piece of the evening was FIRST SERIES Sede則nt Principes, an Organum Quadru・

Plum by Perotinus, the famous thirteenth~ Publications of the Gregorian Åcademy Century Organist of Notre Dame in Paris.

While the basses held each note of the Vol. 1〆K士a糾s貼, E ’重903 Gregorian cantus鮭rmus, the three higher On the Ambitus (ran9e) of the Gregorian VOices executed as much as thirty or forty Mass Chants. measures of monotonous but very rhythmic Vd. 2 _ We血細胞nn, Ka重量 1905 The Hymnar of the Cistercian Abbey POlyphony to the accompaniment of trum~ Pairis in AIsace. pets, bells, lute, Cymbals, Violins tuned a Vd. 3 _・ Ma重x鑓タ〇億〇 1908 fifth lower to give less resonance, Oboe’ Contribution to the History of Chant in St. Gall, in the late Middle Ages. psalterium, Cithara, flutes and drum・ After Vol. 4.-競血ewebe重タC. H. 1909 ten minutes on the first word the four The Gradual Junta, 1611. Contribution to voices did the rest of the∴elaborate Gre~ Chant - History of the 17th Century. gorian melody in unison at a rapid pace. Vd. 5〆Si91′ Max 1911 The second phrase was treated in the Contribution to the History of the Ordina・ rium Missae in the German chant tradition. (With Supplement) 蒜黒岩霊悪霊詩誌認諾 VoL 6〆GⅡ出血, Ioseph 重911 Iy they had plenty of time for church ser- The Quarter・Tone・Intervals in the Tonale vices in those days, and they wanted them Missarum of Montpellier. elaborate! For this purpose they invented VIOl. 7 - Eisenring) G◆ 1913 Contribution to the History of the poly・ polyphony as an adomment of Gregorian・ And to this day part music has remained Ⅴ。書三豊孟葺器unti1 1569・ 1,1。 a thing that distinguishes European music A German Sequence-book from the dose of from a11 others. the 12th century. This concert of early polyphony brought Vol. 9 - Bronarski, Ludwig 1922 The songs of St. Hildegard・ A contribution the festival to a cIose on a note characteris~ to the history of spiritual music in the tic of the Fribourg Gregorian Academy: Middle Ages・ historical science and research. Vol. 10 _ Kessler, Emst 1922 On the accidental intervals in Gregorian A university with Chant. A Gregorian Academy and Vol. 1l _ Åbrahamsen, Erik 1923 Roman and German elements in the Gre・ A MusicoIogical Institute gorian chant and popular song of Denmark. Text of this number in French; all the other The University of Fribourg in Switzer~ numbers in German.

land held its annual “Gregorian Days’’ Vo重. 12 _ Ha血, K紬重 重925 (June 17 and 18). The lectures were given A musical Palimpsest. by Prof. P. M. de Munnynck, O. P.; Vol. 13 - Moberg, Karl Ålhn _ 1927 On the Swedish Sequences. (1) Presenta~ Prof. K. G. Fellerer; Dom Bonaventure tion; (2) Melodies with variants・

Sodar, O. S. B.; and Prof. Canon Joseph Vd. 14 - F職istdt, Hと心血ch 書929 Bovet. The chant and polyphonic selec~ The liquescent notes in Gregorian Chant. 332 THE CAECILIÅ

Vol・藍‾十諜岩手l詫言豊in P.。,。S,。n,1930 CONDENSED PROGRÅM

Se重●Vices.

Vo賞.後6 - 〔丸腰晦で,五〇 1931 撥藷毒薬二欝欝欝護 A contribution towards historic development FRIDAY - June the 17血 Of antiphons and psalm cadences. Imuguration of `he Chgress by the Rector Vo宣. 19 - Wa心望血a叫Kla峨 Magnificus of the University. Investigations conceming pre ・ Gregorian ls( Co血erence一.’Gregorlan Chant in the chan書. VoL 20 - S馳, H血 Liturgy:’, by Pater M. de Munnynck, 0. P.

丁T]e Old Offertories with their verses. 2nd Conference - by Prof. K. G. Fellerer SECOND SERIES SATURDAY - June the 18th High Mass wi血 Gregorian Chan( at St. MusicoIo9ical Studies Michael’s Church 3rd Confereace - by Prof. K. G. Fellerer Vol. 1 - I}mp, Joaぐhim 重9う4 Studies in the Music History at the courts Åudilions of Grego重嘘m E重CcrPts reCOrded Of Westphalian Nobility in the 18th century・ On Discs, at the Institute of MusicoIogy.

Vd. 2 - Cserba, Simon 重934 4(h Con erence.- ●`The New Monastic An. The musical treatise of Jerome of Moravia. tiphonary:’ by Dom Bonaventure Sodar, Vo後. 3 - Fd脆重er, K紬賞Gus(avus 1935 O・S.B., Monk from Maredsous Abbey, Musical Life in the city of Fribourg in Belgium. SwitzerIand in the Middle Ages. 5th Conference - “The Practice of Gregor・ Vo重. 4 - Å皿a血n,九1ius 宣935 ian Chant Sung Collectively:’ by Canon Allegri’s Miserere and its performance in 事oseph Bovet. the Sistine Chapel, aCCOrding to trave]ers accounts and musical manuscripts. CLOSING: Vol.う- Rosken, F重a皿z 19う7 Sacred Polyphony hon the X(h to血e XIⅡth Studies in Music History of the Principality Century, rendered by the ``Collegium Musi・

Osnabruck. Cum’’ (Fribourg).

鵜は○○emt News HYMN BOOK IN KOREÅN FAMOuS RHEIMS ORGAN Wonsan’Korea - After severa重years of RESTORED AND REMODELED

PreParation’the Benedictine Abbey of Tok- Paris - The great organ of the restored WOn has published a hymn book in the Rheims Cathedral has been inaugurated by Korean ]anguage. The author is the Rev. Maitre Joseph Bonnet. The organ is the Wolfram Fischer, O、S.B. Most of the most important in France nex=o those of melodies are those of the best German St. Sulpice and Notre Dame de Paris. It hymns. The texts are based on the German has 6,698 pipes. The console, taken down words and have been elaborated into Ko. for protection during the war, dates from rean poetic style・ The hymns are arranged the餅teenth century. according to the liturgica宣season of the The original organ was built in 1481 by year, The book also contains severa=it. Oudin Hestre but was remodeled on many anies using old Korean melodies, a Selection Of Latin hymns and several Masses. ÅNCIENT HYMN SuNG IN NuN LEÅDS SINGING CINCINNÅTI CHuRCH ON HER DEATHBED The ancient Italian hymn, “Noivogliam London - While leading the two nuns Dio’’, WaS Sung in San Antonio di Padova at her bedside in the singing of her favor・ Church, Sunday, June 12, for the first time ite hymn, “Hark, hark, my SOul∴ Sister Since 1922. The occasion that year was Hildagundis died at St. Joseph’s convent, the procession which escorted Archbishop Middlesex. She was a music teacher and Moeller from St. Bonaventura’s church here had been in the order 40 years. to San Antonio di Padova church. THE CAECILIÅ 333

NEW INSTITuTE OF PALESTRINA,S WORKS TO BE

LITuRG重CÅL MuSIC ELECTS PuBLISHED IN NEW EDITION

At the∴dosing session of the Institute Vatican City - Monsignor Raphael Cas一

of Liturgical Music which was held at Col・ umbia College the week of August l to 7, 課虚器晋露語善書豊 ductor of the Musical Chapel of the Later- John Kelzer, Organist at Holy Ghost Churchタ Du吐que, IowaタWaS elected president of an Archbasilica言s editing a monumental the new organization. Other officers elected WOrk which marks an epoch in the history were: Sister M. KathleenタO. S. B., St. Pat~ Of sacred皿uSic・ It is the complete edition

rick’s parish, Eau Claire, Wis., first vice・ Of the works of Pierluigi da Palestrina.

PreSident; Vincent Carney, St. Patrick’s The edition will contain the original

parish, Rochelle, Ill., SeCOnd vice・PreSident; manuscripts of the great Maestro and has Miss Ann Gastel, St. Joseph’s parish, Free~ not only an historical and critical object, POrt, Ill., third vice~PreSident; and the Rev. but also a practical one. While it will leave W. H. Schulte, Ph. D., Columbia college, intact, Without any transposition of tonality, SeCretary-treaSu重er. the original composition of the Maestro言t Will be transcribed in modem notes, SO aS tO The association will be known as the Loras Institute of Liturgical Music, the render its execution possible in present mu~ Sical chapels. The voluminous work will name being chosen by ballot, and being in consist of 34 volumes and each volume will honor of Bishop Mathias Loras; first Bish・ have a preface in which indications for the op of Dubuque and a pioneer of the North・ west. Other highlights of the closing ses~ practical execution of the Palestrinian com・ sion were the adoption of a constitution positions will be given. The volumes will contain the∴COmPOSitions of the Maestro and the decision by the delegates to hold in the∴ChronoIogical order in which they an annual meeting of the organization and were published by the composer and his another Institute next year. heirs, for the student to follow the phases The purpose of the organization was of the artistic evolution of the Palestrinian stated to be the promotion of interest in 9enius. liturgical music, enCOuragement Of the ful- All compositions which the most pro・ fillment of the∴enaCtmentS Of the Church in gressed criticism has proved cannot belong regard to music of all ecclesiastical func- to Palestrina will be eliminated、 Certain tions and the banding together of those in- other compositions, reCently discovered, Will terested in this movement. be inserted. Thus this new Italian edition

of the Palestrinian works wi重l be quite different from the German one, the sole NuNS AT SuMMER SCHOOL one that now exists.

