Sacred Music, 112.3, Fall 1985; The Journal of the Church Music Association of America

8/14/2019 Sacred Music, 112.3, Fall 1985; The Journal of the Church Music Association of America

http://slidepdf.com/reader/full/sacred-music-1123-fall-1985-the-journal-of-the-church-music-association 1/33

SACRED MUSIC Volume 112, Number 3(Fall) 1985



St. Cecile of Montserrat, Spain

SACRED MUSICVolume 112, Number 3, Fall 1985

FROM THE EDITORSThe Fabric of the Ca tholic Faith 3Pope John Paul and Von Karajan Make a Point 4

PROG RAM : VIII INTERNATIONAL CHURCH MUSIC CONGRESS 6

MOZART IN SAINT PETER'SReverend RichardM . Hogan 7

INAUGURAL ADDRESS: GREGORIAN CHANT CONGRESSDom Jean Claire, O.S.B. 11

BALTIMORE: CATHOLICITY IN THE EARLY YEARS

/. Vincent Higginson 19

WH AT IS CORRE CT IN CHU RCH MUSIC? 24

REVIEWS 27

NEWS 30

CONTRIBUTORS 31

EDITORIAL NOTES 31



SACRED MUSIC Continuation ofCaecilia, published by the Society of St. Caecilia since 1874,an d The Catholic Choirmaster, published by the Society of St. Gregory ofAmerica since 1915. Published quarterly by the Church Music Association ofAmerica. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota55103.

Editorial Board: Rev. Msgr. Richard J. Schuler, Editor

Rev. Ralph S. March, S.O. Cist.Rev. John BuchananHarold HughesdonWilliam P. MahrtVirginia A. SchubertCal StepanRev. Richard M. HoganMary Ellen StrappJudy Labon

News: Rev. Msgr. Richard J. Schuler548 Lafond Avenue, Saint Paul, Minnesota 55103

Music for Review: Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood,Calif. 91602

Rev. Ralph S. March, S.O. Cist., Eintrachstrasse 166, D-5000 Koln 1,West Germany

Membership, Circulationand Advertising:

CHURCH MUSICASSOCIATION

OF AMERICAOfficers and Board of Directors

PresidentVice-President

General SecretaryTreasurerDirectors

Paul Manz, 1700 E. 56th St., Chicago, Illinois 60637

548 Lafond Avenue, Saint Paul, Minnesota 55103

Monsignor Richard J. SchulerGerhard TrackVirginia A. SchubertEarl D. HoganRev. Ralph S. March, S.O. Cist.Mrs. Donald G. VellekWilliam P. MahrtRev. Robert A. Skeris

Membership in the CMAA includes a subscription to SACRED MUSIC.Voting membership, $12.50 annually; subscription membership, $10.00annually; student membership, $5.00 annually. Single copies, $3.00. Sendmembership applications and change of address to SACRED MUSIC, 548

Lafond Avenue, St. Paul, Minnesota 55103. Make all checks payable toChurch Music Association of America.Second class postage paid at St. Paul, Minnesota.Library of Congress catalog card number: 62-6712/MNSacred Music is indexed in the Catholic Periodical and Literature Index,Music Index, and Music Article Guide.Front Cover: Domenichino,St. CeciliaCopyright Church Music Association of America, 1985ISSN: 0036-2255474960



Banquet with Valerian

FROM THE EDITORS

The Fabricof the Catholic FaithDuring 1984, six issues of the Belgian Benedictine liturgical journal,Commu-

nautes et Liturgies were dedicatedto the theme of liturgical initiation.As a conclu-sion, in the February 1985 number, twenty-two Catholics were askedto contributeashort essay discussing their formative experiences with regardto the liturgy and thefaith. The authors included Godfried Danneels, Cardinal Archbishopof Malines-Brussels, Joseph Gelineau, the well-known liturgistand composer,as well as monks ,writers, mothersof families and students.

While the individual accounts make fascinating reading, revealingthe personali-ties of their authors as well as the diversity of early formative experiences withregard to religion, thereare some interesting constants.In fact, the conclusions thatare drawn from the individual statementsby two of the editors of the journal,Dieu donn e Du frasne a nd Jean-Yves Quellec, are clearlyof a significance that cannotbe ignored.

First of all, as might be expected, the family is mentioned as being essentialto aCatholic's introductionto the faith. Of course, baptism is the real initiation,butmost of us know of our own baptism only through photographsand the oral tradi-tion of our families. The earliest memoryof going to church for those interviewednormally went back to the ageof four or five. What they remembered was imprecise,but candles, water, fire, incenseand vestments playeda large role in the accountspresented. The "mystery" of the liturgy was significant for all, creating in them adesire to know more about their faithand to penetrate the spiritual reality thatwas

still partially hidden from them. FROM THE EDITORS



They remembered all that touched their senses and retained an impression of thebeauty of the liturgical experience. No one commented about the ugliness or badtaste of the churches in which they worshiped although that prob ably existed. Whatthey remembered was organ music and Gregorian chant "which guaranteed to theliturgy an ambiance that was purified of all mannerisms and vulgarity." The ord inaryof the Mass in Gregorian chant was well-known to most of the respondents and holyweek was an important moment of the church year. Equally important were reli-gious centers like Monserrat in Spain and Solesmes in France where the liturgy wascelebrated according to the grand tradition, a tradition that even made the liturgy alittle bit inaccessible. Family prayers, Sunday visits to churches for vespers or con-certs, dynamic and good priests, religious feasts which were at the same time occa-sions for family and community celebrations, all of these formed the "Christianfabric" for those who contributed their recollections for this study. Instead of beingprepared slowly, that is initiated to a participation in the liturgy, participation in theliturgy served as their initiation into the Church.

What warnings and what mandates for action may be drawn from this series ofpersonal recollections? The authors of the concluding article begin with the state-

ment that in contemporary western Europe there is an almost total absence of whatthey call a "Christian fabric." Confronted with this reality, it is necessary for cate-chists to set about recreating this Christian fabric through a study of the bible,church history, liturgy, tradition and everything that forms a part of the Catholictradition. They warn against making this instruction too rational and praise thevalue of a pilgrimage or a liturgical chant rather than a round table discussion for theimpression that it will make on the young. Furthermore, the quality of the liturgy isessential for if young people are not introduced to the liturgical "language," we runthe risk of degrading the liturgy in adapting it to their ignorance, what we often calltheir "culture."

If a similar study were done in the United States, I believe the results would besimilar. Those of us "of a certain age," as they say in French, were formed by aChristian, or rather more to the point, a Catholic fabric of Latin Masses, recited orsung, music, vestments, incense, candles, May and Eucharistic processions, firstFridays, holy week, family rosary, advent wreaths and lenten penance. Do we nothave to agree with the Belgians that the fabric of our Catholic society has disap-peared, that for the most part our children are growing up without those seminalliturgical experiences which manifest the fundamental qualities of mystery andbeauty and holiness, the experiences that serve as a true initiation because they drawone to a deeper study of a mystery that remains still half-veiled? If our conclusionsare similar, what is our plan of action? Who will serve as the instructors for a re-education? What materials will we use and what will be our methodology? Mostimportant of all, who will give the leadership? Recently a young French intellectual

said that France must create its [cultural] memory or burst. The same thing could besaid about the Catholic Church. We must rediscover our memory or perish.V.A.S.

Pope John Paul and Von Karaj anMake a Point

The great Roman feastof Saints Peteran d Paul, June 29, was this year even morethan a holiday, a religious holyday,a liturgical celebrationand a mid-summer occa-

FROM THE EDITORS sio nfo r festivity beforethe heat of July an d August settle downon the Eternal City.



This year the Romans and all their visitors were treated to an historical event of greatsignificance to the world of church music. The Holy Father celebrated pontificalMass in Saint Peter's Basilica with the music of Mozart performed by one of thegreatest musical establishments and one of the greatest of conductors, Herbert vonKarajan. The freedom of the Vatican Council has come to Rome! The decrees of thefathers of the council are being implemented. "The musical tradition of the universalChurch is a treasure of inestimable value, greater even than that of any other art.""Sacred music is to be considered the more holy in proportion as it is more closelyconnected with the liturgical action, whether it adds delight to prayer, fosters unityof minds, or confers greater solemnity upon the sacred rites." "The Church approvesof all forms of true art having the needed qualities, and admits them into divineworship." (Constitution on the Sacred Liturgy, para. 112.)

Just as today so much of the reform of the Second Vatican Council, especially inrelation to the liturgy and church music, has been misunderstood and wronglyimplemented, so in the years following on the promulgation of themotu proprio ofPope Pius X in 1903 a false interpretation of that document was foisted upon most ofthe world. Rooted in the romantic movement of the nineteenth century, in Wagner

and German romanticism, the movement that led up to the reforms of Regensburg,Solesmes and Pius X turned against the classicism of Vienna and the orchestralMasses of Haydn, Mozart, Schubert, Beethoven and many others.

Criticism could not fault the art of these masters, but objections were leveled at therepetition of the text, division of the composition into sections, use of soloists anduse of instruments. One of the most nebulous complaints voiced was that the Vien-nese classical composers had no sense of the Gregorian chant, and that their musiclacked totally the qualities of chant which so completely expressed the best in musicfor the Church. Truly, chant is the musicpar excellenceof the Roman Church. But tosay that Mozart 's music lacks the qualities of chant is wrong. The great wordlessjubilus of the chant Alleluias in which the cantor soars heavenw ard w ith melod y thatneeds no words can certainly be found in the cadenzas of Mozart, not least in thoseof the Exsultate Jubilate.And who can deny that chant underlies theRequiem even tousing the very melodies of the Gregorian Mass as the foundation of the polyphony?

True church music must be sacred and it must be art. How often have we repeatedthose words inSacred Music over the past twenty years? And how often have wehailed the glorious freedom given us by the Second Vatican Council with its treat-ment of church music, crowning all that had gone before for over a hundred years?Now the practical expression of the decrees of the council has been demonstrated bythe Holy Father himself in the very center of Christendom. As in all the other matterstreated by the conciliar fathers, Pope John Paul II is showing the world what thecouncil taught and intended. Its teaching on the family, the religious life, the priest-hood, hol iness , the sacraments , the Church and many others subjec ts i sbeing clarified by the Holy Father who was himself at the council and who is now theinstrument of the Holy Spirit in implementing its decrees. By word and action he isdoing just that throughout the world. Now he has given us a clear example of theconciliar reforms in church music. Father Hogan has described the Mass elsewhere inthis issue. We must learn from the Holy Father. Music for the liturgy must be sacred;it must be art. It may be in Latin or in the vernacular. It requires the participation ofall, and that may be by singing or by listening, provided that it is internal and flowsfrom the baptismal character on the soul of the worshiper.

As we sang at vespers on the feast of the holy apostles, Peter and Paul,Roma felix,"How happy art thou, O Rome!" With such a pope, how happy indeed should Romeand the whole Church be.

R.J.S. POPE JOHN PAUL



PROGRAM: VIII INTERNATIONALCHURCH MUSIC CONGRESS

Under the auspices of the Consociatio Internationalis Musicae Sacrae and thePontificio Istituto Musicae Sacrae, an international gathering of church musicians

will open in Rome, November 16, 1985, for a week's program of concerts, lecturesand liturgical ceremonies. Highlight of the event will be the dedication and blessingof a new location for the papal church music school by the Holy Father, Pope JohnPaul II, on November 21.

