同語間隔晴間 ORGAN IDEAしS THROUGH THE AGES THE MASS AND THE MODERNS佃) THE MUS!C AT THE EUCHARISTIC CONGRESS HAYDN HAS軸S DAY S即で言MB陳_ OCTO眺R _ yOLUM雷80 _ Nu鵬be夢6 雷●・▲ ・l lll ・ 雑 l後 4必肋d均ma広〆r E舞γ咋d S4富B Voお体: T軸E PluS TENTH HYMNAし A new repertche of hymns aITanged for Uni・ SOn, Two-equal or Fo町Mixed Vdices. Book Contains trymus, chants, POlyphony and service 劃皿S重C. U露わ0" Voお餅: AVE MAR営A HYMNAL Recently added to the M & R Catalogue. 」AUDATE HYMNAL O臆cial kymal for瓜e Diocese of Kansas City, K軸鳩a§. MONAST話RY HYMNA」 A compilation of kymus by A. P. Bragers 聖油y血F狐, 1953. 弛o Vo轟糠 AしVたRNO HYMNAL A complete repertoire of Two-Part h)m皿Ody. SA看NT ROSE HYMNAし Widely l used in parochial hi如SChooIs and COⅢ略儀. MOuN丁MARY HYMNAL Standard r印erto血e. ∴○○nt壷us m紬ry SSA arra東塔軸en息 T打開事Voお体: SA寒N丁AND髄W , HYMNAし Best known hym購for services throughout the church year. SÅABuor $Å種B yoお餅ROSAR看AN HYMNAL Selected hynms taken from血e St. Rose Hymnal and e呼ecially a珊狐ged for h屯h school 馳重唱e購・ 。 Al∫O aひ調able aγe hym綿夕aml耀i可oγひaγio的よea∫0榔a"d ∫e諦`e∫ S鋤d foγ CO〆錆鋤卿0ひd McLAUGHLIN Gr REILLY CO. 45 FRANKLIN STR旺T, BOSTON lO, MASS. Nafronal Headquarters for C。tholic Church and SchooI Music 議題溺 A R各V音EW OF C▲丁HOし1C CHURCH 0旺C工L工Å and SCHoOし MuS!C voしuME 80 Numbe細` S各PT格M眺R - OCTO昨R′ 1953 TABしE OF CONTENTS 1N TH看S ISSu書 Organ Ideals Through the Ages ‥ … … 242 Loαi∫ L. Balogh Dr. Louis Balogh of Cleveland, Ohio, leads off with an essay in which he defines what might be consid- The Mass and the Modems (Part II) . ‥ 247 ered the motivating force that led to the construction Fγa州Ci3 /. Gt/e庇roeγ, S・I・ of a particular genre of organ for each of several histori- cal epochs. ‥ Father Guentner concludes his analysis of Laborer in the Vineyard: Sister M. Leonette? O.S.F. 25 modem settings of the mass texts and selects new works by Rubbra’Poulenc and Straviusky for special mention Our Music This Month …………………‥ 252 . ‥ To those not already acquainted with her musical talents, her wealth of energy and proven succes§ in The Music at the Eucharistic Congress … … …・ 253 =bridging the gap between a life of work and a life of Rez/. Robeγi Haybαγn worship” we introduce Sister M. Leonette, O.F.S. of Mil- waukee, Aurora and Chicago? in =Laborer in the Vine- Record Reviews: Haydn Has His Day ………・ 256 yard,・ ‥ ・ At our request Father Haybum reports on the musical activity of the Eucharistic Congress held in Aus- A Choirmaster,s Notebook ………………… 258 trailia last spring ‥ ・ For review a recent set of Haydn Theodoγe ”aγieγ Masses issued by The Haydn Society of Boston is taken up) and in the Choirmaster,s Notebook are discussed Names - People - Doings …………………・ 263 ways and means of making a begiming in質hamony,, slngmg ‥ ・ The Music Supplement offers a few sugges- Music Supplement …………………‥ 265 - 280 tions for Christmas programs. 国王萱 」十手 ‡蕊葦艦霊盤豊詩誌誌霊革帯・悪罵u豊豊豊里 ●暮1高車の卿叫血調 dore Marier, Rev. Clement J. McNaspy, S.J., Sr・ M. Millicent, C.S・A., Rev. Elmer F. 面やC鶴e“lも Pfeil, Pius Tenth SchooI of Liturgical Music, William Arthur Reilly) Rev. Russell ら裏h ▲ぐ鵬脚寄堰農寄血e Woollen. Dom Ermin Vitry, O.S.B., Ediioγ Emeγ祝∫・ Circulation: James Ring. Ghd費P重憾人後鴫重心心機 E∫tab妨hed ;n 1873, With Ecclesiastical approbation, by John B. Singenberger, K.C.S.G., K.C.S.S.; (1849-1924). Now issued six times a year (bimonthly) by Mc" 諺…掌 Laughlin & Reilly Company? 45 FraIlklin Street, Boston lO’Massachusetts. Each volume begins With the November-December (Advent) issue. Prior to 1941 volumes 鷺誇諾i霊#嘉n% =霊,茄。S, 。鯖.。 。, B。S,。n, Massa。hus。,,s. Material submitted for publication in the CAECILIA is‘ welcome, but no responsibility is assumed for loss of’Or failure to retum safely, any unSOlicited manuscripts. Editoγial, Sαb∫Cγiption a7’d軌訪れe∫∫ Oβice: - 45 Franklin Street, Boston lO, Massachusetts. Advertising rates on request. subscription rates: - $2・5O per year in the U. S.A. $3.00 - Canada and all other countries. Remit by Money Order or check’Payable at par in U. S. funds. Single copies 50 cts. Whe72' γepOγ訪tg Cha71ge Of addγe∫J’give old and new address in fu11, and allow one month for change to become effective in our mailings. 242 CAECILIA ORGAN 漢DEA」S THROUGH THE AGES by Loui∫ L・ Balogh DEA」S IN ORGAN CONSTRUC- the Church, the tone it produced was so shrill and tion and tonal design have existed irreverent that the pilgrims thought of dancing from earliest times. As in the case of rather than praying during the負ungodly piping・,’ all musica.1 instruments the details of The clergy and the pious monks considered the first fom and function of organ playing .organs frivoIous and mundane’tO uSe the expression and making have evoIved in response Of the times. The organ, however, did eventually to the a'ural and physical requlre- 丘nd its way into the service of the Church at this ments of perfomance・ To these each age con- time・ Its admission into the