MAKE uP CHORAL CLuB The publication was inspired by an emi・ nent music critic, Dr. Raphael de Renzis. Notre Dame, Ind. - A unique choral The first four volumes will be published club, Perhaps one of the first of its kind, this year. has been formed at the University of Notre

Dame summer school this year. The∴Chor・ HYMNS SuNG IN 42 LÅNGuAGES isters are nuns representing various religious orders from a11 parts of the∴COuntry, and BY 与00,000 their historic robes make even their rehear. ¥ Budapest - Hymns sung in 42 di任erent sal gatherings a pageantry of contrasting languages rose from the throats of a half・ coIors. While limited to 70 voices, the million persons in Heroes’Square言n one membership of the club is not confined to Of the brilliant ceremonies that formally music students. The club’s repertoire will OPened the Thirty・fourth Intemational Eu~ indude both secular and sacred.numbers. Charistic Congress. 334 THE CÅECILIÅ

MISSION CHOIR RÅDIO Sillon, On Sunday, June 19. The∴COnCert, PROGRÅMS PRAISED PreSented under the auspices of the Altar Los Angeles - Old Mission Santa Bar~ and Rosary Society of St. Mary’s parish, bara’s famed Franciscan choir; conducted was under the direction of the Rev. Peter by the Rev. Bertrand Hobrecht, 0・ F・ M、, H. Schaefers.

is receiving ‘widespread praise for its SoIoists at the concert included: Miss broadcast over the NBC Blue Network, Dorothy Corri9an, SOPranO; Mrs. Eleanore heard on altemate Saturdays from 4.00 to Farrell Uniak, SOPranO; and手B. Moore, 4.15タ Pacific Standard Time. A recent tenor. Maurice Snoeck was the organist. notable achievement was the presentation of a sequence from the Mass for the Feast LONDON CLERICAL And LÅY CHOIR of Corpus Christi, PreCeded by three Gre~ PLANS TOuR OF PÅRISHES

gorian chants言nduding the “Tantum Ergo∴ To O億er Fu11 Lifurgical Rendering The narrative, Written by the Rev. May・ o登Serviぐes nard Geiger, O.F.M., dealt with a pro・ A joint clerical and lay choir, the Schola cession held on the feast in the old mission of St. Michael, Which meets regularly in days. the West End of London to celebrate the important feasts throughout the year with

CLEVELAND CHOIRS IN CONCERT full liturgical honors言S Willing to o任er its

The Palestrina Chorus and the Cecilian services to introduce liturgical o鯖ces to Choir, both of Cleveland, PreSented a Sa・ Parishes where they are not usually cred Concert at St. Mary’s Church, Mas~ POSSible.

WIlat Ot血erS Ame lDo王皿g

In Los Angeles, a neW Society of Choir- The Most Rev. Bishop Donahue o航ci・ masters has been formed as part of the ated at the blessing. of the organ at the Diocesan Plan for the observance of the Holy Trinity Church, and Mauro-Cottone, liturgical movement, under the direction of Organist, rendered a program of composi・ the Most Rev. Bishop Cantwell. tions by Frescobaldi, Franck, Mendelssohn, BossiタVieme, With modem music by Mon~ In Peiping, China, the Mount Mary tani and himself. Hymnal is to be used, having been ordered The Very Rev. Gregory Htigle, O. S. B.タ recently by Sr・ Gemma, S・ Sp・ S・ Of the recently transferred to St. Francis Hospital, Fu Jen Girls’Middle School・ Marysville, Mo., has become established as Among the other notab宣e∴Choirs using Chaplain of the hospital at that location. this book may now be induded that at the

Holy Child Church言n Philadelphia, di- REM暮NISCENSES OF rected by Philip Bansbach・ DOM GREGORY HuGLE, O. S. B、 (Continued from page 328) At the Portland Cathedral (Maine), Fr. It must have been in the designs of Divine Boltz is teaching the∴Choir Haller’s re- Providence that Abbot Frowin incessantly

nowned “Missa Tertia’’. WOrked towards perfecting the interpreta〆 =Keys to Music Land’’is the latest book tion of the sacred chant. No sooner had Pope Pius X issued the Motu Proprio and published in the Tone and Rhythm Series, for Parochial SchooIs, PrePared by Mother the first installment of the Vatican edition, When the Fathers of Conception Abbey Georgia Ste‘γenS Of the Pius X School, New York. Like the others, this book is Were Called upon to lend a helping hand in taking up this work. Caecilia has given profusely illustrated, Only in this Iwork the original Gregorian notation is written out a fair outline of these activities in the sum. mer issue of 1933. extensive賞y for the first time in the series. Kindly pemit the Editor of Caecilia to Grace Compagno had two compositions encourage a量l its readers “to be uP and do・ broadcasted from coast to coast on Septem~ ing; tO delve into the problems, ConVinced ber 18. Our Prayer, a Chorus, WaS Sung that nothing w組l co皿e by itse唯only when by 35 women, and Panis Angelicus’by Miss Compagno, WaS Sung aS a SOIo. 鵠荒巻霊悪霊警議書慧 The director of the group was Eda it sho喜`語意轟音藍簿,藍.・・ Scatena Lippi. THE CAECILIA 335

Choir Pおocedure at Low Mass i皿Po富宣寒a皿血, O富e碧o皿

CHuRCH MuSIC REGuLATIONS

Before Mass Begins:- HYMN IN HONOR OF THE BLESSED SINGING SACRAMENT OR ORGAN ONLY Confiteor to ecce Agnus Dei:- Beginning to O任ertory Verse:- NO ORGAN OR SINGING NO ORGAN OR SINGING Offering of Host to Secret:- To _ before Communion~Verse:- SINGING S INGING

Preface to Sanctus:・- Communion Verse to last Gospel:- NO ORGAN OR SINGING NO ORGAN OR SINGING After Sanctus to Before Pater Noster:- After Prayers:- ORGAN S INGING Pater Noster to Agnus Dei;- NO ORGAN OR SINGING Årchdiocese of Portland in O重egOn

Prayer for Peace to just before Communion~ (See Archbishop’s Letter - June 27, 1938) of~the・PeOPle: -

PROGRAMME OF MuSICAI;E PRIEST. ORGANIST GIVES RECITAL SERIES IN CHINA Belmont Abbey Auditorium, Belmont, N・ C◆ Hundreds of Peking residents言ncluding MAY 25th, 1938 many professors and students’aSSembled at the Peitang for the first of a series of OVERTuRE; Fantaiste Dialpguさe, Boellmann, OP・ organ recitals by the Rev・ Theodore Ruhl, 35, (1862~1897) - Trio for Six Hands; The Hammond Organ and Two Concert Grands・ S.V.D、, muSic professor at the Catholic First Piano _ Miss Margaret Reiser university of Peking・ The recital was rendered on the fine old 露盤諾n霊竺E霊藍SAd。l。rd B。u. villiers, O. S.B., M.A., Mus. Doc. Peitang organ’until recently the largest

Ronde Francalse, BoellmannタOp. 37, Duet. pipe-Organ in China・ It su任ered consider・ Mast。r Rickford James Hanner at The Hammond able damage from Boxer bu11ets at the be・ Pere Adelard at the Piano. ginning of the century’but was repaired by Th豊討議露藍篭1盈豊〇 ・ a polish craftsman through months of labor in 1927. Th。 Fun仁of the Bumbk‘Bee, Rimsky ~Korsakov Father Ruhl himself designed and in・ (1844 ・ 1924)・ stalled the new organ at Yenchowfu, nOW Miss Bain Henderson at The Hammond・ the largest in China, Which was made in chora1 8 Menuet, Boellmam, Op・ 25, Nos・ 1 and 2・ Trio for Ten Hands. Germany according to his specifications. First Piano - Misses Bain Henderson and C・ F. Kelley La Radieuse by Louis Moreau Gottschalk ( 1829~69) second Piano _ Misses Helen Jones and Mar~ Grande Valse de Concert. Duet for Piano. Misses B. Henderson and C. F. Kelley. garet Reiser Toc討㌍諾霊宝龍嵩註豊富も讐 Fe霊鳥露盤詩託悪2認藍豊富Pere Adelard, O. S.B., at The Hammond・ Pere Adelard, O.S.B., at The Ham皿Ond - Model巳. Miss Bain Henderson and Pere Adとlard・ O・ S. B・ 336 THE CÅECILIÅ

The Cat血o賞ic In重量uence o皿Ⅲac血 By DR. CASPAR KOCH

(Paper read at the 1938 convention of章he Catholic Organists’Guild of Pittsburgh)

tions, made by Bach’s own hand, are Still ACHARACTERISTICartists is their offaculty great of creativeabsorption in existence言ndicating that he perfomed and assimilation. The truly great did not them while he was cantor at St. Thomas’ strive so much to be original as they did Lutheran Church in Leipzi9. Bach him~ to master the crafts and the arts ol their Self wrote Masses to the Latin text, and predecessors. Goethe, in a facetious mood, Palestrina’s influence is traceable in many 1eft us some verses in which he mentions COmPOSitions of Bach, nOtably in the “Gra~ the various qualities he inherited from his tias agimus tibi’’of the B Minor Mass言n the so~Called Doric fugue for organ, and parents, grandparents’and great-grandpar- ents. There, hlS forebears, merely serve as in the Grave of the G major fantasia.