The program has been announced as follows:

Saturday, November 16, 1985- RegistrationSunday, November 17,1985

9:00 AM. Pontifical High Mass. Basilicaof Saint Mary MajorJoseph Cardinal Ratzinger, celebrantRegensburger Domspatzen, choir

5:30 PM. Opening of the Congress. Collegium Augustinianum"Theological Foundationsof Musica Sacra"by Cardinal Ratzinger

8:00 PM. Concert by Cappella O enipontanaof Innsbruck, AustriaMonday, November 18,19858:30 AM. Pontifical High Mass. Basilicaof Saint Peter 10:00 AM . Symposium:

"Gregorian Chantand Pastoral Ministry Today"Lecture: "Gregorian Chantat the Service of the Sanctificationof the Faith-ful" by Dom Jean Prou, Abbotof SolesmesLecture: "The Singing Human Being"by Prof. Hans Maier, Bavarian StateMinister of Education and Cult

4:30 PM. SymposiumLecture: "Congregational Chantsof the Gregorian Repertory"by DomBonifacio Baroffio, O.S.B.

8:30 PM. Medieval drama: "Visitatio sepulchri." Churchof S. Maria sopraMinerva

Tuesday, November 19,19859:30 AM. Ward Method lectures, demonstrations6:00 PM. Missa cantata. Ward students. Churchof S. Spirito in Sassia8:30 PM. Concert of the Nations

Wednesday, November 20,19858:30 AM. Missa cantata. Chant. Churchof S. Maria in Traspontina

10:00 AM. Current questionsof congregationaluse of Gregorian chant4:30 PM. Current questionsof sacred music8:30 PM. Concert by international cathedral choirs

Thursday, November 21,19858:30 AM. Eastern Rite Liturgy. Basilicaof S. Clemente

10:00 AM. Meeting of Consociatio Internationalis Musicae Sacrae.Collegium Augustinianum

4:00 PM. Blessing of the new headquartersof the Pontifical Instituteof SacredMusic (former Abbeyof S. Girolamo in Urbe)

8:30 PM. Compline. Churchof Pontifical Instituteof Sacred MusicFriday, November 22, 1985. PilgrimageDay in honor of St. Cecilia

AM. Missa solemnis. Basilicaof S. Cecilia in TrasteverePM. Vespers

Saturday, November 23, 1985. Pilgrimageto Monte CassinoAM. Pontifical Massin honor of St. BenedictInformation may be obtained from the Church Music Congress Office, Pontifical

Institute of Sacred Music, S. Girolamo, 1-00165 Roma, Via di Torre Rossa 21, Italy.The registration fee is $20. Accommodations can be arranged for individuals or

groups in various pilgrim houses by writing to the above address.Previous congresses were in Rome (1950), Vienna (1954), Paris (1957), Cologne

ROME (1961), Chicago-Milwaukee (1966), Salzburg (1974) and Bonn-Maria Laach (1980).







wa s read in La t in . A s is h i s cus tom , the H o ly F a the r p rea ched h i s hom i ly s i t t ing inf ron t o f the ma in a l t a r. Whenever the Pope speaks , the re a re two mic rophones onei ther s ide of h is chair which are adjus ted to the proper level by h is a ides . The HolyFather in terpre ted the gospel texts , "You are the Chris t , the Son of the l iv ing God"and "You are Peter—the Rock" (Mt. 16:16) . John Paul suggested that th is was abir thday for Peter. Peter ' s fa i th in Chris t was born and, in a very rea l sense , theChurch was bo rn because o f Pe te r ' s f a i th . The conf i rma t ion o f th i s b i r th i s Pe te r ' snew name g iven h im by the Lord . The Ho ly Fa the r wen t on to say tha t St . Pau l wasborn , a l so wi th a new name , on the road to Damascus when Chr i s t pu t the ques t ionto h im, "Why do you pe r secu te me?" (Ac t s 9 :4 ) .

Fo l lowing the homi ly, the twe lve a rchb i shops who were to r ece ive the pa l l iumwere p resen ted to John Pa u l . Af ter they sw ore a l l eg iance to the Rom an see , the H o lyFa the r b le s sed the pa l l i a and gave one to each a rchb i shop . The scho la sang anan t iphon dur ing th i s ce remony. TheCredo, one o f the mos t in te re s t ing movemen tsof the Coronation Mass fo l lowed the impos i t ion o f the pa l l i a . The cho i r and o rches -t r a were sup e rb , a nd i t was aga in a ve ry mo v ing expe r ience to hea r M oza r t ' s f irm andpower fu l mus ic a ff i rming the t ru ths o f the Ca tho l i c f a i th on such an occas ion . The

first part of theCredo, unt i l the Et incarnatus est, i s pow erful an d forceful . I t seemsto convey a sense of convic t ion about the fa i th . TheEt incarnatus est, however, i ssof ter. I t inspires a genuine awe a t the rea l i ty i t i s a ff i rming. The second par t of theCredo repe ats the fi rst pa r t , as is of ten the case in M ass es of Mo za r t a nd his co ntem -pora r i e s . (Of course , these a re sub jec t ive in te rp re ta t ions and o the r s may have qu i t ed i f f e ren t r eac t ions . Never the le s s , these were my though t s wh i le hea r ing th i s marve l -ou s co mp osi t ion o n th is so le mn feas t in Ro me .) Th e pray er of the fa i thful fo l lowe dth e Credo. Each pet i t ion was read in a d i fferent language, but the conclus ion, "Let uspray to the Lord," and the response , "Lord, hear our prayer," were sung in Lat in . Theresponse was sung by the en t i r e congrega t ion . The Ho ly Fa the r conc luded the p raye rof the fa i thful wi th a prayer.

Th e o ffe r to ry p roc ess ion was accom pan i ed by the scho la s ing ing the f am ous hy m nabou t Rome and the two Apos t l e s Pe te r and Pau l , bes t known by i t s open ing ve r se ,O Roma felix. The Holy Father invi ted a l l the people to pray with theOrate fratresand then chanted the prayer over the g i f ts . In h is beaut i fu l , deep voice , John Paulsang the p re face in La t in . The chorus and o rches t ra began theSanctus. Co n t r a r y t othe pract ice of the e ighteenth century and the pract ice fo l lowed in some of theAu s t r i a n a n d Ge r ma n c h u r c h e s , t h eSanctus was immedia te ly fo l lowed by theBene-dictus. The canon was then rec i t ed a loud by the Pope and the a rchb i shops who wereconce leb ra t ing .

Th e c o m mu n i o n r it e wa s b e g u n wi t h t h e wh o l e c o n g r e g a t i o n c h a n t i n g t h ePaternoster. Aga in , we had the sense o f the un ive r sa l i ty o f the Church ga the red a roundthe p resen t -day Vica r o f Chr i s t . TheAgnus Deiwas begun a t the usua l t ime . The re i sno ques t ion tha t theAgnus Dei of the Coronation Mass i s one o f the mos t mo v ingse t t ings o f tha t t ex t . S ince Mozar t employed the same me lody in h i s ope ra ,TheMarriage of Figaro, fo r the f amous a r i a ,Dove sono, some have c la imed tha t theAgnus Dei o f the M ass is ope ra t i c . Howev er, the Mass was wr i t t en cons id e rab lybefore the oper a . If an yth ing , i t i s the opera w hic h is l i turgica l ! At any ra te , thesoprano so lo in the Mass was supe rb ly sung on June 29 th . Those in ou r g roup whohad hea rd theCoronation Mass be fo re a l l ag reed tha t Von Kara jan and h i s mus ic iansh a d b r o u g h t t h i s M o z a r tAgnus Dei to l i fe in a way no one e lse ever had. Of course ,Mozar t ' s mus ic in th i sAgnus Dei is so me of h is bes t w or k. A fter theAgnus Dei,th ree o r fou r hymns were sung a s the p r i e s t s con t inued to d i s t r ibu te Ho ly Commu-n i o n .

MOZART



Disturbing the mood slightly were the unfortunate arrangements made (or, per-haps, not made) for Holy Com munion. Of course, there were the temporary barrierscontrolling the crowd. Instead of allowing the congregation to file towards the frontor the sides, or, even, the rear, everyone had to remain in their own row behind thebarriers. The priests came to the barriers with the Holy Eucharist. Of course, thismeant that those who wished to receive had to climb over people in order to reachthe barrie rs. Since there were no aisles or spaces left for rows behind the barriers , thetraffic towards the priests with the Holy Eucharist was very ackward. In our area,everyone who wished to receive Holy Communion did. But it is easy to imagine thatit could have been impossible for some. To the credit of those who planned theliturgy, the number of priests available was most adequate. One must also grant thatif aisles had been left, many hundreds of people who were present would not havebeen able to attend. The empty aisles would have meant that many chairs would nothave been available. The problem is not an easy one to solve. One thing should benoted. Holy Communion was not given in the hand. It is not permitted in Italy.Some did not realize this and put their hands out in the usual manner. However, thepriests asked them to receive on the tongue. Most cooperated when they realized that

they were in a country where Communion is not given in the hand.After the final prayer, the Holy Father imparted his papal blessing and there werethe traditional prayers for the Pope. The Holy Father knelt for a moment in front ofthe tomb of the Apostle underneath the main altar of St. Peter's, and then he made aspecial point to greet Von Karajan. The director walked just ahead of John Paul asthe procession made its way to the rear of the basilica. John Paul blessed the congre-gation as he left the church.

The entire liturgy was an unforgettable experience. As a religious event, it wouldhave moved anyone with any faith at all. For those who share the Catholic faith,such an occasion renews one's own beliefs. It also testifies to the genuine universalityof the Church of Rome. As a musical experience, it was unparalleled. But these two

aspects form one fabric, one whole. The Mass would not have been as religiouslysignificant without Mozart's music. Further, Mozart's Mass, presented in St. Peter'sas a concert, would not have been as rich. It would not have had the setting forwhich it was intended and it would have lost something. Mozart's sacred liturgicalmusic belongs within the liturgy, within the setting for which it was designed.

The Masses of Mozart and the other Viennese classical composers belong withinthe liturgy. If there were any doubts on this point, they have been dispelled by theliturgy in Rome on June 29th. John Paul has made it abundantly clear that theChurch is for man. Therefore, the Church employs those things which appeal tohumanity. The music of Mozart is among those things which appeal to men andwom en. As Cardinal Ratzinger said in a recent interview given to Vittorio Messori inthe Italian journal,Jesus, "The Catholicism of southern Germany is resonant withthe music of Mozart in the churches, and it makes room for everything that is humanin its devotions as well as in its festivities. . ." It is good that the southern Germansand Austrians have exported their riches! The whole Church can benefit!

REVEREND RICHARD. M. HOG AN

MOZART

10



INAUGURAL ADDRESS:GREGORIANCHANT CONGRESS

(This paper was given at Notre Dame Cathedral in Paris, May 16, 1985, for the openingof the International Gregorian Chant Congress. The translation was made by Father

Sean Lavery, editor ofJubilus.)You have requested that the International Congress of Gregorian Chant, which

you hav e organized, be opened by a n address from the choirmaster of Solesmes. Forme it is both anhonor and an onus. First of all, let me express our mutual thanks toHis Eminence, the Cardinal Archbishop of Paris, who has put at our disposal thisprestigious cathedral.