slaCred precincts was tributed something of its own from the point of Predicated on its ability to supply that musical ele- View of the builder, the composer and the per- ment which foms the basis for its being accepted formmg artist・ That the exlgenCies of church even today and which through the length and dia- architecture, eCClesiastical legislation and ritual meter of its p音ip-e dimensions it is especially designed Playcd their part also in the formation of the or- to supply) namely) a丘xed pitch. In spite of its rau- gan’s tonal and structural fabrication is likewise COuS tOne the organ was tolerated at丘rst because clear from historical evidence. it helped the singers to maintain a steady pitch. It is our purpose here to review briefly in chron- (The problem of singing on pitch was no less acute OIogical order at least some of the influences that in the llth than in the 20th century!) have had a bearing on the making of the organ It will not be necessary here to describe in de葛 in each of the principal historical periods of our tail the evolution of the portative organ or the WeStem SOCiety, those influences which in each Primitive organ of the ea血y period when organists epoch produced an負ideal,, instrument that seemed Were Called 負beaters.,, These early instruments to satisfy the needs for which it was made. are described in many丘ne histories on the sub- ject. Su綿ce it is to say here that these early or置 RomaneJque Eγa: Pitch gans containued some twenty pipes all of which The era between the sixth and the twelfth cen- had different lengths but the same diameter. tury lS uSuall予referred to by art historians as the Though additions were made to thc number of Romanesque Period・ During this epoch the PIPeS uSed no appreciable difference is noted in Church evoIved into a dominant social and cultur- their pitch or tonal coIor because they all had the al force in westem ‘Civilization. Evidences of the same diameter. Church,s temporal power and prestige are to be Apart from such attempts to add to the basic found in the massive edifices that were constructed PIPe eusemble no musical function other than an at this time in order to hOuSe aLnd protect her ability to produce a rudimentary kind of fixed Valuable vestments, treaSureS and sacred relics as Pitch was actually developed in the organ of the We11 as to accommodate the vast throngs that came Romanesque Period (950-1250). We shall there- there for religious services. Nor did the Church fore consider pitch as the organ ideal of that era. neglect music during this period of vigorous The next advancement in the evolution of the or_ growth・ The age saw the establishment of Greg- gan was destined to take place in another and later ori-an Chant as the o飾.cial music sanctioned for use Century. in the liturgy (a unique position which it holds even today). Goihic Peγiod: Tonal Stγength The organ too was admitted) though reluctantly The organ with more than one keyboard and at first, into the service of the Church at this time. SOme Pedal evoIved in the fifteenth century, the The reason for the delay was twofold: the Ch証lt Gothic period, Which was justly called the summit did not need an accompaniment and in addition Of the middle ages・ Like other periods, this was the o音rgan’s original tonal design included sounds also the sum-tOtal of an ever growmg and ever that were more intimately associated with sporting moving human activity) and did not represent in events and games in the arena than with the action any way higher or lower standards for artistic ideals and mood of the divine service. When the first than any other age. No doubt, it possessed its 負contraption,, called an organ was brought into OWn Characteristic aesthetic alr’eXPreSSed pre- 243 SEPTEMBER - OCTOBER′ 1953 dominantly in the magnificence of the Gothic tive we can see the principal traits of one era cathedral. The deep religious zeal and fervor either fading out of existence or overlapping into those of a. newer and later age. In the Renais- which resulted in the Crusades’StamPed its spi血 and expression on all human undertakings. There- sance we see the somewhat crude attempts aLt fore, in the music of the Gothic era we find at- choral polyphony of the Gothic Age flower into a style of music writing that is virtually unmatched tempts at the same elaborate construction and for its beauty and technical re丘nement. In sheer painful details as in architecture’P争inting, etC. The composers worked on their compositions imbued volume of output, tOO’a neW VlgOr and purposeful activity is to be noted・ May it be said here’how- with the same rcligious spirit as the monks work- ever, that the music of the Renaissance) m SPite of mg On their famous hand-Printed, Omate VOlumes’ the tremendous up-SWmg in the composition of codes of their libraries.