Sy重nboIs representing the great writer from Gregorian themes also abound in Bach,

whom he appropriated all he∴COuld use for notable instances being the “Credo in unum his own creative purposes. It is illuminat~ Deo’’of the Mass mentioned言n which the ing to trace the forces that nourish genius. Gregorian intonation is used as the sub~ The process lends us the means whereby ject for a fugal movement, While one of the we may observe the artist in his owri work- most impressive passages in this Mass oc- Shop. CurS in the course of the `’Confiteor∴ when We have all been witness of late of the in the progress of the fugue the basses sud・ gigantic stature Johann Slebastian Bach has denly announce the theme from the Gre~ assumed in the∴eyeS Of the present genera~ 9Orian “Credo’’. tion. In addition to being rated as the The form of the cantatas and the Passion, foremost composer the world has produced, Which form a large and significant output it is surmised that his compositions are be~ Of Bach’s work, developed from the form ing performed to a greater extent than are Of the Catholic motet, interspersed with those of any other composer. That comes the forms of the recitativo and the arioso dangerously near being popular, Were it not after the∴early Italian opera composers,

for the fact that his appeal is to the∴elect, Peri and Monteverdiタ Who, in tum, de- rather than to the multitude. rived their own style from the psalmodic What were the sources to which Bach recitation of the Catholic liturgy. The li・ tumed to seek nourishment for his stupen- turgical form of the Passion itself dates back dous imagination? They are so vast and so to the early centuries of Christendo皿. It numerous that we can do little more than became dramatized as a public spectacle in merely indicate them here・ the Passion plays of the Middle Ages, the When the Reformation of the 16th cen. traditional for血of which is preserved down tury threw the doors of the∴Churches open to our own day in Oberammergau. The to German poetry, it was under no neces~ Catholic Netherlander, Obrecht, Set the Sity to compose appropriate hymns, but Passion to figured music in 1505. Luther’s could choose what suited it from the trea_ composer~friend, Walther, like Luther orig- sures of the 14th and 15th centuries. Luther ina11y a Catholi⊂タCOPied Obrecht’s Passion

‥. refashioned Latin hymns, PSalms, litur~ for performance and later himself composed gical chants, and Biblical fragments into the Passion to a German translation. Bach’s hymns for the German service.’’ Thus Passions, aCCOrding to St. John and St. writes Albert Schweitzer, foremost Bach Matthew, along with the great B Minor authority of the present day, himself a Mass, form the trio of his masterpieces. Lutheran minister. Nor did Luther intend Many composers influenced Bach in the to banish the Mass. Although Bach ap・ field of instrumental music. Above all, let peared two centuries after Luther, yet eVen it be said that Bach did not invent any of in his day the Masses of Josquin de Pres the numerous forms which he∴emPIoyed. of the Netherlands school and those of The toccata, the ricercare (based upon the Palestrina of the Roman schooI were being vocal motet), the canzona (ancestor of the Sung in the Lutheran churches in their orig~ fugue), the canon, and the fugue.Yere

inal Latin. Copies of Palestrina composi・ created by the generations of musIClanS THE CÅECIL重A 337

Of the Netherlands and Italy in the∴Cen・ 1,448. Among them are many famous ones turies preceding Bach, all of them Catholics. later adopted by the Lutherans・ “Christ The greatest of Catholic organists, Fresco・ ist erstanden’’(Christ is risen), mentioned baldi, Of St. Peter’s in Rome, Who flourished by Luther as =one of the fine melodies made in the 16th century, based his organ works under the papacy:‥`In dulci jubilo, nun on Gregorian themes. His famous collec- singet und seid froh:, the quaint `●Kir- tion “Fiori musicali’’was not only known leisen’’(the term is a corruption of Kyrie and studied by Bach, but there is still in eleison), numbered by the hundreds, date existence a copy of the work made by back to the 12th, 13th, and 14th centuries・ Bach’s own hand. The German master, Many so・Called Lutheran hymns are Froberger, WaS a PuPil of Frescobaldiタand merely translations of mediaeval Latin through him the suites based upon Fresco~ hymns, SuCh as “Jesus Christus unser baldi’s partitas, made their way into Ger- Heiland’’ (Jesus Christus nostra salus), man practice. Bach’s concertos, mOreOVer, “Erstanden ist Herr Tesus Christ’’(Surrexit are cast jn the fom of those by Vivaldiタ Italian priest-COmPOSer, many Of whose Christus hodie), and many more. The re・ concertos Bach arranged for the organ and nowned ``O Haupt voll Blut und Wunden’’ the davier. (O Sacred Head) is, Of course, a tranS~ lation of St. Bernard’s “Salve∴CaPut Cruen・ Three outstanding Protestant organistsタ tatum,,. Until recently the melody (which early contemporaries of Bach, left pro〆 nounced traces on the Leipzig cantor. They plays so important a part in Bach’s Matthew Passion) was thought to have been com・ were Pachelbel, Boehm, and Buxtehude. Although a Protestant, Pachelbel became posed by Hassler・ Now it is known to have∴eXisted in the 15th century and to be organist at the cathedral of Vienna・ His of Catholic origin・ Hassler merely adapted choral preludes were developed from the the melody to a secular love song・ versets of Frescobaldi. Boehm treated the Lutheran choral in florid form, SOmeWhat in A word remains to be said of the most

the manner in which the so-Called “coIor- renowned of all Lutheran chorals, the

ists’’treated Gregorian themes in the for・ battle・hymn of the Reformation・ “Ein’feste

mative period of organ music・ Buxtehude Burg ist unser Gott’’ (A mighty fortress was the successor and the son-in~law of is our God). Every hvmnal containing it Tunder of St・ Mary’s in Luebeck, and Tun- ascribes it to Martin Luther, both words der was another of the many pupils of and melody、 Now it is a significant fact Frescobaldi. that during Luther's lifetime not a single The choral prelude itself, although per~ hymn tune -was attributed to him・ Some fected by the Protestant organists of Ger- ten years after his death’Sleidamus・ Lu- ther’s first biographer, Credited him with many, harks back to the mediaeval Catho・ the authorship of both text and music of lic practice of substituting altemate verses ’・Ein・ feste Burg∴ Bv the∴end of that of hymns by the organ, a PraCtice adopted century no less than 137 hymn tunes were by the post・Refomation organists of Ger・ being attributed to him・ But 19th century many・ research has played havoc with these falry But what of the Lutheran choral, that is, the hymn sung in the German vernacular? Is that, at least, nOt the creation as well as the glory of the so~Called Reformation? 。。罷霊露盤警謹謹話 Many gentle souls there are who Iwould ing been traced to other sources・ And have us believe as much. Let us cast a what is the score today? None at all. Some

glance in that direction・ The German Kirchenlied, later ca]led 言提議霊露盤端整嘉 choral, because in the Lutheran service fuer Musikgeschichte,, that all the phrases it was sung by the∴Chorus rather than by the congregation, antedates the Refoma- ‡霊謹諾蒜寵霊謹言字詰‡ tion by many centuries・ Nor do these Catholic hymns in the vemacular appear as isolated言nstances. Wackemagel pub~ 羅嵩霊宝霊露 lished a collection of pre~Reformation Ger~ indebted to Dr・ Wilhelm Middelschulte, man Catholic hymns to the number of Chicago organist o白ntemational reputa・ 338 THE CAECILIÅ

tion, himself a Lutheran, for the following information: OUⅢ MUS案C “The melody to `Ein’feste Burg, is found in a motet by Johann Walther, line for line, 冒Ⅲ量S Ml)N冒Ⅲ in 1524・ Luther wrote his stanzas five years Father Koenen is well known to those

later言n 1529. The proof of this statement who use liturgical two part music. His is found in an artide by Bemhard Ziehn, “Laetentur Coeliタ, for Christmas is in his famous theorist’in the =Allgemeine Musik~ Characteristically simple style. It is festive Zeitung’’about 30 years ago・ Zeihn quotes and melodic enough to be quickly leamed, the melody from Walther’s motet and com~ yet it is within the bounds of proper church PareS it with the melody of ‘Ein’feste Burg, and he condudes his artide, ′this proves Father Marcetteau, a PrOminent Sulpician that `A mighty fortress’’was not built by Father of our time言ntroduced his settin9 Luther’・ Koenig’s Deutsche Literaturges~ of the uHodie Christus Natus Est” first to Chichte states the same thing・’’ a choir of Seminarians. It makes a nice

Wilhelm Ne重le, PrOminent Lutheran hym・ COmPanion piece to go with the “Laetentur noIogist, finally acknowledges with philoso~ Coeli’’タby Father Koenen, for use by choirs

Phic complacency that “not a single melody, either of men or women. not even 《Ein’feste Burg’, Can With cer~ Cyr de Brant’s “CaroI of Good Tidings’’ tainty be ascribed to Luther.’’ appeared in the mixed voice arrangement Those who knew Bach best te11 us that last year in the Caecilia. This two part “he was a very good man, a Pious man.’’ edition furnishes a composition which any Even without this testimony we would know Choir can perform. The melody on the first as much, for it stands revealed in his music Page js complete in itself. The theme is unsurpassed. Schweitzer, however, denies Closely followed by the second page, While that Bach was an orthodox Lutheranタ Or against it is heard the famous old “GIoria’’. that he was a follower of the so・Called “piet・ The second verse is on the following pages, ists“, a SeCt from which emerged Protestant~ SO it can be seen that this piece can be ism. He prefers to call him a mystic, a Ver・ made short or long at will, and can be dict with which we may agree. Sung With either Latjn or English words At any rate, the statement frequently during Christmastide. made that he was the greatest Protestant or ``Missa Immaculata’’, by Paul Tonner, is

Lutheran church composer stands in need a new work for choirs of women’s voices.