I would now like to welcome, in your name, all those who have gathered here outof a common love for Greogrian chant,ex omni tribu et lingua et populo et natione,from the Far East, Japan and Korea, to the Far West, Canada and California. Theirnumber and their qualifications are a vivid illustration of the theme of the congress:Lactua lite et la perennite du chant gregorien.

The theme of your congress I must now develop from my own point of view aswell as from yours. As you have often said yourselves, it is not and cannot be aquestion of nostalgia for something in the past, which you have never knowniRather it is a question of discovery. You have marvellously uncovered a forgottenpatrimony. You have found again spiritual values enshrined in a form of art andprayer that your elders had neglected to pass on to you.

First, I will analyze th e causes of the identity crisis in sacred m usic today. Th en, inthe second part, I will expand on the opposite causes which have lead you as a groupto a wonderful discovery.

To understand the crisis which sacred music faces at the moment, it is necessary toplace it in the context of another crisis, much much deeper, which partly explains it.

Among the many difficulties which the post-conciliar Church has faced, duringthe last twenty years, Pope Paul VI and Pope John Paul II have highlighted the "crisisof identity" from wh ich a certain num ber o r priests, monk s and nun s have suffered.Plunged into a climate of secularism, of relativism and permissiveness, some of themhave failed to accept the fundamental difference which distinguishes them from thelaity. They have tried to suppress the differences, to equalize and to compromise.Instead of bringing the Christian spirit into the world about them, they are in factallowing the spirit of the world to enter into the Church.

That this should have happened during these years which followed the councilmust not lead anyone to believe that the council provoked this crisis. This crisis hadactually existed before the council took place. There is not one line, one word of theconciliar texts which can be put forward in support of these deviations. In fact, thecontrary is the case.

It is, then, in this general context that the identity crisis in sacred music must belocated. The same process of secularism and of desacralization has developed withinsacred music because some clerics have instinctively projected upon the music theirown particular complexes.

A great campaign h as been mounted at an international level to demonstrate, or atleast to support the idea, that there does not exist a music which can be calledproperly "sacred." Thus it is said: there are not two kinds of music, one sacred, theother secular. As far as the history of sacred music is concerned, it is simply amanner of expressing what is basically the same kind of music.

This seems to be, as far as one can see, the fundamental argument against theno tio n of sacre d mu sic . Th is is in pos itive co ntra dic tion to the co ns tan t teac hing of CHANT CONGR

11



the Church and particularly the teaching of the council.The council asserts, with St. Pius X, that sacred music does exist, well and truly.

Article 112 of the constitution on the sacred liturgy states: "The musical tradition ofthe universal Church is a treasure of inestimable value." The "sacred" character isimparted to the music by a number of qualities which Pius X has listed and whichcan be found in different forms of sacred music. Thus, Article 112 states: "TheChurch, indeed, approves of all forms of true art which have the requistite qualities."

So much for thenature of sacred music. Now come the instructions of the councilfor its use: "The treasury of sacred music is to be preserved and cultivated with greatcare."It should be possible and even necessary to increase this depository. Article 121states: "Composers, animated by the Christian spirit, should accept that it pertainsto their vocation to cultivate sacred music and increase its store of treasures. Let themproduce compositions which have the qualities proper to genuine sacred music."

Hence the council is in no way responsible for this campaign to erase the conceptof "sacred" music.

The practical consequences of this new campaign have been quickly experienced.Traditional sacred music has been banned, within a few years, from the majority of

churches in France whereas secular music, light music, blues, jazz and rock have'found their way in.Here again, not one line, not one word, either in the conciliar texts or in the many

instructions issued after the council, can be quoted to justify such "profanation." Wenow know the effects of this kind ofmusic.Apparently some of it carries "subliminalmessages." In some parts of America, prophylactic measures are being taken toprotect public health which is being endangered by such music! We must not foolourselves about this phenomenon.

What then is the position with regard to the abandonment of Gregorian chant? Isthat what the council decreed? Of course not! Its abolition was not even put to a voteof the council. Had it been so proposed, there would certainly not have been anymajority in favor of such a measure. Just as there would not have been any approvalfor the massive abandonment of individual confession to be replaced by generalabsolution. Yet, both have happened. And many people believe, in good faith, thatthis was the wish of the council!

How did all these aberrations come abou t? In both cases, there was a general lawwhich allowed of a legitimate exception, in a particular situation. But in both cases,the exception has incorrectly become the law, against the formal intention of thelegislator.

Take the case of the sacrament of penance. It was always allowed, in an emer-gency, that general absolution could be given. The classic example was that ofsoldiers about to go into the firing line in war. The military chaplain could rightlygive general absolution without any individual confession of sins. Now, suddenly,within a short time, using a slogan out of nowhere, every situation has become anemergency, every situation has become an exception!

With regard to the liturgy, exactly the same situation developed. Let us read thetexts again. The council has strongly stated , in the first place, the principles concern-ing language and chant. Thus: "The use of the Latin language is to be preserved inthe Latin rite, apart from prescriptions of particular law" (Art. 36, 1). "The Churchacknowledges Gregorian chant as proper to the Roman liturgy; therefore, otherthings being equal, it should be given pride of place in liturgical service" (Art. 116).

Then legitimate exception was considered. "Since the use of the mothertongue. . .may frequently be of great advantage to the people, the limits of itsemployment may be extended. This extension will apply in the first place to the

CHANT CONGRESS readings and directives and to some prayers and chants" (Art. 36, 2).12



In Article 54, the council itself applied these directives to the repertoire of the Massand limited the area in a very special way where the mother tongue could be used,laying down limits which should not be transgressed: ". . .Steps should be taken sothat the faithful may also be able to say or to sing together in Latin those parts of theordinary of the Mass which pertain to them."

Everyone knows how the legitimate exception—and indeed a useful exception in

the case of the readings—soon became a universal and obligatory regulation.In Article 101, which concerns the divine office for clerics (where the usefulness of

the vernacular language was not in question), the exception to the use of Latin was tobe granted only in individual cases and for serious reasons.

Here again, immediately everything had a serious reason and w hat was granted asan exception for an individual became almost the general rule. The clerics haveinstinctively aligned themselves with the laity: secularization and permissiveness.

To come ba ck to the Ma ss, it is true tha t since the council the compe tent au tho rityhas gradually, though sometimes not without resistance, permitted a complete trans-lation (readings, chants and prayers) to answer the particular needs which arise oneafter the other. It is under this global form that the new Code of Canon Law has

ratified what has taken place: "The Eucharist is to be celebrated in the Latin languageor in another language provided the liturgical texts have been legitimately approved"(canon 928). This means that it is not always obligatory to celebrate the entire Massin Latin. It does not mean, however, that it is obligatory to celebrate the Mass,always and completely, in the vernacular.

These permissions could very well be what the council wanted in particular cases.For example, consider those countries behind the Iron Curtain, where the liturgicalassembly is the only one permitted, where there is no freedom of press, no transmis-sion of religion by radio, nor any other means of spreading the Christian faith. Whocould have the heart to refuse all the facilities possible to these persecuted people inorder to allow them to benefit as much as possible from the little available to them?

However, once the misuse of privileges begins, then the exceptions (instead of"provin g the rule" as the saying goes) are wilfully add ed, one after the other, until thelaw becomes useless and is replaced in fact by a new regulation completely opposedto the original. There have been many complaints from lay people, some in very highplaces, about these matters.

The council had solemnly proclaimed its regard for all the values of civilizationwhich were not "indissolubly bound up with superstit ion and error" (Art. 37).Respecting these fine sentiments, which seemed to apply in the first place to Grego-rian chant, as a masterpiece in the "treasury of sacred music," the most distinguishedrepresentatives of the world of art and culture in many Christian countries havepleaded persistently with the Holy See.

Some governments, rightly concerned with safeguarding their national artistic

patrimony, have become disturbed at the disappearance of an art which is the sourceof all western music. As early as 1972, the French minister of culture, to saveGregorian chant, took action in much the same way as he had done to save the"works of art which were in danger." He raised the teaching of Gregorian chant to thehighest level by creating a chair of Gregorian chant in the conservatories of musicand by promoting, in different cultural centers, practical courses of Gregorian for-mation and veritable festivals of Gregorian music. The outstanding participation ofthe Paris Na tiona l Co nserv atoire at this congress says clearly enoug h tha t this officialattitude of the ministry, at the scientific and cultural level, has not diminished in thepast twelve years. The state, without stepping outside its own proper domain,effectively supports the same values of civilization as does the council. Apart from

go ve rnm en ts, som e he ad s of state hav e also bec om e pe rso nal ly invo lved . CHANT CONGR13



Was it not already a kind of protest when that unexpected clause was inserted inthe last will and testament of President Pompidou in which he asked that only theGregorian melodies should be sung at his funeral? Certainly, he was only speaking inhis own name; nevertheless, that day a question was posed, at the nationa l, if not theinternational level, by a man whose intelligence, culture, taste and common senseimpressed the whole world.

Anothe r head of state, speaking in the name of his people, came and complainedto Paul VI. President Senghor, who is now in Greece, has assured us of his mostcordial support for this congress. This time, it was one of the mission countries (inwhose name so much talk and protest had been made, in the liturgical commissions,before, during and after the council), which would speak out, through one of its ownstatesmen, who would in no way minimize his own African culture. Yet, it was hewho respectfully drew the attention of the Supreme Pontiff to the fact that in acountry like Senegal, where so many different ethnic groups coexist (each with itsown language, which m akes comm unication very difficult) liturgical Latin seemed tobe the precious link uniting the faith and the culture of all Catholics there. Further,the knowledge and practice of Gregorian chant, linked to the Latin language was a

positive asset in their quest for the development of spiritual realities. It would beunjust and inopportune, at this time, to take all this away from them.Paul VI acknowledged President Senghor's complaints and decided to implement

his suggestions in a practical and universal fashion. On Easter Sunday, 1974, in amessage addressed to all the bishops of the world, he referred to the letter and thespirit of the conciliar constitution concerning the preservation of chant for the peo-ple. He requested that a minimum common repertoire, in Latin and Gregorian, bepublished by the Congregation for Divine Worship, calledJubilate Deo, for use atMass throughout the world.

Thus, there have been many complaints from the laity expressing their frustrationsat the results of the council. Likewise there have been many appeals by the pope

himself to keep the letter and the spirit of the council in these matters. Yet any actionto redress these abuses seems to be paralyzed. One wonders w ho is responsible.In a recent book, an excellent musician from Russia, an Orthodox Christian, M.

Maxime Kovalevsky, has discussed briefly, with subtlety and friendliness, the con-temporary crisis in Catholic liturgical music. We must agree, for the most part, withwhat he says. The source of many of our present difficulties is due to the resurgenceof two philosophies which are opposed in theory but in fact are wedded together.These are rationalistic intellectualism, coming from the Age of Englightenment, andsentimental romanticism, inherited from the 19th century.

The liturgical reform has been applied too often with intellectual misjudgment. Itwas believed that the ordinary peole in the parish could only assimilate "clear anddistinct" ideas. Hence, what was most needed was a word-for-word translation intothe vernacular to make the liturgy totally and immediately comprehensible to every-body. Then the effects and fruits of the sacred liturgy would be theirs automaticallyiEx opere operato.

There never was a more grievous mistake! Marie Noel writes abou t the old maid inher home who did not know Latin, who did not know thatSalvemeant nor whatRegina meant, but who knew very well what theSalveRegina was all about.

