Full in the Panting Heart of Rome': Roman Catholic Music in England: 1850-1962
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Durham E-Theses `Full in the panting heart of Rome': Roman Catholic music in England: 1850-1962 Muir, Thomas Erskine How to cite: Muir, Thomas Erskine (2004) `Full in the panting heart of Rome': Roman Catholic music in England: 1850-1962, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2918/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 'Full in the panting heart of Rome': Roman Catholic Church Music in England: 1850-1962 Thomas Erskine Muir Ph.D Thesis. University of Durham. 2004. Abstract This thesis is the first in-depth study of music regularly heard by a community that grew fi-om 0.5 milHon to 3.72 million people between 1850 and 1962. The sheer quantity and variety of material is enormous; but much of it is rapidly disappearing, since the music is no longer in regular use. Regardless of its often dubious quality it is a socio-musical phenomenon that cannot be ignored. No assessment of music in England can be complete without it. The period is bounded by two events: the restoration of the Episcopal Hierarchy, and the opening of the Second Vatican Council. It is bisected by Pius X's influential 'Motu Proprio' decree Tra le Sollectudini of 1903. The quotation in the title comes from Cardinal Wiseman's mid-nineteenth-century hymn God Bless Our Pope; highlighting the uneasy symbiotic relationship between English Catholics and Rome. There are three sections. Part 1, after discussing perceptions of Catholic music, describes the historical, hturgical and legislative fi-amework. Part 2 examines trends shaping the musical agenda: developments in plainchant, the revival of Renaissance polyphony, the emergence of vernacular hymnody and Benediction music, the role of the organ, and events during the 1950s. Part 3 (in a separate volume) provides a detailed analysis of repertoire, based on a representative sample of musical collections and sources organised into databases on the accompanying CD and Zip disk. This is a new technique in musicology. For the first time, instead of relying on pronouncements by individual commentators and ecclesiastical authorities, backed by selective study of particular pieces of music, people's actual experience 'on the ground' can be measured; the importance, in this context, of developments in the music publishing industry can be properly assessed; and the degree of centralised (sometimes foreign) control actually exerted within an apparently monolithic and authoritarian church can be measured. ' Jf uU in tlje panting Ijeart of B.ome' 3aciman Catljolic CFjurcf) Mu^it in €nglanb: 1850-1962 A copyright of this thesis rests with the author. No quotation from it should be published In two volumes without his prior written consent Volume 1 information derived from it should be acknowledged. Thomas Erskine Muir Ph. D Thesis for the University of Durham [School of Music; November 2004 Course code: W3A001 Table of Contents Volume 1 Database files 7 List of tables 8 List of illustrations 14 List of musical examples 15 Abbreviations and terminology 20 Acknowledgements 21 Part 1: Background Chapter 1: Perceptions of Catholic Church music in England 23 A. Protestant perceptions of English Catholic music 27 B. Catholic perceptions of English CathoHc music 31 Chapter 2: The historical framework 42 A. Aspects in the development of the Catholic Church in Early Modem and Modem Europe 43 B. Aspects in the development of the Roman Catholic Church in England: 1559-1962 53 Chapter 3: The hturgical structure 72 A. Music and the liturgy B. Music in liturgical and extra-liturgical services 82 C. Liturgical books 87 D. Patterns of liturgical change 92 Chapter 4: The legislative framework 110 Part 2: Developments in the late nineteenth and early twentieth centuries Chapters: Revolutions in plainchant 137 A. Catholic perspectives on plainchant 137 B. The Medicean tradition of plainchant 151 1. Sixteenth and early seventeenth century developments 151 2. Plainchant in late seventeenth- and eighteenth-century England and France 155 3. Nineteenth-century plainchant 161 C. The Solesmes revolutions 180 1. The work of Joseph Pothier 180 2. The work of Andre Mocquereau 184 3. The Vatican Edition of plainchant 192 D. The impact of Solesmes on plainchant in England 195 1. Plainchant at Stanbrook Abbey 197 2. The spread of Mocquereau's variety of plainchant in England during the 1920s and 1930s 202 Chapter 6: Renaissance style polyphony: its revival and imitation 215 A. Music from the London Embassy chapels 215 B. Factors shaping the