Of revision. His greatest compositions were It is simp量e and liturgical and yet there is

extra-1iturgical’SuCh as his great Mass, his enough motion in the parts to make it in・ Maghificat, his Passions and cantatas, Which teresting for both singers and hearers. The transcend the bounds of liturgical restric- VOice parts are here printed, but an edition tions (he, in fact, named his cantatas “con~ for organists is also available. CertOS’’)タaS Well as his Brandenbur9 COn~ “O Light of血e World” by Sister Rafael

certos, his organ and clavier works. Even is a chorus that any choir will like. his choral preludes roused the ire of the Where so much music has to be prepared Church council. He promised to refom - for Christmas, festive music which is easy and then proceeded to do as he liked, COun~ and yet which sounds brilliant is always cil or no council. PraCtical. This sketch would be incomplete and sub~ ject to misinterpretation unless we made it FOR NOVEMBER∴8ERVIOEβ! Plain that, although the various foms which the master empIoyed had all been created VESPERS OF THE DEAD and cultivated by his predecessors言t was No.476._2Vcs.o富SÅTR Bach who brought them to a state of per~ FalsobordonibyJ.Singenberger fection beyond which, aS Richard Wagner P正ce.-35c(S. remarked, a further development is not pos・ sible. We stand in awe in contemplating HYMNS:LetAPiousPrayerBeSaid his achievement. He will not condescend to HolySoulsInDackness popular favor. To reach him and appreciate byJ.Groiss him we must spum the level of the common・ P富ice・-15cts. place and ascend the heights・ 339

1. Laetentur Coeli- Fr. Koenen (2Vcs.)

2. Hodie Christus Natus Est葛Fr. Marcetteau(2Vcs.)

FR. KOEⅣEN

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Copyright MCMXXXVⅢ ty McLaugblin & Reiuy Co., Boston International Copyright Secured M.&R.Co. 989A_宣0 IutheL OすeCl11a, (October 1988) ` 348

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里f organ is used for加compan血ent, the organist ryill regard alI repeate4 notes as tied.

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調子&R.Co.956-8 THE CAECILIÅ 355 国書田園匿因 OCTOBER._ 1938 to pass judgment on the merits or demerits “Is it possible to prove that the vocal Of Mr. White’s theory. “Among. the many hymnals in our musie oords are not the source of sound in the hu血狐voice?タタ room, thelre are SOme that have been put on the black list. Are all the hymns in the 。嘉孟豊島諜誌辞書。霊 black.1isted b0Oks under the ban?,タ andSinging (5th ed・, Dent, 7 s. 6 d・) (2) A.〆In the black-1isted books you will Light on the Voice Beautiful. (3) Sinus find many standard Catholic hymns and Tone Production、 In these books he de- POSSibly a number of Latin Hymns, all of nies that the vocal cords, “half an inch o登 which may be used in church. The reason

wet membrancous tissue’’, Can PrOduce two why certain hymn books were placed on the

octaves of tone; he advocates the theory of black list lies in the vulgarity and profa‘nity sinus tone production. “Direct your breath of hymn-tuneS. Years ago a whole series downwards from the sinus through the of articles appeared in the “Catholic Choir・ nose∴ he says∴`straightway all temptation master’’(St、 Gregory Guil匂Inc・, 1705 Rit・

td tighten the throat departs automatically・’’ tenhouse Square, Philadelphia, Pa・) setting In support of his theory, the author uses forth the disastrous story of how drinking various arguments and illustrations, amOng songs and love-SOngS found their way into them the following: Catholic Hymn Books・ These articles ap-

Breaking of voice, the curious riddle′ finds peared also in separate∴edition・ a reasonable∴eXPlanation under the sinus We suggest that you mark the black・ theory・ It is known that at puberty new listed books, giving the reason why certain sinuses are formed, giving lower notes than songs were rejected, and above all, We were formerly producible, but there is no suggest that you purchase only such hymn

such process as =breaking of the voice’’・ books which carry in front the Bishop’s It has been observed that prisoners after Imprimatur. a long sentence of solitary confinement tend to Iose their voice. On the∴Vocal chord 登。縄詰岩島議霊諾意嘉霊 theory it is not obvious why this should be ry and trashy melodies had an immense so. But Mr. White has a ready explana~ sale?,タ tion to offer for this curious phenomenon; A.一Years ago when the selection of namely, that the sinuses, through long~COn・ church music largely depended upon the tinued disuse become cIogged with an ex〆 taste and choice of the organist, the ques- cess of mucus, and so transmit too small a tion was not asked: =Is this music liturgical, column of air for actual phonation. churchly in tone and make・uP?’’-but: “Are A most original and careful study of voice there nice tunes in this book?’’The organist in the animal creation still further estab・ could not go beyond the level he or she lishes and confirms the main thesis of the had attained in piano music・ The more the author’s teaching. Let us note that the snake hymns in melody and rhythm approached without sinuses can merely hiss - Whilst the parlor-Style, SO muCh the more they were the sheep with sinuses, but practically de・ welcome. It was with the revival of au- VOid of vocal cords can produce a penetrat・ thentic church music言naugurated by Pope ing bleat. Pius X, that new light came also into the At this early stage we are not prepa重ed domain of hymnoIogy・

瓢F. Send your Questions to Rev. Gregory Htilg宣le, 0◆ S・ B., St・ FrlanCis Hospital, Maryvi11eタMo・ They will be answered in this colum with・

Out re erence tO yOur name・ 356 THE CÅECILIÅ

OⅢ量TUAⅢ,量圏S

REV. JO‘HN M. PETTER Bom in Niederbreitbach, Westerwald, Germany, On the feast of St. Joseph, 1873, Co・Founder of St. Gregory Society Prof. Schmitz began studying organ music Rochester, N. Y.一The Rev. John Mar~ at an early age and at 18 was considered

tin Petter, Rochester-bom priest∴who de~ an expert at the manuals・ His course in voted much of his life to the study and music言n Aachen, Germany, brought him teaching of sacred music, died early Wed・ under the tutelage of H・ Boecheler and nesdayタJuly 20言n St. Mary’s Hospital. F. Nekes, tWO Of the greatest masters in He was 62 years old・ Gregorian chant and directors of the Gre~ Although he had been in ill health for several years, Father Petter had continued 諾精霊霊悪霊寄書S悪霊 his teaching. At his death he was Profes- arriving in Detroit, in 1891・ Prof・ Schmitz sor of Music at St. Bemard’s Seminary, a post he had held since 1903. 議許諾豊請霊豊津豊 Said by his colleagues to have done more Engelbert Andries, editor of the Catholic

than any other man in the Rochester Dio・ German language weekly, =Stimme Der cese to reform church music, he was known Wahrheit.,, Prof. Schmitz came to Detroit as an authority on the Gregorian Chant. He and was given the position of organist of added to his Iove of teaching music and Sacred Heart parish・ In 1903 he became Geman a profound interest in gardening・ organist and choirmaster of St・ Anthony s He designed, Planted and, until recently, parish and held this position until his cared for the park south of St. Bemard’s death. Seminary building. Father Petter was bom in Rochester, November 14, 1875, SOn Of Damian and 1938 Fa1看 PubIica置ions Catherine Mi11er Petter. He attended St. .MASSES Michael’s parochial school, Cathedral paro~ BIGGS _ Mass of Mary Immaculate …‥$ ・60 chial school, St. Andrew’s Seminary and (SATB) St. Bemard’s. He was ordained a priest on CHERuBIM - Mass of St・ Gertrude …‥ ・60

丁une 6, 1901. (SSA) After his ordination, he was sent to Eu- GRuENDER - Missa Eucharistica …… ・80 (SATB ) rope to prepare for his life’s work. He McGRÅTH _ Missa Pontificalis-Voice Studied music in England, Germany and Parts now published ………………・ ・30 Italy. In 1902 he eamed a baccalaureate JOHNSON - Mass of St. Francis-Voice degree in sacred theoIogy, the first degree Parts now published …………………‥・30 COnferred by St. Bemard’s Seminary under ORGAN MuSIC the charter granted by Pope Leo XIII. ONE, TWO 8 THREE PAGE PIECES for Reed Organ.…・…・・・………・… 、80 ( Liturgical) JOSEPH E. SCHMITZ GuIDE BOOK Detroit FOR CÅTHOLIC CHuRCH MuSICIANS

Fr. Rowlands ……………………. 80 ct§・ 弓oseph E・ Schmitzタ first organist and Choirmaster in Detroit to follow Gregorian LAST YEAR,S FAVORITE Chant according to Pope Pius X’s “Motu NEW MASSES