Indeed, it has surely been a case of confusion between catechesis and liturgy! Youcannot reduce liturgy to a catechesis. Nor can you reduce the whole of catechesis toliturgy alone. The council has been most careful to distinguish between these twodomains. "The sacred liturgy does not exhaust the entire activity of the Church.Before men can come to the liturgy, they must be called to faith and to conversion"

CHANT CONGRESS (Art. 9). The Church has allocated the vernacular language to catechesis, without14



any reservation whatsoever. Once men believe in the Church, through catechesis,they are invited to enter into the great worship and liturgy of the Church, with all itsvast traditional treasures of chanted prayer. Their vernacular catechesis should havewell prepared them for liturgy.

Liturgy, however, has been reduced to a catechesis with an everyday languagewhich lacks the lustre and aura of the world of poetry and literature. The sacredlanguage, which has been used down through the ages, opened itself to anotherworld. The words themselves, apart from their notional and conceptual meaning,had mystical connotations and echoes which the most assiduous meditation couldsurely never exhaust.

To offset the inevitable sterility of everyday language the next remedy was tointroduce sentimental popular melodies. . .and the second evil was worse than thefirst. How could anyone be scandalized, since there is no longer accepted the distinc-tion between sacred and secular music!

A new kind of music has thus been generated into liturgy, which does not raise thesoul to God. On the contrary, this music, which disturbs the spirit and affects theemotions, caters to man's instincts rather than his inner spirit.

Fully conscious of this danger, the Church did not hesitate, in the past through themouth of Pope Pius X and again in the constitution on the sacred liturgy (Art. 112),to state that sentimental music and all modern music derived from it, sensual musicand—dare we use the word—erotic music, have no place whatever within the con-fines of the church.

It is remarkable that St. Pius X, who had such a great regard for orthodoxy bothin doctrine and in catechesis, could still have a great concern for what was trulybeautiful in worship. This pope who fought modernism was the same pope whorestored Gregorian chant to worship. With the famous remark: "I want my people topray surrounded by beauty," he is not advocating aestheticism nor artistic platonismbut rather the worship of God "in spirit and in truth" which utilizes beauty in itsservice.

Th e wor ds of St. Pius X bring m e to the second part of my conference, an d Iaddress myself to the young people who have organized this congress.

These young people came to see me at Solesmes about twelve years ago. I had notkn ow n them before. I had no t organized them into a gr ou p. The eldest of them c amefrom Sainte Croix de Neuilly where the choirmaster, Monsieur Louis Prudhomme,had encouraged him to sing the chant after graduating from college. The movementbegan, with the singing of compline, one evening, in the dining room of one of theirhomes. After that, they began to come to Solesmes to improve themselves. Againstmuch opposition which was raised by older sceptical people, these young people hadone answer: Sacred music exists; we have discovered it. These young people live inthe world. They know from experience that music is closely linked with the sensesand that music is able to penetrate, most profoundly, through the senses, deep downinto the depths of the spirit. They also know, because of the way that music canaffect the inner spirit of man that there is a music which can degrade or agitate oraffect him superficially as well as music more uplifting which can elevate his spiritand calm his troubled world. If there is sensual music which affects the nerves andexcites the senses, there is also spiritual music which liberates the spirit and helps itmove towards God.

It is not just by chance that the first composition in the first Mass of the Gregorianrepertoire (for advent) begins with these words:Ad te levavi animam meam.Thisrepertoire offers, very clearly, a "message sublime" which is not found in any othermusic. To experience the supernatural effect which flows from contact with this kind

of mu sic, all tha t is need ed is to be op en -m ind ed an d inter iorly well- dispo sed. CHANT CONGR15



These young people know thatin order to become "sacred," music mustbe sacri-ficed to God, in the double senseof this word "sacrifice" which means bothdestruc-tion and consecration.

What mustbe destroyed is that kindof consistancyand opaquenessin the musicalstructure which precisely constitutesthe attractionof secular music, which drawstheattentionand interest of the listener upon itself alone. Sacred music, however, while

still remaining musicin the true sense, must renounce making itselfthe object of itsown admiration.

What mustbe consecrated is the use and the destinationand the sign-valueof thismusic which will carrya spiritual message which reachesfar beyond itselfand whichraises it to the confines of the sacramental order, makingit a powerful sacramental.

Actually, musicis akin to the state of a person who wishes to enter the Church.There mustbe a baptism which purifiesand consecrateshim. "If anyone wishestofollow me,he must renounce himselfand follow me," says Jesus.In this purificationand consecration,in the following of Christ, thereare degrees. In a certain generalsense, all baptized Christianscan be called "religious."But there are some peopleinthe Churchwho are "religious"by profession, thatis, who have accepted purifica-

tion of life and baptismal consecrationto an extreme whichis not so demandedofthe ordinary Christian, whoseaim is to observe wellthe ten commandmentsand theprecepts.

In muchthe same way, Gregorian chantcan be distinguished fromthe other formsof sacred music. Here, thereis a consecrationto God as absolute as a religiousvow.The Catholic Churchhas canonized Gregorian chantand declared this musicas thechant properto the liturgy. The Church has set the chant as the supreme modelforall sacred music.And just as in the processfor canonization, the lifeand virtueof thesaint are examined,so also you can examine Gregorian chantand see that it has allthe characteristicsof the religious life, namely, thatin the chant there is poverty,chastity and obedience.

First of all, in the chant there is poverty. Chant has renounced completelyanyenrichmentof itself. It lives in a state of perpetual rejectionof all the good thingswhich surrounditself. A quick glance will showthe poverty, the limits and themodesty of the techniques usedin the chant.

Spurningthe riches which would come fromthe use of polyphonicand orchestraltechniques, the chant offers onlya single line of music, which is built upon anincomplete scale(six notes of the scale, at the most, insteadof seven notesof theclassic diatonic scaleor the twelve notesof the chromatic modern scale).The chantuses only simple intervals: intervalsof the second and the third; intervalsof thefourth and fifth are infrequent; the intervalof the sixth is almost unknown;and theoctave was not used in the earliest periodof composition.

The chant refusesto divide the tones of the scale into semi-tonesand refuses to

divide the pulse into fractions. The basic pulseis indivisible, thatis to say, its normalduration, once determined, cannotbe divided into fractionsany more thancan theLatin syllable which servesas its rule and support.

The rhythmof the chant ignores isochronalor rigidly bound measuresas well asthe bar line; ignoresthe exact balance which constitutesthe order and clarity ofclassical compositions; ignoresthe strong beat,the syncopated beatand all the othereffects of later music.

Born in poverty, thusthe chant remains.It has truly takena solemnand perpetualvow of poverty! To harmonizethe chant, usingany instrument, underthe pretextofsupporting the music, is historically untenable.To harmonizethe chant, vocally,inparts, is also a pretenseand is only triedby those who do not understand whatthe

CHANT CONGRESS chant is.16





within the liturgy in which the divine plan and the history of our salvation arewritten in a lyrical fashion. Each scriptural text, within the entire ensemble, consti-tutes an inspired "second canon" and makes, one could say, a double expression ofdivine truth. The Gregorian melody adds to the poetry of the text something more ofthe human and of the sense-faculties. It certainly makes the inner content of themessage more intelligible.

But it is time, my friends, to listen to the chant itself (to be sung here, in a fewmoments, by the schola from Japan). The chant itself will speak to you better than Ican ever do.

By way of conclusion, I would like to quote for yo u the lovely phrases of M auriceZundel on the psalmody. This is a wonderful meditation on liturgical prayer and atestimony to the eternal freshness of God's word and to the contemporary andperennial quality of Gregorian chant.

"Psalmody has found the secret of opening the meaning of the words withoutdispersing the spirit, of linking sounds without rupturing silence, of collecting theinnermost reaches of the soul in the most personal prayer, and of joining it thusunited to the soul of another in public prayer, finally of offering to man the most

moving formulation of his needs in an entreaty which surpasses them, in order toculminate through praise in the indescribable moanings of the Spirit."Nothing is more humble and more simple, more sublime and more free, more

dynamic and more contemplative. No sudden emotion, no exaltation, not the leastattempt at making an effect, not the least consideration foroneself.

"Moreover, the body plays its part in this work of praise. A part that raises itwithout exalting it, that keeps it occupied without dissipating it, that soothes itwithout relaxing it.

"The apparent monotony of delivery comes from the inwardness of accent, thesupreme reserve of Faith and the divine modesty of Love.

"Psalmody is, in the highest meaning of the term, a spiritual music, an internalmusic that is human and divine at the same time, contemplative and mystical, anaction which is inseparable from the heart of the Eucharist, a sacrament throughwhich is accomplished the prayer of Christ in the Church , for the glory of the Fatherand the salvation of the world." (Maurice Zund el, "L'Ame de la psalm odie" inLa VieSpirituelle. September 1, 1943.)

DOM JEAN CLAIRE

CHANT CONGRESS18



BALTIMORE: CATHOLICITY IN THEEARLY YEARS

The h istory of the Baltimore diocese has been recorded, b ut there are only limitedreferences to church music in the first fifty years and even fewer references to currentdevotion al ma nu als. A recent study of music in the Baltimore cathedral speak s of theearly years and prods one to seek further enlightenment even if limited.1 AlthoughPhiladelphia and Boston showed greater initiative in these areas, Baltimore becamethe fountainhead when Reverend John Carroll became superior of the Americanmissions in 1784 and bishop in 1790.2 Philadelphia led the way in church music andBoston in hymnody, but Baltimore was a pioneer in the publication of devotionalmanuals. Continued progress in these areas was a force in the growth of Catholicityin the new nation.

Maryland was founded as an asylum for persecuted Catholics, but by 1685 it cameunder Protestant control and as a crown colony in 1692 the Church of Englandbecame the established church in the colony. For Catholics the years of intolerancecontinued until the English parliament enacted the Relief Acts of 1788 and 1791.

However, within the next decade freedom of religions was assured in the Bill ofRights, 1791.3

Although John Carroll was appointed vicar apostolic in 1784, it was soon evidentthat this was not sufficient ecclesiastical authority to deal with the difficult problemsresulting from the influx of immigrants. A petition of the American clergy was sentto Rome asking th at they be perm itted to nam e their first bisho p to avoid the delicacyof any seeming interference by a foreign power in appointing the bishop.4 Relationsbetween Rome and America were a sensitive problem, one that haunted Carroll untilthe day of his death.5 The petition was granted and John Carroll was named bishopby the American clergy (1790) and the choice approved by Pope Pius VI.

Carroll went to England for his consecration and in the Lulworth Castle of

Thomas Weld he was consecrated by Bishop Charles Walmesley, August 15, 1790.6

The splendor of the ceremonies greatly impressed the new bishop and were remem-bered as a vision of what he hoped for in Baltimore. The sermon for the occasionwas preached by Reverend Charles Plowden, chaplain at the castle and an earlierschoolmate of Carroll. During his brief stay in England, Carroll contacted the Sulpi-cian Fathers in Paris inviting them to open a seminary in Baltimore.7 The Supliciansestablished St. Mary 's Seminary in 1791 . Tho se who studied there in add ition totheir theological studies were inculcated with the sacredness of the liturgy, plainchant and proper religious music.