revival of Renaissance polyphony 217 C. Attempts to promote Renaissance polyphony in the early nineteenth century 218 D. The Cecilian movement 222 E. The work of Sir Richard Terry 240 F. The spread of Renaissance polyphony in the early twentieth century: A flawed achievement 256 G. The nature of Renaissance polyphony in early twentieth-century Catholic England: Issues of performance environment, performance practice, and the editing of music 261 H. Conclusions 273 Chapter 7: Catholic vernacular hymnody 275 A. Origins and development c. 1849-1912 275 B. The changing character and function of Catholic hymns c. 1849-1912 279 1. Traditional usage 279 2. Translations 280 3. New devotional texts 283 4. Hymns for schools 284 5. The spread of Catholic vernacular hymnody 285 C. Redesigning the Catholic hymnal c. 1849-1912 287 D. Attempts to regulate and standardise hymn texts and music up to 1912 291 E. Changes in musical layout and performance practice, 1864-1912 298 F. Issues of scholarship and authenticity in The Westminster Hymnal of 1912 302 G. Further developments, 1912-1962 303 H. The Daily Hymnal and The Westminster Hymnal revised 309 Chapter 8: Music for Benediction 314 A. The growth of Benediction music 314 B. Factors behind the growth of Benediction music during the nineteenth-century 317 C. Benediction music in the London embassy chapels and their successor churches 325 D. Nineteenth-century Benediction music at Ushaw College, near Durham 328 E. The Jesuit contribution 333 F. Benediction music from the London Oratory 335 G. The twentieth-century consolidation of music for Benediction 336 H. Twentieth-century attempts to restore plainchant to the Benediction repertoire 341 Chapter 9: The organ and its music in Catholic England 344 A. Catholic attitudes to organs and organists 344 B. Instruments 346 C. Solo repertoire for the Organ 353 Chapter 10: The 1950s 361 A. The return to normality 361 B. New music 366 C. Anglican-Catholic links in church music 384 D. The impact of Gestetner, Spirit DupHcating and Photocopying technologies 385 E. The challenge to plainchant 386 F. Gelineau psalmody in the 1950s and early 1960s 393 G. Congregational Masses 397 Volume 2 Part 3: The Repertoire and Performance of Roman Catholic church music in England: Database materials Table of contents 404 Chapter 11: The databases: Structure, rationale and methods of statistical analysis 409 A. Sources for the databases 409 1. Sources: Collections of scores 411 2. Sources: Programmes of music 420 B. The Structure of the databases 425 1. The choice of database programme 425 2. Database terminology: Three simple definitions 427 3. The structure of the Hexham database 428 4. The stmcture of the Wade database 429 5. The stmcture of the Repertoire database 430 6. Details of individual tables 432 C. Methods of database analysis 443 1. Procedures that can be used with a single table only 444 2. Procedures for analyzing several tables 454 3. Procedures to create subsidiary databases 457 4. Conclusion 459 Appendix A. Tables of performances in the Repertoire database 460 Appendix B. Details of the subsidiary databases 464 Chapter 12: Collections of music in the Repertoire database: A statistical survey and analysis 473 A. Evidence from all the collections of music on the database: Publications 473 B. Evidence from all the collections of music on the database: Compositions 487 C. Evidence from collections of music in the database: Data on compositions combined with data on publications 495 D. The database: Choral publications and compositions in selected collections 510 E. The database: Music found in more than one collection 534 F. The organisation of Catholic choirs 537 G. The database: Collections of music. Some summary conclusions 548 Chapter 13: The database: Analysis of performances of music reported or advertised in selected places 557 A. General remarks 557 B. Deductions that can be made from the relationship between the number of performances and the size of the repertoire in particular places 559 C. The division of music in particular places according to its liturgical genre 568 D. Programmes of music that was performed divided according to the periods when the works were composed 571 E. National influences in programmes of music 579 F. Changes to the repertoire 588 G. Summary conclusions 591 BibUography 599 Internet Sources 652 Selected Recordings 653 Liturgical books, hymnals. Benediction manuals and other musical collections 655 Manuscripts and archives 666 Database files Programme used: Microsoft Access 2000. Created using standard PC computers available throughout Durham University.