Proprio:’ died at his Summer home at BIGGS - St. Anthony Mass …・・…‥……… .60 Houghton lakeタThursday, August 11, and (SATB ) .60 WaS buried from St. Anthony’s church, De~ CHERION _′ St. Cecilia Mass...…….… (SATB ) troitタAugust 16. The Very Rev. F. W. KAIM - Missa Jesu Redemptor."…・……・ ・90 Schaeper, C. PP. S., PaStOr, Celebrated the ( SATB ) Solemn Mass of Requiem and was assisted McGRÅTH - Missa Lyrica.……‥…・.・・… .60 by the Rev. Herbert Linenberger, C. PP. S., (STB) as deacon, and the Rev. Robert Stuken・ McLAuGHLIN 8 REILLY CO、 borg, C. PP. S., aS Sub~deacon. Burial Boston Mass. took place in Holy Sepulchre 。emetery. THE CÅECILIÅ 357

GREGORIAN CHANT PROGRÅM ON CHINESE RÅDIO STATION Not long ago, a Peking radio Station Good Fbr略のPub揚めのJ XGOM gave a forty~minute concert of Gre- 皿す STOCK gorian chant based on the original records Of Solesmes. Beginnin9 With the Good unison Masses Friday Antiphon, Christus Factus Est Pro ’l’心血d血i, 002000 Score Nobis, SOme fifteen numbers were broad〆 Voice Part CaSt言nduding the GIoria Salve Regina, and 戟増血鑓タO書の Score Two P鵡t M鵡韓S other selections from the ecc量esiastical year. Father Charles Roesslein, S. V. D.. Prof. Griesbache重タMass of St. Åmbrose …… $1.00 Litt, at the Catholic University of Peking, S 8 A Voice Part Ed ……‥ .25

addressed the sponsors suggesting that he Perosiタ Missa Te Deu皿 2,25

Preface future programs with an interpre・ S 8 A Voice Parts jO tation of the chant. Widespread interest Th重ee 膝皿 Masses

was aroused and the “Peking Chronide’’, CapocciタMissa Mater Åmabilis (ATB) .75 leading Peking newspaper, tumed over half Separate Voice Parts each .25 of its editorial page to a complete explana~ Griesbacher, Missa Mater Ad皿irab址s tion from Father Roesslein’s pen. Rev. (S.S.A.〉 2.00 Theodore Ruehl, S. V. D., Ph. D., Organist Each Voice Part .25

of the Pei・t’ang Cathedral of Peking, and Perosi, Messa Tre Voci d,uomo ……. 2.25 member of the faculty of the Catholic Uni・ .45 versity, gaVe him scholarly assistance in Cherion, Messe St. Cecile. (SSA〉 Separate Voice Parts (each voice) .2O PreParing the melodic interpretation. The complete broadcast explanation is to be re~ 膿avandlo, Mass of St. Peter (T.T.B.) Each Voice Part .25 produced in the columns of the Catholic Fo伽r 量も競 M義襲S (SÅTR) university’s magazine, Fu Jen, at an early ● date. Noyon, Messe Solennelle …………………. .80 The broadcast was a great success. It Each voice part .20 reached countless thousands who had never Nibe皿e, Messe S. Jeame d’Arc …………… .80 before had the least idea of what Plain Each voice part .20

Chant means. Furthermore, Since Chinese RenziタMass of St. Joseph …………………‥ .80 Catholics have always evidenced particu]ar Each voice part .20

delight in Plain or Gre9Orian Chant at Grieshacher, P. Missa Ma〔er Admirabilis 2.00 church services, the broadcast is sure to Each voice part .25 have been a distinct revelation to皿any Missa Stella Maris……………2.00 non-believers, Who did not realize that Polyphonic Masses . even according to Chinese standards this Hasler. Lotti, Casciolini, etC. Edited

music is sheer art. by R. R. Terry ………………………………‥ .80 Translations of the Latin words of the The above are but a few of the most popu~ Chant were also given due prominence in 1ar foreign Masses, kept ln StOCk. the newspaper in the “Peking Chronicle’’. Sample are on hand of most of the Foreign REVIEW “Jus Musicae Liturgicaeタ’by F、 Romita. Masses in print, eSPeCially the publications Of such companies as:

Marietti, Turin~Rome. 1936, in octavo, Hem血 ………………………‥ Switzer]and

XXVIII, 320 pp., Price 15 L. (Italian text.) Kothe; Bohm; Pawelek; …. Germany

If there are to be foundタthroughout the Procure Generahe3 Biton「; Herelle;

WOr重dタSOme muSicians who are ardent jur~ Menes缶e萱 ………………………… France

ists, may they then read this work? There~ SI’EN; CarraraまZanibon;...... Italy

in they will find, first, a COmPlete history Cary; Rushwor(h 8 Dr. … England Of the Legislation on Sacred Music, from Desdee Belgium Moses to Pius XI; and, SeCOnd, all that is Van Rossum Holland COnCemed in the present (actual) Code of

告On轟言霊‡言霊罵○豊藍 McLAUGHLIN & REILLγ C0.

into sections, titles; chapters, etC. The 1OO BoyI§tOn §treet - Bo§tOn, Mきss, modem documents relative to Sacred Mu. sic form an imposing array of articles・ 358 THE CÅECILIÅ

御中固肌輯駆動調憫 (ENGLISH WORDS)

958 The Same, Årranged for TTBB …………… ・12 20 Seven Hymns for Ådvent and Christmas Sisters of Mercy .15 817 Sr. Cherubim Collectわn …………‥....……. .20 Årr. for unison, 2, 3, Or 4 part singing・ For 2, 3 0r 4 voices. Creator Alme Siderum; O Come, O Co皿e Ye Children Come Hither; O Holy Emmanuel; Hark What Mean Those Night; GIory to God; O Glorious Night. …黒t藍S諸主語課業eA蕊 916 T血ree Hyrms fo重Men’s Choirs …..…..…. .12 Fideles; Angels We Have Heard On lHigh・ Hail Holy Night (Tappert); O Tidings Sweet (Mitterer); An Angel Fair (Sin~ 36∴Four Christmas CaroIs genberger). Dom Gregory Hugle, O.S・B・ ・15

Arranged for unison or two part Singing・ 917 Two Hymns fo重Two Par( Singing ……‥ ・12

Christmas Communion Hymn; In Dulci Ye Shepherds Arise (Wiltberger); Sal・ Jubilo; While Shepherds Watched Their Vation’s Night (Piel). FIocks; Resonet in Laudibus.

1030 Seven Traditional Ca重OIs ...….…..….…... .12 286 Four Christnms Hy皿nS for Jmior Choirs ・12 Arranged for Unison or SATB. For unison singing・ Come All Ye Faithful; Silent Night; An・ gels We Have Heard; Hark The Herald 盤認諾謹告薄暑も等三 Angels; First Noel; It Came Upon The genberger); Lovely Infant (Arr・ by O・ Midnight Clear; O Little Town of Beth・ 1ehem. 烹盤某誌磐eep Child Divine (M’

957 The Same, Årranged for TTBB …………. .12

536 Eight Catholic Chris血as HyⅡmS Compiled by J. Singenberger ・20 977 Chris血nas Hyrm …………… Fr. Rowlands ・15尊 For l, 2, 3 and 4 voices. For unison singing. The Christ Child in The Sacred Host 982 Five CaroIs (Ha11er); Hymn to The Infant Jesus For unison singing. (Greith); Angels From The Realms of 轟患n癌鵠豊†詩誌 謹h薄豊r講a批慧悪窪 hem (A. Haan); Jesus Teach Me How Faithful; In Dulci Jubilo; Stars of GIory to pray (17th Century); See Amid The (Irish melody). Winter’s Snow (Traumihler); Hymn to The Infant Jesus (Lohman)・

538 Four Catholic Christrms CaroIs FOR∴REED ORG▲N Singenberger and Lohman ・15 For 2 and 3 voices. NEW! Merry Christmas, Holy Night; Angels Lookmg from the Skies; The Christ Child; THE SHEPHERD’S WÅTCH..…….….. Hark the Herald Angels Sing. Cyr de Brant A Medley of Traditional Hymns and 815 Christmas Hymns) from the Berge Hy皿的ls Car01s. Louis Berge ・15 2 voices. FA VORITE$ ! See The Child; See The Star That Gleams On High; Hark What Mean SHEPHERDS lÅT THE CRIB’...... …….

Those Holy Voices・ Dom Gregory Hugle, O・ S・ B・

(Introduces ``silent Night’’〉 814 Four Old CaroIs NINNÅ NÅNNÅ Bring A Torch, Jeanette; Lo! How a M. Mau重O,Cottone Rose E・er BIooming; Sleep of The Infant

(Gevaert); The Shepherd Band (Prae・ torius).