For Bishop Carroll, St. Peter's, built in 1770, had to satisfy as the pro-cathedral.This plain, two-story building bore no resemblance to a place of Catholic worshipfor such was then prohibited. Originally it was only thirty-five feet in length andtwenty-five feet wide but later extended to forty-five feet.8 To enhance the servicesCarroll's first project was to obtain an organ. Since there was little hope of obtainingone in America, he wrote to Reverend William Strickland, a friend in student days,for assistance.9 Carroll 's letter of April 19, 1791, gave the dimensions of the pro-cathedral as seventy-five feet in length and the height of the choir gallery to theceiling as thirteen and a half feet. He indicated the desired organ pipes and especiallynoted that the frontal pipes be gilded. Strickland turned to a former student ofCarroll who was in London and suggested Samuel Webbe, organist at the Sardinianchapel, as consultant. The sum mentioned by Carroll was far from attaining what hedesired but a larger, less costly, second-hand organ was selected.10 The choice provedto be a good one, for the instrument continued in service at St. Peter's until 1839.

To org ani ze his dioc ese, Bisho p Ca rro ll held the first sy no d in Ba ltim ore , No ve m- BALTIMORE

19



ber 7, 1791, attended by twenty priests. Here were established diocesan statutes andregulations for the administration of the sacraments. Other decisions did not over-look church music and the Marian litany, formerly customary before the SundayMass was made obligatory. Where possible there was to be aMissa cantata onSunday and theAsperges sung with vespers to follow later. Bishop John T. Troy ofDublin (later archbishop), who took a particular interest in the young Americanchurch, strongly objected. Carroll explained that their use was extra-liturgical andsimilar to the interpolations customary in Italy and France." Years later the practicewas prohibited by Bishop Francis P. Kenrick who approved the singing of theVeniCreator before the sermon.

The singing of English hymns was an allusion to the vernacular in church services,a subject currently discussed both in England and America. As restrictions on Cath-olics lessened or were removed, an English writer, Reverend Joseph Berington, pub-lished a book on the subject of the vernacular. About 1797, Carroll wrote toBerington expressing his ideas but never thought of offering them to the clergy forconsideration. Again arose the delicate question of foreign influence suggested by theLatin liturgy. Carro ll faced a practical case in Phila delp hia w here he had difficulties

with the Germ ans for whom he had reluctantly permitted a "Germ an" parish.12

Theyhoped to continue theSingmesse as in their native country but permission wasdenied.

During Carroll's first years as bishop the only collection of church music availablefor high Mass and vespers was the 1787 and 1791 revised edition of John Aitken'sACollection of the Litanies and Vespers Hymns and Anthems as they are sung in theCatholic Church adapted to Voice and Organ,published in Philadelphia. A prefacein German and English signed by Bishop Carroll and three Philadelphia clergymenstated that the collection would "contribute to the Decency and Solemnity of reli-gious worship." The repetition in German was no doubt an acknowledgement of thefinancial support of Holy Trinity Church. Besides Carroll, two of the other signerswere to have an important influence in the Baltimore area. Robert Molyneux, amissionary on the eastern shore of Maryland, pastor of St. Mary's Church in Phila-delphia, w as the superior of the revived Jesuit order in Am erica and second presidentof Georgetown College. Francis Beeston later became the rector of the pro-cathedralin Baltimore and a sincere friend and confidant of Bishop Carroll.13

Aitken's collection was hastily compiled and a more orderly arrangement andsome ad ditions are found in the revision of 1791. Aitken followed the two-voicetradition, soprano and alto, common to the embassy chapels in London, but in therevision he added a third voice, the alto, which for the most part duplicated the bassline. A fair part of the music in the collection was plain chant as sung in the stylecurrent during the eighteenth century.

Of the six melodies for the Marian litany, No. Ill was destined to become tradi-tional and repeated in later collections. The commonly heard hymns, such asVeniCreator Sp iritus, Pang e lingua, O filii et filiae,and Stabat Mater, show the influenceof the Sardinian chapel, but they had appeared first inAn Essay on the ChurchPlainchant, 1782. Others that became universal favorites are the so-called "EasterHymn" from theLyra Davidica of 1708 and the German choral,Lasst uns erfreuen.Two others areJesu dulcis memoria, or Jesus the only thought of Thee,and SalveRegina, or Hail to the Queen that reigns above,a rhymed and closely literal transla-tion.

The plain chantKyrie in the Massof the Holy Trinityhas the theme of Mass V,Magne Deus potentia,in whole notes, and other plain chant themes are recognizablein the Gloria and Credo and Requiem Mass. Neither is complete in the first two

BALTIMORE ed itio ns . Typical of the time wa s the ap pe ara nc e of the an th em ,Praise the Lord, O20



my soul, after the Credo, l ike ly as an offer tory andWe adore and worship Thee, OChrist, t i t l ed an them fo r the e leva t ion . An in te re s t ing add i t ion was theAsperges,fu l f i l l ing the regula t ion of the f i rs t d iocesan synod. With the revis ion and changes inthe 1791 ed i t ion , theCompilation was inc reased by th i r ty - f ive pages . Tha t theAi tke n col lec t ion was used in Ba l t im ore and B oston is evide nt f rom a le t ter byReverend John Cheverus of Boston to Bishop Carrol l in 1804 which offered to pro-v ide Bishop Car ro l l wi th the accompan imen ts fo r any an thems no t in Ai tken .1 4

Lit t le is known concerning the music a t St . Peter ' s in the f i rs t few years fo l lowingthe in s ta l l a t ion o f the o rgan . Bu t wi th the coming o f Reverend John Moranv i l l e in1794 , a refugee f rom the miss ion in French Guiana , a new era began.1 5 Mo r a n v i l l ewas ass igned to take care of the French refugees f rom San Domingo a t the e ight-th i r ty Mass a t the p ro -ca thedra l . He p reached wi th g rea t unc t ion in French and bythe r ecogn i t ion o f h i s mus ica l ab i l i t i e s he became cho i rmas te r in 1796 . Wi l l i amD ann en ber g wa s app o in te d o rgan i s t a t $50 pe r an nu m and the a l l -needed o r ganb lower a t $40 pe r annum.1 6 M oranv i l l e o rga n ized a cho i r, mos t ly wo me n , to ful fi l t hewish of the d iocesan synod. Memories of the solemn services of h is s tudent days inFrance were a guide , and pla in chant was g iven preference and pract iced unt i l per-

fec t . In 1807, when he was appointed pas tor of St . Patr ick 's , Fel ls Point , to take careo f Ca tho l i c s in the no r the rn pa r t o f the c i ty, the re were g rea te r oppor tun i t i e s fo r h i sma n y t a l e n t s .

Reve rend John Da v id , w ho rep laced M oranv i l l e a s o rgan i s t and cho i rmas te r, cam eto Ba l t imore in 1792 and se rved a s chap la in to Char le s Car ro l l o f Car ro l l ton andMothe r Se ton . He t augh t a t George town Co l lege and in l a t e r yea r s was p res iden t o fSt . M ary ' s Co l l ege . Mu s ica l ly he dem an ded th e sam e pe r fec t ion a s M oranv i l l e an dalso a l ternated as organis t a t St . Patr ick 's wi th Moranvi l le . In 1808, he had theresponsibi l i ty for the music a t the laying of the corners tone for the projec ted Bal t i -more ca thedra l .1 7 His con t r ibu t ion to mus ic in Ba l t imore was a p re lude to h i s fu tu rework in the Bards town d iocese .

I t was to be expec ted tha t someone wou ld soon rep lace the poor co l l ec t ion o fAi tk en wi th som eth ing be t t e r. Ben jamin Ca r r, a Ph i l ad e lph ia o rgan i s t , t ook a dva n-tage of the s i tua t ion . The Carr family came from England in the 1790 's and thefa the r, Joseph Car r, and h i s son , Thomas , opened a mus ic pub l i sh ing bus iness inBa l t imore . In 1803 , Ben jamin Car r, then o rgan i s t a t the r ecen t ly opened St . Augus -t ine 's Ch urch , Ph i l a de lph ia , i s sued a p ros pec tu s fo r ano th e r co l l ec t ion of chu rchmus ic p romis ing pub l i ca t ion i f he ob ta ined one hundred subsc r ibe r s . The re wereonly about seventy-f ive , but severa l orders for mul t ip le copies were suff ic ient en-couragment and the col lec t ion was publ ished in 1805 (or more l ike ly, 1806) . Carr ' sMasses, Vespers, Litanies, Hymns, psalms, anthem s, & motettswas ded ica ted toBishop Car ro l l , who subsc r ibed fo r e igh t cop ies and bough t fou r more l a t e r. Ca r racknowledged the ex tens ive he lp o f Raynor Tay lo r, o rgan i s t o f St . Pe te r ' s . Ca r rdes igned the co l l ec t ion fo r u se in Ca tho l i c churches and l a t e r pub l i shed a r ev i seded i t ion fo r non -Ca tho l i c chur ches . Pa r t -s ing ing was h i s ob jec t ive fo r he d id no t f avorp la in chan t o r un i son s ing ing .

Som e i t ems dese rve a b r ie f com me nt . A i tken ' s th i rd Mar ian l i t any was r e ta ined ,and Car r ' s Veni Creator Spiritus (Creator Spirit of Mankind)was l ikewise to becomet rad i t iona l . Ca r r r ecommended the Masses o f Samue l Webbe fo r s tudy, bu t in h i sown Mass fo r th ree vo ices Car r omi t t ed pa r t o f theGloria because he though t i t t ool o n g . An t h e ms o f Ha y d n a n d Ha n d e l p a r t i c u l a r l y f r o mThe Messiah accoun t fo rsome of the se lec t ions . The inclus ion of a fantasy on theAdeste fideles b y R a y n o rTaylor and a se t of var ia t ions on Osanctissima by Car r ind ica ted the i r popu la r i tyan d a successful future.1 8

A s ea rly as 1800, the nee d to relieve Bi sho p C arr oll from the stra in of jo urn ey s to BALTIMORE

2 1



the distant parts of the diocese became self-evident. In 1808, word was received inBaltimore announcing the new dioceses of Boston, New York, Philadelphia andBardstown, Kentucky. John Cheverus was named Bishop of Boston and MichaelEgan for Philadelphia. Both were consecrated at the pro-cathedral. Benedict Flaget,named Bishop of Bardstown, was consecrated in St. Patrick's Church. Bishop Ri-chard Concanen, appointed for New York and consecrated in Rome in 1808, died inNaples (1810) when he was about to sail for New York. Baltimore was made themetropolitan see and Carroll became the first archbishop.1 9

By 1806, St. Peter's was too small to accomm odate the growing cong regation, andunder the leadership of Reverend William Dubourg and the trustees plans were madefor a new cathedral. Benjamin Latrobe, architect of the capitol in Washington,offered his services gratis. Latrobe preferred the gothic style but recommended theRoman since it was more conducive to congregational worship and much less expen-sive.20 The cornerstone was laid in 1808, but it was not until 1821 that the cathedralwas completed. Meanwhile, Bishop Carroll dedicated the chapel of St. Mary's Col-lege adjoining the seminary which took care of the overflow at St. Peter's.

Archbishop Carroll , burdened with diocesan problems and weakened by age,

passed away on December 3, 1815. The city was in mourning for its distinguishedand leading citizen. In 1799, when George Washington died, an eulogy of ReverendMatthew Carr, pastor of St. Augustine's, Philadelphia, named him "the father of hiscountry." Like Washington, Archbishop Carroll would be remembered as "a truefather of his country's greatness."21 The archbishop fostered and appreciated goodchurch music and did not forget the singers who had given their services to thechurch. A clause in his will directed that "some special token of my tender andpaternal regard and gratitude may be distributed at my funeral to each of the vocaland instrumental performers, who by their voluntary exertions contribute so muchto the decency and dignity in the Catholic Church of St. Peter's,"22

After 1813, Jacob Walter and his brothe r George, a n organist, sh ared the respon si-

bility for the music at St. Peter's.23

Jacob Walter was active in the musical life of thecity, but in the Baltimore directory of 1824 he was listed as a watch and clockmaker.For Walter this seemed to be the time for a new collection of church music. He hadbeen assembling music for some years, and with the completion of the cathedral in1821 he sought sup port from the trustees of the cathedra l but w as refused financialhelp. The Germans at St. John's Church refused his request and in his discourage-ment he sought help from the choir of St. Peter's. With their assistance, Walter'sAncient and Modern Musicwas published by G. Willig, Jr. of Baltimore in the early1820's, likely about 1823. The title page had a beautiful engraving of the newcathedral with its portico (not added until 1863).

Naturally, selections that had become traditional would be found. These includedth e Adeste fideles,the third Marian litany of Aitken and Carr'sVeni Creator Spiritus,Stabat Mater, etc. The Kyrie of a Mass arranged by Walter was again the melody ofMagne Deus potentiaused earlier in Aitken'sMass of the Holy Trinity.(It would beinteresting to know the earlier history.) The re was aGrand Mass by Webbe for threevoices and a quasi-plain chant Mass by Demonti replaced years later by HenriDumont 's Royal Mass in a Boston collection. Compositions by those at one timeliving in the area of Baltimore include Walter (three pieces), Christopher Meinecke(three pieces), John Cole (one) who published an 1834 edition, and that concealed bythe letters J. M . ofP. T. for the hym nO Power divine, O Charityfrom all indicationsbelieved to be John Moranville. Others were as diverse as hymns by Raynor Taylor'sLet other cities strive,Gossec's O salutaris, and the Halleluiah Chorus of Handel.Hy m n tunes justifying the title "modern" were taken from a two vo lume collection of

BALTIMORE W illia m G ardine r'sSacred Melodies(1815-1823). Gardiner had arranged tunes from22



Mozart, Haydn, etc. for various texts. One by Haydn is that commonly associatedwith O come, loud anthems let us sing, Stevenson's Irish Melodies for Hark, thevesper hymn is stealing, and Vincenzo Puccita's Strike the harp in praise of God.Even though the Germans provided no funds, Walter did include two Germanhymns, Mein eswird allzier dauren, and Christen bebet Geheimuss.

Meanwhile, England supplied new music. Vincent Novello published Masses ofMozart, Haydn and Samuel Webbe which found their way to Baltimore. Webbe'sMasses and motets were first provided with figured bass numerals. When reissued byNovello, the mysterious signs were replaced by full harmonies, an innovation mak-ing them accessible to less accomplished musicians. 24

These events cover the early years and decades of the nineteenth century. No newcollection of importance appeared until 1840 in Boston, one that depended heavilyon the Antient and Modern Music of Jacob Walter, proof of the thoughtful choiceshe made.

While dwelling on church music as a factor in the increase of Catholicity inBaltimore one should seek references to the development of devotional manualsgiving the common prayers and texts for Mass and vespers. Hymns appeared later in

an added section that grew in time. Collections of church music and the devotionalmanuals were an impetus to the progress of Catholicism in America.

J. VINCENT HIGGINSON

NOTES

1. Robert Saladini,American Catholic Church Music: Baltimore Cathedral.An un-published dissertationfor the M.A. degreein musicology, C atholic Universityof America,1984 (hereafter citedas Saladini).

2. Catholic Encyclopedia. New York, 1907. 2:228 (hereafter citedas CEO.)3. Annabelle Mellville,John Carroll of Baltimore. Charles Scribnerand Sons, New

York, 1955.p. 6 (hereafter citedas Melville). CEO 2:758.

4. CEO 2:229; Melvillep. 103.5. Ibid. p. 280.6. Ibid. p. 17.7. Ibid. p. 144; CEO 2:229.8. Saladini,p. 10, 17; CEO 2:231.9. Saladini,p. 17; Melville,p. 257.

10 . Ibid. p. 257; Saladini,p. 16.11 . Peter K. Guilday,A History of the Councils of Baltimore (1791-1884),New York,

Macmillan Co., 1912.p. 67-68; CEO 3:383.12 . John T. Ellis, "John Carrolland the Vernacular," Worship, 26:2 (November 1952);

Melville,p. 210.13 . Ibid. p. 101.14. E. T. Devitt, "Letters from the Archdiocesan Archivesat Baltimore, Timeof Bishop

Carroll."Records of the American Catholic Historical Societyof Philadelphia. Sept. 1911.p . 136-137.

15. Melville,p. 157.16 . Ibid. p. 157; CEO 2:230.17 . Saladini, p. 30.18 . Leonard Ellinwood,The History of American Church Music,Morehouse-Gorham

Co. , New York, 1953.p. 40.19 . CEO 2:231; Melville,p. 225-227.20. Ibid. p. 269.21. Ibid. p. 287.22. Saladini, p. 36.23. Grove,Dictionary of Music and Musicians.Macmillan Co. New York, 1935. 2:669.

24. Ibid. 2:305. BALTIMORE23



dUJD .:jX£-C£CJXX SON TNSEV£LES5EM£VT

Burial of Cecilia

WHAT IS CORRECT

WHAT IS CORRECT IN CHURCH MUSIC?(This transcriptof a broadcast on The Catholic Schoolof the Air canbe obtained oncassette from Pope Productions, Box 6161, San Rafael, California 94903,for $5.)

What music is worthy of the august sacrificeof the Mass? Has the Church setterms pertainingto the appropriatenessof certain typesof music deemed worthy ofworship in the Catholic Church? Yes, indeed. The Church has spoken many times onsacred music, butfor the first timein history an ecumenical council has comprehen-sively expressed views on the positionof art in our sphere of life. And that was in theconstitution on the sacred liturgyof the Second Vatican Council.

The Holy Spiritis the true sourceof all liturgical and artistic creation. As the lateCardinal Faulhaber said, liturgical musicis a "fiery tongueof the Holy Spirit." Andthat is so. Even in our modern world, music possessesa power for revealingthemeaning of Gods Word . All art is a form of communication,not by words ,butrather by expressing the Inexpressible. The languageof art, therefore, does not needwords nor doesit speak to reason, but rather it touches the innermost heartof manand sets it to beating faster. And especially is this true of the language of music,because music speaksto God and is the languageof love. As Saint Augustine said,Cantare amantis est. It is created within the burning earof an artist with faith,andye t it is understoodby men of every tongue sinceit is the languageof love, the lovethat God has implantedin the hearts of all those who believein Him.

Saint Augustine experienced this.He tells us that it was by hearing the sacredmusic of the Church that he was movedto sorrow for his sins. It is the same today.Sacred music car genuinely touch the heartof a sincere listener and move himto thespirit of faith and prayer.

It is good to recall how the Catholic Chu rch has fostered superb music throu gho utthe centuries. Seeing that music had such power over the human heart, the Church

took every means possibleto elevate thatart and wed it more closely with religion.24



This she did early and long. Where the Church went, music followed and wheremusic was prized, there the Church had a power over men's hearts; and the more sheloved her children and their eternal welfare, the more she cultivated the art of music.

We are not surprised then, when we find that the Church had a fixed form ofmusic as early as the time of Saint Ambrose. Saint Augustine wrote of the music heheard in Ambrose's cathedral: "As the voices floated into my ears, truth was instilledinto my heart and the affections of piety overflowed in tears of joy."

Under the mighty Pope Gregory the Great, the highly prized treasure of chant wasorganized for the Church. It was mild, pure, severe and solemn. The Benedictinemo nk s gave us the means to sing the scale with the invention of Gu ido d'Ar ezzo, andlater the pipe organ came to be universally employed in churches. The pipe organinspires devotion and arrests the distracting thoughts of a congregation, turningthem instead into one stream of harmonious prayer. How is it then, that our beauti-ful and expensive pipe organs are now stilled, gathering dust in the choir lofts, whileother profane instruments, pianos and guitars, intrude upon our souls' thirst forinspiration and quietude? The Second Vatican Council decreed that the pipe organmust remain as the perfect instrument for Catholic worship. Article 120 of the

constitution on the sacred liturgy says, "In the Latin Church the pipe organ is to beheld in high esteem, for it is the traditional musical instrument, and one that adds awonderful splendor to the Church's ceremonies and powerfully lifts up man's mind toGod and heavenly things. But other instruments also may be admitted for use indivine worship. This may be done, however, only on condition that the instrumentsare suitable for sacred use, or can truly contribute to the edification of the faithful."Do guitars and pianos meet this criteria?

Sacred music is an integral part of worship. Musicitself, as an art, civilizes therude spirit of man, soothing the afflicted and bringing hope to the despairing. Itstremendous power over the human heart is reflected in the way it is employed onthe battlefield to inspire bravery and intrepidity, in the banquet hall to promote good

feeling, in the churches to assist devotion and in the nursery to calm little children. Itcalls up varied emotions according to the tones which accompany the wedding or thefuneral. Who then blames us when we shed a tear on hearing again the ineffablestrains of theGloria, th e Credo, or the Sanctus in the ancient Gregorian chant?

The Vatican Council gave us a great impetus in the on-going efforts to refine andupgrade the music for the Church. We eagerly awaited the results of those reforms,believing that the decrees of the council would vault church music to even loftierheights.

In past times, the reforms of the Council of Trent and those of Pope Saint Pius Xbrought about improvements in church music. Today, however, the opposite hasoccurred in spite of the decrees of the council. We are shocked to witness in churches

music which must be regarded as a profanation of the holy place and a heretoforeunheard of degradation of God's house. This has happened under the guise ofimplementing the conciliar decrees, as a demonstration of the "spirit of the council."

We must face the fact that ours is an age of science and technology and scarcely agolden age of music. The treasure of Catholic sacred music lies buried and most ofthat which we hear in our churches for high Mass sounds as if it were put together bya committee of amateur musicians an hour before Mass. Of course, there are someexceptions, but very few, we venture to say.

It was not Vatican II which discarded Gregorian chant, but rather modernistwrecking crews. The council said "The Church acknowledges Gregorian chant asproper to the Roman liturgy; therefore, other things being equal, it should be given

pr id e of pla ce in litu rg ica l serv ices." WHAT IS CORRECT25



organs, choirs, bells, chants and the solemn Latin language, along with other liturgi-cal art forms, has proved to be a brutal devastation of our Catholic patrimony,sending many away from the Church as it often makes worship an element ofdivision. Most Masses are rendered totally devoid of the mystery, sacredness andbeauty that had attracted legions of non-Catholics to become members of the house-hold of the faith. Those who wish to suppress these in favor of "simple" forms ofcommunity singing do not truly understand the essence of liturgical music. Nor dothey recognize its inherent value, exchanging it for mere busy activity or simpletunes lacking serious art.