McLAUGHLIN∴8- R各ILLY CO. Bos冒on, Mass. THE CÅECILIA 359

Some o宣Last Year9s C血r王stmas PI.Ogra血S

Realizing that usually these programs are issued too late to be of any practical value, the publishers of The Caecilia have decided to print a few programs of last year at this time to guide choirmasters now preparing Christmas music. PROGRAMS - CHRISTMAS, 1937

CHICAGO, ILL. HOLY NÅME; (West Roxbury) Missa Exultet F. X. Wit亡 ST. ÅNDREW’S: Francis J. Mahler, Organist Messe So重enelle Rousseau Mrs. Lally, Organist ★Nato Nobis ... M a uro ,Co ttone .」葛●暮しヽ′ ▲葛ヽ′1′▲-こす … …◆……いく…… い… …… ‾’‾、‾1“‾‾ 〇一 〇‾i‾‾‾‾ ST・ JOHN BÅPTIST: (Lowell) Mario Salvatore (Spanish・American Virtuoso) ★Missa Ponti鮭calis ………………… Jos. J/ McGrath Accompanist RudoIph Pepin, Organist-Choirmaster Mrs. Richard I. Gavin, Choirmaster ST. LOuIS’: (Lawrence) ST. GERTRuDEタS; (Silver Jubilee Program) ★ Missa Parochialis Missa Salve Regina ………………………‥ J. G. Stehle .__..…..…....……...………. McG重・ath ★Cantate Do皿ino Marsh Ame Desrosiers, Organist・Choirmaster ST、 ROCCO’S: (Brockton) PかOp繍S Laboure ★Missa Jesu Redemptor …….1....………. AdoIph Kaim Stanley J. Anstett, Organist・Choirmaster Mr. J. E. Vairchaitis ST. JEROME’S: hlnaCuhte Conception Mass …… J. Lewis Browne ★Nato Nobis Salvatore ……………… Mauro~Cbttone PROVIDENCE, R. I、 ST. S重MEON,S$ ★Mass of St. Anthony ……………. Richard K. Biggs OUR LÅDY OF LOuRDES; ★ P重ope重s Laboure Messe Ste. Jeame D’Årc …………‥.….… Nibelle Wanda H. Krans, Organist Thomas L. Dupous, Organist ST. TERESÅ’S; (Pawtucket) ST. V重NCEN’r’S; ★Mass of St. Vince加…‥.………‥ Arthur C. Becker ★Choral Mass …‥.……‥,..…………….... W. J. Marsh ★O Magnum Mysterium ………‥ Vittoria-Rowlands Miss Marcella Carroll, Organist~Choirmaster

Arthur C. Becker, Organist-Chairmaster ST・ PÅTRICK’S: (Valley Falls) ★Choral Mass...……………………………‥ W. J. Marsh ST. THERESE,S; ★Missa Salve Regina …………… Rev. H. Gruender Edward A. Ryan, Organist-Director Miss Alice Marie Doney, Organist-Choirmaster ST. ÅGNES'; ★Missa Maria Mater Dei ……………...… R. S. Smith ST. ODILO’S:

Jubilee Mass ………….……..……………. Wm. J. Marsh Miss Gertrude E. Jackson, Organist George Hrusa, Director Genevieve McNichoIs, Organist KANSAS CITY, MO、 ST. ÅGNES’ CHuRCH: ★Messe Ste. Cecile ………………..…… L’Abbe Cherion C AHHEDRÅL; Gra⊂e Hubbell, Organist・Choirmaster Missa Solemnis SS. Cordis Jesu, Ign. M. Mitterer ★Jesus Christls. M. Mauro _ Cottone- ★Veni Iesu …..‥ ‥ Cherubini , Bonvin ★Tollite Hos(ias METROPOLITAN BOSTON St. Saens CATH EDRAL: Missa cu皿Jubilo ……………………..……….. Gregorian ROCHESTER, N、 Y、 Credo‘ Missa Te Deu皿……………………‥.…‥ Perosi Seminary Choir and Cathedral Sanctuary Choir HOLY CROSS; Rev. Wm. Gorman, Director ★Missa Tertia M. Haller and Rev. Wm. Foley, Director Louise Whelehan, Organist

量MMÅCuLAITE CONCEPTION CHURCH一; ST、 PÅTR量CK’S: (Elmira) Mass of St・ Gregory ………………………‥ R・ R・ Terry ★Missa Salve Regina ………………………………. Stehle Gregorian I ★Mass of St. Åloysins …………….... J, Singenberger Laboure Leonard S・ Whalen, Organist Director ST・ ÅNTHONY’S CHuRCH; (Allston) SPOKANE, WASH. Missa Salve Regina..… Stehle ST. XÅVIER,S: Rev. F. L. S・ullivanタDirector Mrs. B. A. KeameyタOrganist Missa Loretto V. G011er ★Laetentur Coeli ………………………….r……. Gruende ST. PAuL’S; (Cambridge) ★Missa Pの動くificalis ……………………... Jos. J. McGrath Jos. Ecker, Director LOuISVILLE, KY、 Theo. Marier, Organist ST. V重NCENT DE PÅuL,S! ST. ÅGNESi (Reading) Missa Exultet F. X. Witt Missa Exultet F. X. Witt Miss Mary Cummings Cecilia Schmitt, Organist LITHUANIAN CHOIRS FEDERATION AND ORGANISTS・ ALLIANCE CONVENHON was held July ll and 12, 1938言n Chicago・ Il]inois. Above are delegates from all parts of the country.

CHOIRS FEDERÅTION O億cers elected are: President, J・ Zemaitis’Worcester, Mass.; Vice~President, J. Praskictis, Elizabeth’N. J.; Secretary・ K・ Skelly’Chicago, Illinois; Treas urer, V・耽kus, Chicago, Illinois.

ORGANISTS’ALLIANCE Administration: Spiritual Adviser・ Rev・ J・ Valcunas, Cicero, Illinois; President, J. A. Z調al腹§タ Worcester・ Mass.; Vice~President・ P・ Dulke, Brooklyn’N. Y.; Secretary’ Nick Kulys’ Chicago, Illinois; Treasurer, Å. Mondeika, Cicero, Illinois. THE CAECILIA 36l

量事r. MaurOoCottone I事ead

received degrees from the University of

0慧霊‡誌iまれ器書誌霊 Chicago, and the Unive重Sity of the City of Music, died on September 29th, in New Los Angeles. York City. He had appeared as guest organist at the

Conventions of the American Guild of O重・ i」教書書○○書重量 Many of his compositions had appeared in THE CAECILIA, eSPeCially from his ganists and the National Guild of Organ- “Melodiae Sacrae’’Series. This collection ists, being one of the few who had ever

in separate booklets has won wide acclaim appeared as guest artist at both national in musical circles and a new Mass, the first COnVentions.

Permitted published by the composer, WaS He was one of the few Catholic organists just about to be engraved. who.received national reco9nition for his

○○音量漢漢書 Testimonials had been received at~ one talents and concerts, ranking with Courboin time or another from the most important and Yon in popularity・ Perhaps these three musicians in the vocal, Choral and instru. are the only well known Catholic names in

mental fie担 praising Mauro・Cottone’s the concert field of organ music in this WOrk as a composer and as an organist. COuntry・

He was choirmaster at the time of his Dynamic and energetic, artistic almost to death in the Holy Trinity Church, New the point of eccentricity at times, Mauro-

York City, and he was the o億cial organist Cottone yet had a common-SenSe Viewpoint of the New York Philharmonic Orchestra, on musical matters.

COnducted by Toscanini. His Ninna

Nannaタdedicated to and frequently sung His is a great loss to American Catholic by Gigli, the great tenor, WaS his best Church music. His compositions should live known church piece. His Ave Maria for long to memorialize his name, and make three equal voices was perhaps the most permanent his devotion to liturgical music of the highest standards. In his early days POPular choral number, although his Jesus Christus for SATB言n recent years, had he was organist at the Pius X SchooI of been gammg m POPularity to a point where Gregorian Chant, and with the Roman mu- it bid fair to become even more widely sical background and a talent for composi・ used than the famed Ninna Nanna. tion work in the polyphonic style言t may be said that he was truly a great musician Mauro_Cottone first won fame as the - One Whose place wi11 not soon be taken Chief organist at the famed CapitoI Theatre by any other of equal talents, education in New York, Where he rendered dassical and skill.

PrOgramS When organs were new in motion He was 55 years old, and is survived Picture theatres. by his widow and two daughters.

Graduated from the Salemo (Italy) Con・ SerVatOry Of Music, Mauro-Cottone later .- R.I.P. 362 THE CÅECILIÅ

Contrihutions o宣the膿emedictines

量n皿e O|.gan Wor量d

DOM ÅDELARD BOuVILLIERS, O. S、 B., Mus. Doc.

O・S・B・タlike his predecessors, had an or~ T慧霊薯露語蒜s書聖 gan in his Cathedral of Winchester, Eng~ main of erudition, SuCh as editions of dipIo~ land. The building of the said organ dated matics, history, arChaeoIogy, SCiences and from the year 951 but was the work of the liferature. But such monastic science be. monks. Winchester was one of the seven Came lay in the XVIIth century・ The Ben- English Cathedral Priories which the Ben. edictine Order is still engaged in active edictines had up to the time of the Disso・ education’and for the past 1400 years the lution of their monasteries under Henry the monks and nuns have continued the devel. VIIIth. The description of this Winchester OPment Of arts. But these varied occupa- Organ WaS left us by the pen of the an- tions have, Perhaps, in many quarters, edip- nalist of St・ Swithin Monastery. The Win- Sed their very considerable and excellent Chester organ contained 400 pipes of gradu- OutPut On the art and craft of organ-building. ated lengths, had 26 bellows, Which re~ In the VIth century the monk Arthemius quired 70 men to blow. To do this, men Of Tralles was making experiments on the WOrked in relays. It was as an instrument, elasticity of steam, and passing from the inferior to the hydraulis and had no stops. theory to the practise, he constructed an There were ten pipes to each key, and all hydraulic organ which was set in motion by the pipes belonging to that one key always

SOunded together, When that key was de・ The monk George Benevento, from Ven- PreSSed. The organ had two keyboards, ice, WaS SO PrOficient in his own days in Of twenty keys each, rePreSenting practi-

Organ COnStruCtion thatタfor his services to Cally two organs. Hence, tO be played, the arts, he was made Abbot of St. Savin's besides the seventy men taking charge of Abbey, France (825). As abbot, he con. the bel]ows, tWO Organists (Pulsatores) tinued to ply his craft and the old organ were needed. in the chapel of Aix・la-Chapel~le~Or Aachen Gerbert of the Abbey of Aurillac (Au- Vergne) was in the realm of music a pre~ (826), POSSibly still following the djrections left by Vitruvius, WaS One Of his later in- cursor of Guido of Arezzo. Gerbert is said Stru.mentS・ (Rf. Ls. le Debonnaire (778- to have composed Hymns and to have es・ 840), VITA HLuDOVICI IMPERA_ tablished the generation of the tones on TORISタ MON. GERM. II, PP. 629・30). the MONOCHORD, tO have distinguished

What is bein9 Credited to the monk their consonances in tone and semi_tOneS. Hucbald of St・ Amand Abbey言n Flanders, In recognizing the augmentation or diminu- is usually confusing. He applied himself tion of tones言n writing such, he used the and his followers to the singing of Organ- Sign of flats and naturals before the sign ums which is not Organ. Hucbald died in Of the sharps was to come into usage. The the year 930 and he had a continental rep- monk Richer, his former student and utation as a singer and a great pedagogue. Chronider, StateS that Gerbert played the St・ Adhelm, Abbot of Malmesbury (675・ Organ hamoniously. The organs with which 709), later Bishop of Sherbome, WaS a he∴endowed many churches in France were Steam,hydraulis. H. Arago writes that skillful artisan of organ construction (Wiし Iiam of Malmesbury, GEST. PONTIF., Gerbert substituted in his organs the cur- Lib. V). rent of steam for that of air (wihd). (Ref- erences: Gerbert by Femand Delzangles. St、 Dunstan (十988), Abbot of Glaston~ Toumemire, (Cantal), France, 1932, PP. buryタlater Bishop of Canterbury (960). 22・34-40・47 and sqq.). Gerbert was a through all his life was equa11y famous as teacher all his life. In time, he became a prelate and artificer. He had an organ abbot, bishop, arChbishop of Rheims (991) built for Abingdon Abbey. and finally Pope under the name of Sylves- St. EIphege (954・1012), Or aS he is ter II (999~1003). The monk Gerbert or SOmetimes read of as Aelphege Goodwine, Pope Sylvester II was a genius in his cen一 THE CAECILIA 363 tury. Besides being an organ-builder, the author, F. PHILLIPI expresses a doubt Chronider styles him as having been a anent the attributing of the SCHEDuLA to dock.maker. The monk Richer writes: .一 Roger (that is, THEOPHILUS), for he

Ånte Gerber血m holrlogium nostrum tacebat. sees in this work but the translation into The reader might then not think it strange Latin of an older Byzantine manuscript, that a doこk_maker should also be concemed which had been translated into German, with organs? Mr. Lawrence Hammond had and added unto before Theophilus would also precuisors in Pope Sylvester II言n have, in tum, added more till he gave it in Walter the Organer who was also a cIock・ its Latin form (See also Degering’s DIE maker (XIVth century) in England, and ORGELタM。nster, 1905, P. 65). Theophilus Cummings (1762) also in England. WaS basing his writings on what he had If there is insu鯖cient proof to show that heard or read of the writings of Vitruvius the organ came to be used in the∴Churches and Heron. The third treatise, dating from in the second half of the eighth century, the Eleventh century, is that of Bishop there is abundant evidence to show that it Ebe血ard of Freising, TRACTATUS DE had, by the tenth century, taken its place MENSuRA FISTULARuM. in the churches, eSPeCially those churches The great and in餌ential Congre9ation under the direction of the Benedictines: - Of Black Monks, Which was that of Cluny, Priories, Abbeys, and the Parish Churches WaS intensely taken with the cultivation of under their care. religious music. Its monasteries were nu- Considerable activity continued to be merous, Very numerOuS, and this Congre~ displayed by the monks in organ-building. gation founded in the year 910 lasted till In the West言n those days, tO be a monk the French Revolution. In two hundred

meant to be a Benedictine. The monks’in_ years’ time, from 910 until the death of terest in organ~building was not confined Abbot St. Hugh the Great (1109) the to England a]one, but also組ourished in Ger~ Cluniac Order numbered 940 monasteries many and France. In fact, there were where the singing and strict attention to three treatises on organ-COnStruCting written the Liturgy were of unrivalled splendor. by monks, Who were themselves deeply in~ Though the total number of the Cluniac terested in such a noble craft. monasteries was always given as that of . Notker habeo (+1022) of St. Gall Ab~ 2000 monasteries this was but a legend for bey, (Gerbert’s Monumental Work, Vol. I, the Marquis de Valous in his three voIs.

PP・ 100 sqq.); Bemelinus (id. Vol. IタPP. Publication on THE CLUNIAC MONA・ 318 and 325); and the third treatise is CHISM from its Origin until the XVth from an anonymous monk, but written in century言n Tome II, P. 168, and p・ 270,

the IXth century, is the ear重iest of the has calculated an estimate of l184 Cluniac three (Paris Biblio. Nat.タMS. Lat. 12949 monasteries, a large enough margin from fol. 43a). However, aS the title of the third the legendary traditiona1 2000 monasteries. treatise suggests DE MENSURA FISTU- But in all that the writer has read con~ LARUM言t gave only the proportions of Organ PIPeS・ 露悪豊富霊禁霊書記莞諸富 In the XIth century a Bemese monk it is known that the Liturgy was of prime WrOte DE FISTULIS ORGANICIS. importance with this Branch of Benedictine which is contained in Dom Anselm Schu_ monks and nuns as it was with the main biger’s (+1888), MuSIKAL. SPICILE- Trunk (Montecassino or Subiaco), and mu- GIEN (pp. 82 sqq.). Then came the work sic an especial feature′ nOthing could be (1110) of the great and humble monk lwho said as regards their share in organ・build・ did not even sign his real name to his ing, their large instruments and their use manv writings, THEOPHILI. PRESBY- thereof・ Cluny itself must have had a large TERI 8 MONACHI, LIBRI III seu instrument for the accompanying of the DIVERSARUM ARTIUM SCHEDULA. 400 monks. chanting two High Masses The Benedictine Theophilus is thought to daily, Vespers, Complines, and other parts be the genial artist who was in reality of the Divine O鯖ce. Although many de- ROGER VON HELMARSHAUSEN in tails are known centering the life of the Westphalia (Rf. to F. PHILLIPI DIE Cluniac, if they had an instrument, an Or~

HELMÅRSHA葛ISER KuNSTLE ROG. gan, a Pipe organ and used‘it, Where it GER uND HERMANN (M亀nster, 1916, went when their Basilica was sold, bought P. 130~170). On pages 159,163 the same and demolished, nOthing whatever∴Can be 364 THE CÅECILIA

Seen in situ, nOr in monographies does one themore、, five other authors give him the read anything anent this subject at Cluny title of BLESSED: - “Guido, Peritus~

PrOPer. And yet言t is known that in music, musicus, et mOnaChus, neCnOn eremita vocal and instrumental, the Cluniacs were, beandus;, and Cardinal Baronius in his hag- wherever their monasteries were located, iographical works; speaking of Guido d’ examples of a lived and loved Liturgy. We Arezzo, uSed after these authors the same know where the 412 stalls of Cluny went, title of Blessed. The old Camaldolese Who bought them and where they are used Chronicles, however, fail not in infoming but as regards the musical attainment at the searcher that “Quae pertinet ad vitam Cluny itself, besides that form of art which Vicesque Guidonis Aretini monachi, densis is the genre greg'Omen, nOthing can be def~ Omnino tenebris sunt repersa.’’ (Annai. initely gleaned. “On the shore where Time Camald. T. II, P. 42). The same Chronide, CaStS uP Stray WreCkage, We gather∴COrks notwithstanding, informs us of his CURRI- and broken planks, Whence much indeed CuLUM VITAE in the following:-“Beato may be argued and more guessed; but Guidone Aretino, qui anno lO22 suum de What the great sh工p was that has gone musica Syntagma novum Teobaldo Aretino down into the deep, that we shall never Epjscopo dedicavit, et annO lO30 a B. See∴ (Dr. G. M. Treevelyan, Regius Pro~ Ludulpho in Coadjutorem seu Vicarium fessor of History in the university of Suum eSt COOPtatuS, Cui etiam anno 1047 Cambridge, from his Inaugural Address or in Prioratu successit, uSquedum anno 1050,