And why should not we Catholics use the splendor of our heritage for the greaterhonor and glory of God? Who has a better right? A stronger claim? Musical pag-eantry is justified by the idea that divine worship must be amajestic solemnity which tries to imitate by the joy of music the adoration of theheavenly hosts. This was the worship which the men of the baroque era offered in achurch decorated with all the splendors of Christian art. If all the resources ofmusical art were used at the baroque court in order to honor the earthly prince, somuch the more should the Church use the best in sacred music to adore and venerate

the divine Majesty. This was the idea which inspired medieval musical performa nceswhich tried to imitate the song of the angels.Therefore, we are fighting against those false interpretations that have followed

the council, spread by so-called experts in liturgy. These false interpretations werewro ngly p assed off as the "spirit of the council." This prop aga nda by now has gainedsuch currency that after twenty years it is almost impossible to eradicate it.

What then is the correct standard of church music? What limitations must there beto protect the sacred character of worship? "Sacred" me ans some thing set apart fromthe profane. (We understand "profane" in the wide sense of the "everyday," the"usual" or the "this worldly," not necessarily something bad or something to becondemned, but rather, something unsacred or temporal, dealing with this world notthe world to come. There is, thus, a sharp distinction between the sacred and theprofane.)

In the history of all religions of mankind we find this distinction, this separation.Christian ity has especially taken great care to treat that wh ich is sacred under sacredforms, and to exclude everything profan e. T he council expressed clearly this distinc-tion. The documents require, for example, that music intended for worship possessthe dignity and the "qualities proper to genuine sacred music," that "the instrumentsaccord with the dignity of the temple, and contribute to the edification of thefaithful."

It is an irony to note that just when the liturgical wrecking crews were laying theaxe to the finest sacred music and m usical instrume nts, the secular world w as becom -ing interested in our unsung chant and polyphony. Especially did the colleges anduniversities begin reviving the great classical and romantic religious works. In someconcert halls one can hear the great liturgical works of Palestrina, Beethoven, Mo-zart, Bach and Haydn, most of which were written for the Catholic Church. Theworld appreciates what some in the Church ignore.

But Rome is eternal. The will of Christ 's Church will ultimately prevail—in time.The will of Christ's Church is clear. The council fathers' words are clear. The councilclearly ordered the use of Latin, the fostering of Gregorian chant, the utilization ofthe pipe organ. The vast treasury of polyphony, composed to Latin texts, should befostered and new music composed.

That is the only way the reform in sacred music can be accomplished, to imple-ment the decrees of the Second Vatican Council. It would be good to pray for that.

WHAT IS CORRECT26



REVIEWSBooksCantus Selecti.Abbaye Saint-Pierre de Solesmes, F-72300 Sable-sur-Sarthe, France. 292 pp, cloth. 42F.

Cantus Selectiis an extremely useful little book. Itcontains antiphons, hymns, litanies, responsoriesand much more, all arranged according to the sea-sons of the liturgical year.

This book is one of the numerous reprints pub-lished by Solesmes during the last decade or so, andits contents are, with a few exceptions, those of the1949 edition. All of the old instructions for benedic-tion have been omitted, as have several other minorthings, and the revised litany of the saints from thene w Graduate has been added to the appendix.

It is most disappointing that the annotations,

which listed a date, source, and short explanation foreach of the more than 230 entries, were omitted.Nevertheless, this reprint ofCantus Selecti,with itsseven settings of theO Salutaris and the fifteen of theTantum ergo, remains a must for Mass and benedic-tion of the Blessed Sacrament.

PAUL W. LE VOIR

Graduate Romanum Comitante O rgano, Vol. I,byAbbe Ferdinand Portier. Abbaye Saint-Pierre de So-lesmes, F-72330 Sable-sur-Sarthe, France. 169 pp,cloth. 1984. 100 F.

Organ accompaniment for the complex Gregorianchant Mass propers is a bold step for Solesmes totake, but this volume has been produced with theircustomary class and style. Its 12" X 9" deep bluecover with gold lettering makes the book handsomeand distinctively Solesmes. Not only is it attractive,but it stays open easily.

This is the first of a proposed three-volume setwhich will eventually provide organ accompanimentfor the chant propers of all the Sundays, solemnitiesand major feasts of the church year. Volume I con-tains all the solemnities and major feasts includingthe Christmas midnight Mass and Mass during the

day, Epiphany, Easter, Pentecost, Sts. Peter and Paul,All Saints, Immaculate Conception and sixteen more.Volume II will contain the Sundays of advent andlent, and Volume III will have the ordinary Sundays(one hopes there will be room for the Sundays ofEaster, too).

Abbe Portier's harmonizations are excellent. Eachsetting is easy to read, and the beaming of notes isvery well done. One does not get lost with repeatednotes. The holds placed on some of the eighth notesare not hard to follow, but many are included wherethey should no longer be. This minor problem, how-

ever, can be eliminated with a pencil during re-

hearsal.Any organist could play all of these arrangements

and accompany the chant with little or no rehearsal.This is a splendid book which, at the very least,

would be an excellent starting point for the study ofGregorian chant accompaniment.

MARY E. GORMLEY

Liber Concelebran tium: Sanctus et Preces Eucha risti-cae in Cantu. Abbaye Saint-Pierre de Solesmes, F-72300 Sable-sur-Sarthe, France. 61 pp., paper. 1983.32 F.

With the growing popularity of concelebrated lit-urgies in recent years, theLiber Concelebrantiumshould remove all the impedim ents to singing them inLatin. Light, small and flexible, it could never get inthe way during a sung, concelebrated Latin highMass .

The Liber Concelebrantium contains all 18 Grego-rian settings of theSanctus (the ad libitum settingsare excluded), followed by the four Eucharistic pray-ers. Each prayer is fully rubricated, so there shouldbe no confusion, even with minimal rehearsal, aboutwhich celebrants sing what. A further refinement in-cludes setting only the concelebrants' parts in Grego-rian (square-note) notation, while the parts reservedto the principal celebrant alone (which he would singfrom the Ordo Missae in Cantu)are simply printedout .

Its content and arrangement make theLiber Conce-lebrantium attractive and highly useful. In otherwords, it is a typically fine addition to the distin-guished Solesmes catalog.

PAUL W. LE VOIRGirolamo Frescobaldiby Frederick Hammond. Cam-bridge, MA, Harvard University Press, 1983. $30.

Frescobaldi, an Italian virtuoso organist and com-poser, enjoyed a full life of music-making and impor-tance. The 400th anniversary year of his birth wascelebrated in 1983. This is the first full-length book inEnglish about him and deserves a place in music li-braries and with organists.

Hammond's book is very well written and reflectsover twenty years of scholarship and preparation. It

is divided into two sections. The first is essentiallybiographical against a cultural background. The sec-ond part deals with the music, in particular, theinstrumental works. It is a very complete compilationof sources and research. One must give particularpraise to the profusely illustrated text of portraits,maps, floor plans, documents and musical examples.The catalog of Frescobaldi's music is complete anddefinitive.

WILLIAM TORTOLANO

Europe with a Busy Bodyby Mary Jane Wilson. 2ndEdition. Dallas, Texas: Waldo Bruce Publishers,

1984. $5.95.27



This interesting and informative book now in itssecond edition, chronicles a three-week trip made byits author with the Dallas Catholic Choir and theTwin Cities Catholic Chorale. In four blue buses, thesingers, family members and friends traveled fromCologne through Germany and Italy to Salzburg inAustria where the choirs represented the United

States at the Sixth International Church Music Con-gress in August of 1974. En route the choirs sang ahigh Mass every day and all the usual sites were vis-ited by the travelers.

When she returned home, the author spent eightweeks in the library doing research on where she hadbeen and what she had seen. Her self-stated goal wasto write a book that would help other travelers gettheir money's worth even without leaving home. Shehas succeeded well. The style is witty and entertain-ing, giving the reader the experience of the trip.Moreover, the book is full of practical information,

instructive anecdotes, facts and details that seem toanswer the questions raised during the trip by theauthor's inquisitive mind. While this reviewer waspart of that historic pilgrimage and therefore findspleasure in reliving the trip by means of the book, thevolume would be interesting for real and armchairtravelers. The book may be ordered fromEuropewith a Busy Body,P. O. Box Box 140906, Dallas,Texas 75214. Add $1.50 for handling charges.

V.A.S.

The Lucidarium of Marchetto of Padua, a CriticalEdition, Translation, and Commentaryby Jan W.

Herlinger. Chicago: University of Chicago Press,1985. $50.This study is based on the author's doctoral disser-

tation written under the supervision of Edward Lo-winsky. The treatise, Lucidarium in arte musiceplane, dates from 1317 or 1318, when new develop-ments in rhythms and the method of notating theinnovations were going on both in Italy and inFrance. It is a broad treatment, including the philoso-phy of music, notation, solmization,musica ficta,counterpoint and the ecclesiastical modes. The au-thor provides the Latin text (until now available onlyin Martin Gerbert'sScriptores ecclesiastici de musicasacra) with an English translation accompanied withdiacritical apparatus which is well displayed. TheLatin and its commentary occupy opposite pageswith the English and its notes. A large part of Mar-chetto's treatise is concerned with the formation ofthe modes and in that lies what might be the mostinteresting area of this work, given the fact that Gre-gorian chant remains a living form, capable of per-formance in present-day worship, while so much ofthe early polyphonic forms seem much more distantto modern ears. The volume, handsomely bound,printed in typeset, is obviously intended not just for

the scholar but for the scholar who is specifically

interested in and knowledgeable of the early four-teenth century music theory that Marchetto is an ex-ponent of. Truly Herlinger's book has made it possi-ble for others to study this period and its theorieswithout having to be a master of the Latin languagealso. The great debt that the students of medievalmusic theory and history owe to Mr. Herlinger is that

he has put this work into English and thus added tothe increasing number of classical musical treatises atthe disposal of the music scholar who does not knowLatin.

R.J.S.

ChoralHush! My Dear by Ian Hillier. SATB,a cappella.Galaxy Music Corp. 131 W. 86th St., New York,N.Y. 10024. $.85.

The text is by Isaac Watts, a gentle Christmas lull-aby. The harmonic treatment is somewhat dissonantbut the voice leading is easy. The third and fourthverses are given to the treble and bass voices respec-tively, with solo voices added.Celebrate the GreatestName (Magnum Nomen Domini)by Michael Praeto-rius. SATB, a cappella. Galaxy Music Corp. 131 W.86th St., New York, N.Y. 10024. $.85.

Long a favorite, this motet is published with bothEnglish and Latin texts. It should be part of everychoir's Christmas repertory.

Awake and Singby Joseph Roff. SAB or SATB, or-gan. Alexander Broude. 575 8th Avenue. New York,N.Y. 10018. A simple piece with traditional harmon-ies and good organ supp ort for the voices. It builds tofortissimo climaxes, but octaves in the keyboard maybe difficult to negotiate on the organ.

Lord Jesus Lay by Geoffrey Wilcken. SA, organ.Augsburg Publishing House. Minneapolis, Minne-sota. $.65.

For two treble voices and an independent organpar t, this can be a welcome piece for wom en's group sor children's choirs. The composer is also author ofthe text. It is easy.

Sing to a King in a Stableby Noel Goemanne. SATB,organ. Harold Flammer, Inc. Delaware Water Gap,Pennsylvania 18327. $.90.

Both text and music are the composer's. Intendedfor piano, the work is less suited for church use andalmost impossible for organ. It rises to an interestingclimax on the wordsGloria in excelsiswhere an or-gan would be so much more preferable than the pi-a n o . The choral writing is not difficult, and with itscontemporary harmonic idiom this could be an effec-

tive Christmas piece.

28





It is always reassuring to know that the pilgrimagesof young people to Chartres continue. This yearthousands of young people walked from N otre D amede Paris to Notre Dame de Chartres on Mondayafternoon, May 27. There they were joined by thou-sands more who came by train and car to fill thecathedral to overflowing (about 10,000 faithful) for ahigh Mass according to the Tridentine rite accompa-nied by Gregorian chant.

Otherwise, most of this issue is devoted to detail-ing the generally unsuccessful attempts to receive per-mission for the celebration of the Tridentine Mass invarious areas of France.

V.A.S.

JUBILUS REVIEW. Vol. 2, No. 2, Summer 1985.The best issue of this new journal so far. It is begin-

ning to get its stride. An extensive report is made bythe editor of the international congress on Gregorianchant, held in Paris in May of this year. He alsodescribes the tour made by the Maynooth MaleChoir to France to participate in the various musicalfestivals held there during the summer. An interviewwith the editor on his position concerning chant andsacred music makes good reading as the truth isclearly stated. A short summary of the position ofsacred music and the Latin language is presented,according to the prescriptions from Rome to be fol-lowed in seminaries. Several musical selections in En-glish, Gaelic and Latin are included.

R.J.S.

NOVA REVISTA DE MU SIC A SACR A. Vol. 11, Se-ries 2, No. 33-34, 1985.Trimester periodical of theSacred Music Com mission of Braga, Portugal.

This is a very practical magazine edited for thepracticing church musician who is especially inter-ested in seeing new music. For that reason the bulk ofits forty pages is given over to music, all with Portu-gese texts. An interesting discussion of theGloria bySebastiao Faria gives a history of the text and ex-plains its uses in the liturgy according to the decreesof the Church. A calendar of various musical andliturgical meetings and a review of international jour-nals (includingSacred Music) finishes this double is-sue.

R.J.S.

NEWSFather Thomas E. Mullen celebrated the fiftieth an-

niversary of his sacerdotal ordination with solemnMass at the Church of Saint Stephen in StevensPoint, Wisconsin, June 16, 1985. Music for the occa-

sion was under the direction of Mrs. Barbara Towey.

James Benzmiller was organist, Maria Weaver andEunice DeBaker, vocalists. The program included or-gan music of Frescobaldi and Karg-Elert. The choir,accompanied by organ and brass ensemble, sang FlorPeeters' Christus vincit, th e Gloria from Schubert'sMass in G, Hillert's Festival Canticle, and Jacobus

Gallus ' This is the Day.Bishop Frederick W. Frekingof LaCrosse was present. •

At Saint Patrick's Church in Portland, Oregon, theCantores in Ecclesia under the direction of Dean Ap-plegate sang the music for a solemn M ass on the feastof Ss. Peter and Paul, June 29, 1985. In addition tothe Gregorian settings of the proper parts, they per-formed Byrd'sMass for Three Voices.For the feast ofCorpus Christi, at the same church, the choir sangByrd's Mass for Five Voices,along with his Cibaviteos, his Sacerdotes Domini, and his Ave verum. O nAugust 14, 1985, the same ensemble celebrated thefeast of the Assumption with Palestrina'sMissa as-sumpta est Maria, Parsons' Ave Maria, and Byrd'sBeata viscera. Father Frank Knuzel was celebrant. •

James Bernsdorff directed the choir of the Churchof Our Lady Help of Christians in Pittsburgh, Penn-sylvania, for the feast of Corpus et Sanguis Christi,June 9, 1985. The program included Smith'sMissapro pace, Rossini's Salve Regina, and Saint-Saens'Ave verum, along with the Gregorian proper parts.Father Frank Pezzulo, OF M, is pastor. •

Bishop John R. Keating of Arlington, Virginia, isthe new episcopal moderator for the American Feder-ation of Pueri Cantores, succeeding Bishop ThomasW. Lyons of Washington. The federation presentedBishop Lyons with a plaque of appreciation for hismany years of dedication to the cause of boys choirs.Monsignor Charles N. Meter is president of theAm erican federation. •

The Twin Cities Catholic Chorale announced itsprogram for the twelfth year of classical Vienneseorchestral Masses sung at the Church of Saint Agnesin Saint Paul, Minnesota. The repertory includes

eighteen Masses of Haydn, Mozart, Beethoven andSchubert, along with one by Cherubini and one byGounod. The new addition this year will be Mozart'sMissa Trinitatis. The sixty voice choir, assisted bymembers of the Minnesota Orchestra, sings thirtySundays of the year, under the direction of Monsi-gnor Richard J. Schuler. The proper parts of theMasses are sung in Gregorian chant by a schola un-der the direction of Paul LeVoir. Mary Gormley isorganist. I

Father Ralph S. March, S.O.Cist., choirmaster atthe Cologne Cathedral in Germany, conducted a

workshop in Gregorian chant at the Church of the30



Holy Family of Nazareth in Irving, Texas, July 20,1985. Founder and longtime conductor of the DallasCatholic Choir, Father March has his doctorate fromthe Institut Cath olique in Paris. Rita Pilgrim m ade allthe arrangements. For the Mass closing the work-shop, a choir of eighty voices sang theGloria fromMass VIII, Credo HI, Alma Redemptoris Materandth e Sanctus, Benedictusand Agnus Deifrom MassXVI, as well asUbi Caritas. •

/. Vincent Higginson is the former editor ofTh eCatholic Choirmaster, a composer and music histo-rian. A Knight of St. Gregory, he is well-known forhis scholarship in the area of hymns and hymnals,especially in the colonial period. He has been a fre-quent contributor toSacred Music.

The choir of Saint Mary's Church in Los Gatos,California, performed music by Joseph Haydn, Adr-ian Batten and William Boyce together with com posi-tions by contemporary writers, JosephRoff, HowardHughes and David Isele for the Mass on PentecostSunday, May 26, 1985. Mrs. Myrtle Gunning ischoirmaster. I

The choir of the Cathedral of Saint Catharine ofSiena, Allentown, Pennsylvania, presented a concertof music from Palm Sunday, Holy Week and Easter,March 31, 1985. The concert, sung by the sixty-voicechoir, was dedicated to the Most Reverend JosephMcShea, first Bishop of Allentown. Compositions byDelia Picca, Durufle, Palestrina Brahms, Graun,Bach, Grechaninoff, Han del and Schiitz were on theprogr am . D onald P. Winzer is director, and SallyCherrington and Stephen Wittman, organists. Brassplayers were Bernard Beitel, Edgar Gloss, Ezra Wen-

ner and Warren Wilson, and David Felker was timpa-nist. Monsignor David B. Thompson is pastor of thecathedral.

R.J.S.

EDITORIAL NOTES

Papal HonorsSince we published a suggestion that a list be made

of the American church musicians who have been

honored by the Holy See, we have had some namessent to add to those originally printed. Mrs. Helen V.Fisselbrand has added the name of Joseph J. McGrathwho received thePro Ecclesia et Pontificemedal onApril 17,1966, and Dr. C atherine A. Dower has indi-cated that she was installed as a Lady of the Eques-trian Order of the Holy Sepulchre of Jerusalem inNovember, 1984. Dr. Dower also has indicated thatthe famous tenor, John McCormack, received manyawards from the Holy See, including Commander ofthe Holy Sepulchre (1913), Knight Commander ofSaint Gregory (1921), Privy Chamberlain to His Ho-liness (1929) and Knight Commander of Malta

(1932). There are many others. Please send us thenames of those you know who have been so hon-ored. Give the title of the honor and the date of itsconferring. Then we will publish the list of all ofthem.

CONTRIBUTORSFather Richard M. Hoganis a priest of the Archdi-

ocese of Saint Paul and Minneapolis. He has a doc-torate in medieval history from the University ofMinnes ota. D oubleday h as recently publishedCove-nant of Love,a work on the Holy Father's teachingson the family which he co-authored with Father JohnM. LeVoir.

Dom Jean Claire, OSB,is choirmaster at the fa-mous Abbaye Saint-Pierre de Solesmes in France.Successor to Dom Joseph Pothier and Dom Joseph

Gajard, he directs the foremost Gregorian choir.

ChoirsIn response to the request to hear about choirs in

various parts of the country that have survived theconfusion of the last twenty years, Mrs. Myrtle Gun-ning of Los Gatos, California, writes this about herchoir in the Church of Saint Mary in Los Gatos:

"Saint Mary's parish c hoir was founded in 1964 byReverend Henri Tomei, our assistant pastor, whooriginally directed a bo ys' choir in Marseilles, France.Father Tomei was also an organist in the French tradi-tion of creative improvisation as well as a composerand arranger of choral compositions. Our choir be-gan as a women's choir and this choir still continues.

In 1972, Father Tomei was murdered in our church.31



Since that tragic event, the choir has been under thedirection of Mrs. Myrtle Gunning. We have hadamixed choir for the last several years. Our choir hassung every Sunday and holy day since it began. Wealso sing occasionally for weddings and funerals.Our choir numbers twenty-five. Our repertoire con-sists of traditional, classical and contemporary mu-s ic . We feel blessed that we have continued through-out the turmoil of changes following Vatican II. Wehave been able to elicit much congregational partici-pation in sung parts of the Mass, hymns and accla-mations. We occasionally utilize brass, violins, fluteand harp."

Sister Mary Gerald Carroll, C.N.R., of the Ursu-line Community in New Rochelle, New York, writesabout the choir of mixed voices at the Church of theHoly Family. Sister formed the choir in 1975 at therequest of the pastor. There are twenty-eight mem-

bers. The group sings chant, polyphony, anthems,hymns and several ordinaries. They are alsoa sup-port for the congregation.

Monsignor DavidB . Thompson, pastor of the Ca-thedral of Saint Catharineof Siena in Allentown,Pennsylvania, describes the sixty-voice choir and itsrecent concert of Holy Week and Easter music:

" 'Lift High the Cross' was presented to a standing

room congregation of more than 1100, with requeststoo numerous to be met at leasta week before theconcert. Our director, DonaldP. Winzer is dedicatedto the best in Catholic music. He has served for six-teen years, having succeeded the well-known FatherAngelo A. della Picca, the director of the cathedralchoir. Bishop McShea has been and continues even inretirement to be our choir's inspiration. I try to emu-late him, even participating in the choir's Thursdaynight rehearsals from eight to ten o'clock. The choirnumbers sixty voices."There are many more choirs, surely. Let us knowabout them.

R.J.S.

PARACLETE

P R E S S

Mcjsic of DistinctionCatalogs Available

B o x

C o p ie s o f a r t ic le s fr o m t h i sp u b lic a t io n a r e n o w a v a ila b le f r o mt h e U M I A r t ic le C le a r in g h o u s e .

For more information about the Clearinghouse, please fillout and mail back the coupon below.

^Article,ClearinghouseYes ! I would like to know more about UMI ArticleClearing house. I am interested in electronic orderingthrough the following system(s):

• DIALOG/Dialorder • ITT Dialcom• OnTyme • OCLC ILL Subsystem• Other (please specify).

N a m e .

Title

• I am interested in sending my order by mail.• Please send me your current catalog and user

instructions for the system(s) I checked above.

Inst i tu t ion /Company

Depar tmen t

Address

City State

Phone ( )

_ Z i p _

Mail to: University Microfilms International

Sacred Music, 112.3, Fall 1985; The Journal of the Church Music Association of America

Documents