Lecture on the “Present Position of His. die 17 maii, Deum adiit.’’ AIso in DIS. tory,’’London, Longmans, 1928). SERTATIONES CAMALDULENSES, Guido of Arezzo was certainly a great Lucaeタ1707, P・ 14)・ Other authors usually and leamed monk and in the many monas- give the date of Guido’s demise as lO54. teries (5) in which he lived his short span Guido must have brought with him the Of life (990~ 1050), muSic and dipIomacy knowledge which he had received as an received much attention. From studies ObIate and later as a monk of St._Maur.des made during many years and acquaintance ~Fosses Abbey, near Paris’and developed With divers authors and chronicles a friend〆 the same as that which he was acquiring Ship was begotten in the company of Guy l’Aretin. This sumame was the one used 語蒜t器諾意h譜豊話語 by Sigisberto’a COntemPOrary Of Guido; in that of the Cluniac Congregation (910- Latin one reads it thus: Guido Aretinus; 1789)・ He was a great theorist, and, Per- there are, however, many Other ways in haps, Still a greater canonist (Decretalist as Which he is referred to, SuCh as: - Guy. it was termed in his days and of which Guido, Wido, Vido, il Grande Guidonis. Gratian’anOther Camaldo]ese Benedictine, etc. Moreover there is much confusion WaS ]ater to become the Master of Mas_ around the same name, aS muCh confusion 註霊蒜。詩聖n葦罰轟窪 藍。詩語霊書誌。露語 est confusion results from the same name 窪轟認諾。‡ s豊豊誓 having been bome by two Camaldolese here言t treats of music theory), has b。。n Benedictine monks living in the same mon- mentioned above言t was dedicated to the astery・ There was an abbot by name Guido Bishop of the Diocese of Arezzo, Tuscany, Or Guidone Strambato, bom at Cammachio Italy,(1023~1036) by name. Guid。 is said near Ferrara and Ravenna, Italy, Who be~ to have been jn Arezzo in the year lO25, Came Abbot of Santa Maria dell, Avellana and that the year after he went to Rome Abbey in the year 1001 (Mabillon、 With his abbot, Grimaldo, at the biddin9 Of ANNALES BENED. T. IV, P. 115). Pope John XIX (1024-1033). It was his It was in the year lOlO that Guido of knowledge of music as a scjence which Arezzo came to reside as a hermit and CauSed him to be ca]Ied to Rome, but once monk at the same abbey・ Other chronicles there, though enga9ed in teaching music. make our Guido a Beato Guido Aretino, VOCal and instrumental’his sure and experi〆 Abbate di Santa Croce de11, Avellana, Whi置e enced knowledge jn the Decreta]s made Other writers. believe him to have been him tarry in the Eternal Gty. Now that abbot of another Ho]y Cross Abbey in fame had come to him as a musician and France: - l,Abbate Guido Grandi. Fur_ dipIomat・ his former confreres from every THE CAECILIA 365 abbey言n which (5) at one time or other Finally, though we are passing over many he had lived reclaimed their monk,hermit other monastic names which are linked with and urged him to retum to them. It seemed the science of music and especially that of that there had been some jealousy in the Organ-building, One Other name must not monasteries where he had sojoumed. It is be omitted from the list as it is of the fa_ not surprising言f this were so, eVen in those mous name and work of Dom Bedos de days, for the reason that a monastery pos- Celles, Which are, however, the greatest SeSSing a good musician or organist言s a in master-Organ-bui]ding. Dom Bedos de blessing while usua11y if the same monastery CきIles (1714〆97) is the luminary which the has, for instance, tWO gOOd organists the Benedictine Order has produced in the blessing then is not usua11y accompanied by SCience of organ-COnStruCtion. We know the sweet peace of harmony. But Guido re- Of his work, Written and instrumental; he tumed to Santa Maria del Pomposa where WaS a Maurist Benedictine, and in his Con- he died. His other confreres, those of St.- gregation which existed from 1628 to 1789. Maur~des-Fosses, Santa Croce (two abbeys Dom Bedos de Celles durin9 his lifetime. under the same title言t would seem), and he and other monks, COmmis or oblates of the other Abbey Of Santa Maria dell’Avel・ the same Congregation, maintained an lana, remaining without their GUIDE. atelier for over鈍y years, PrOducing very Guido of Arezzo, nOtWithstanding, the remarkable instruments. However, the assertions of many writers, mOnaStic and names of his confreres, Priests and lay otherwise, neVer WaS an abbot.★ He was a brothers, Who worked under his direction Simple monk, though virtuous and highly are very little known. Dom Bedos de Celles leamed for his century. We must remem~ L’ART DU FACTEUR D’ORGUES ber that the Tenth century outside of the (Paris 1766-78) is still a work de∴Chevet in doisters has been termed as a century, Organ-building. historically speaking, Of Iron, aS regards to its barbarous manner, CuStOmS, and rough- GREGOR菓AN MASSES ness. YesタWe11~named a century of Lead from its Iow tendencies, and finally, a Cen- 8N MODたRN NOTA丁8ON tury of Darkness on account of ‘its ignor- ance. No wonder, then, that the monas. from the Kyriale Romanum teries were foyers to be sought. Posterity has given to the Camaldolese Missa De Angelis and Credo III 2d、 Benedictine Guido of Arezzo a rather fancy 12/6 per lOO.

Pedestal, nOtWithstanding his genuine de- Ditto. Printed on Card …………‥ .3d. SertS, tO be sure. Guido was the GUIDE if 20/・ per lOO. not the inventor in the use of the Notes. Staves, Clefs, Scales, Solfeggio, Canto Ditto・ Organ acc. by R. R. Terry l/6

Fermo, Diaphany, Counterpoint, Mono~ Missa Pro Defunctus 4d. Chord, Cymbalon and ・ ・ ・ Temperament? 2与/・ per lOO. The nomenclature of these ten theoretical Ditto. Organ acc. by R. R. Terry l/6 items regarding the science of music is Missa in Festis Beatae Mariae…. bejn9 given the patent to Guido d’Arezzo, Virginis (Cum Jubilo) ………. 2d. monacho ed Eremita Camaldolese言n RIS. 12/6 per lOO. TIRATORE DELL ’ARTE MuSICALE,

(Prato, Giachettiタ1882). The reference is Ditto. Organ acc. by R. R. Terry l/6 On Page l19. It is obvious that the monk Missa Orbis Factor 2d. 12/6 per 100 WaS nOt the inventor of those musical items but the propagator, aS Diaphany dated Ditto. Organ accompaniment by from Hucba]d of St. Amandus (+930) and Rev. Dom L. M. Zerr ….…..… in one other instance for example, the Mon〆 Missa Regia, Missa Primi Tone, OChordタ We know to be the invention of H. du Mont ………………………‥. Pythagoros, the philosopher who lived in 12/6 per lOO. the Seventh Century (540 B. C.).

★His statue at Arezzo does not represent him as 手W、 CHESTER, Ltd. a Prelate, for Guido wears cowl and hood, ho重ding 11 Gt、 Marlhorough St., London, W、1、 in one hand a book and illustrating a point with the other hand. 366 THE CAECILIÅ

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Ådeste Fideles Na6o Nob王s Salvatorle ‖‖○○易白月""【‖H ‖2 2-⊃-しっ ロ‖■‖‖"【‖日-⊃-’-プ 245 Traditional〆Novello Arr. ..……….SÅTB 605 Mauro.Cottone ……………………….SSÅTB 685 Mauro-Cottone ……………………‥2 voices 970 Novello・Reilly ………………………….TTBB 684 Mauro.Cottone ……………………‥3 voices 797 Greith, Carl .....……………………….SÅTB

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Hodie Åpparuit P調er Nat調s Est 791x Lassus, Orlando di …………………….SSÅ .15 93x Capocci, G. ………..…….…………‥SÅTB ,2O Hodie Christus Natus Est S孤et Nox (Silent Night) (Introducing Melody of “Silent Night) 宣 重 l 後 重 -⊃.’-⊃ ’--’ 608 Gruber~Hugle …………‥2, 3 0r 4 voices .15 586 Korman, J. A‥………………………SÅTB

770 Korman. J. A. ………….,...………….2 voices Te⊂調血P重心dpi調 823 Korman, J. A. …….………………….TTBB 526 Lipp u血so血.15 315 Marcetteau, Rev. C. …………,…‥2 voices 593Ⅹ Mitterer, J、 ..…………………………….TTBB .12

818 Mitterer, J. …………………………….TTBB Tollite Hostias Jesus Christus 876 St. Saens, C…………………………….SÅTB .12 816 Mauro~Cottone, M. ………………….SATB .15 T調i S調t Coe脆 1 5書51 51与書2201 5 Jesu Redemptor Omnium 654 Gruender, H. …….,……………………SÅTB 791x Ravanello, Oreste ……………………‥TTB .15 308 McDonough, F. J. …………………‥SÅTB 526 Singenberger, J. …………………………SÅB

事esus Rex ÅdnirabiHs 962 Singenberger, J. ………………………SATB

792Ⅹ Palestrina, G. P. da ……………….3 Equal .15 95 Stehle, J. G. E……………..………‥SÅTB 93x Tresch, J. B………‥.……………‥..…SATB 轟aetent調重G鳩重i 974 Wiltberger, A‥….…………………TTBB

(Proper O鮭ertory Midnigh( Mass) l 宣 宣 l 重 -」ブー⊃ 2-ヽ一∴でブVerbum Caro Factu皿Est 652 Gruender, H………………………….2 voices れ自書掃‖"葵‖日22.つ 316 Chassang, P. …..…………‥...…‥2 voices ◆ ◆ ◆ 654x Gruender, H. ………….……………‥SÅTB 594 Griesbacher, P. ………………………….SSA

593Ⅹ Mitterer, J. ………………………………TTBB 645 Gilana, Sr. M………………………‥2 voices

527 Singenberger, J. …………………………SAB Vid細田lt OmneS (Gradual IⅡ Mass) 961 Singenberger, J‥…………………….SÅTB 93Ⅹ Falkenstein, J‥...….….…..….….…SATB ・20 Laudate Pueri I}rminrm 975 Maemer, J. B…………………….2 voices .15 7031 Zingarell~Reilly, Viderunt Omnes (Commmion)

High Voice SoIo and ………………SÅTB .15 93Ⅹ Falkenstein, J. ………………‥.………SÅTB ・20

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