r~~~~~~~~~~l

t APRIL - 1934 }

t }
t
t
t Magazine of
t CATHOLIC~ CHURCH
and SCHO()L MUSIC
t
t Founded A. D. 1874 by John Singenberger

t FEATURES
t ACCOMPANIMENT OF GREGORIAN CHANT
Rev. Carlo Rossini

t *'
THE SEMINARY AND INSTRUMENTAL MUSIC
Rev. F. T. Walter

t *
GREAT VOICES ARE BORN--JNOT MADE

t MUSIC APPRECIATION
* Sister lVlary Cherubilll, O.S.F.

t eublished by McLAUGHLIN & REILLY COMPANY

t 1100 Boyl$ton StrE~et, Bo'ston, Mass.

LITURGICAL MASSES-McLAUGHLIN & REILLY EDITION
• Means Approved St. Gregory "White List"

UNISON 505 Tappert, H., Mass of St. Rose of

Lima ..•.....•.••••••••••••• •35
(Voice Parts Available) 506 *Tappert, H., Missa SSe Ang. Custo-
11 Mandl. opus 198 $ .60
dum .......••.....•..•..•••• .60
669 Witt, F. X., Missa Exultet .••••••• .80
339 Groiss, Mass of St. Joseph.. • • • • •• .60
Voice Part .......•••••••••••• •40
342 Grieshacher, Mis-sa Janua Coeli... .60 340 Wheeler, V. B., Mass in Gminor .. .60
564 Becker, Mass of St. F rands Xavier. .60
640 Dumler, Missa Cantate Pueri. • • . • .60
Voice Part ........•....•...•• .25
362 Predmore, Mass of Good Shepherd. .40
622 Smith, Missa Maria Mater Dei. . .. .60 THREE PART
(S.S.A.)
lWO PART 518 Cherubim, Mass of St. Alfons ..••• $ .35
(Chant, harmonized alternately)
508 Dare, M., Mass in G $ .40 666 Gisela, Mass of Our Lady ..•••••• .60
221 Marsh, W. J., Mass of the Holy 563 Shaefers, M.ass of Blessed Julie ••• .60
Angels ..........•.....•.••... .60 C218 Smith, MasBoE Sacred Heart .••.• .60
Voice Part ......•............• .25 P.G. Cherion, Mease de Stet Cecile .••• .80
363 Marsh, W. J., Choral Mass. .. ..... .60
Voice Part .....•.••.•.•...•.• .25 REQUIEM
519 Meyer, J. J., Mass of St. Theresa.. .35
447 *Singenberger, Mass of St. Francis.. .35 426 *Singenherger, J., Easy and Complete
448 *Singenberger, Mass of St. Anthony .35 Requiem for 1, 2, or 3 voices ••••• $ .60
449 *Singenberger, Mass in D. . . . . . . . . .35 521 Gregorian, Harmonized by J. Sin-
450 *Singenberger, Mass of St. Rita. . .. .60 genberger ••...••••.•••.••••• .60
451 *Singenberger, Mass of the Holy 521A Voice Part, complete with re-
Ghost. . .. ... ....•... . .•...•. .35 sponses, and co·mman chant. • • • • • .15

GREGORIAN MASSES
From The Vatican Gradual
Transcribed in modern notation

(1) Missa "Orbis Factor" (De Dominica) } Accompaniment .80

No. 481··{ (2) Mass for Sundays of Advent and Lent Voice part .15
No. 520 Missa de Angelis Accomp. by J. B. Singenberger .60
Edited by Otto Singenberger
No. 520a Missa de Angelis Voice part, with Responses and
a Panis Angelicus by Browne. Heavy paper cover .15
No. 39b Missa de Angelis Voice part, octavo size, large
notes. Mass only .10
No. 521 Missa pro Defunctis Harmonized by J. B. Singenberger .60
Edited by Otto Singenberger
No. 521a Missa pro Defunctis Voice part, with Libera Sub-
venite, In Paradisum, Benedictus, and all Responses. Heavy paper
cover 15
(1) Missa "Cum Jubilo" } Harmonized by F. X. Mathias .80
No. 639 { (2) Missa "Alme Pater" Voice part, with Asperges Me,
Vidi Aquam, and Credo III. Heavy paper cover .15

McLAUGHLIN & REILLY COMPANY

BOSTON, MASSACHUSETTS
National Headquarters for Catholic Church Music
 Editor. OTTO A. SINGENBERGER Associate Editor, WILLIAM ARTHUR REILLY
Coni7"ibutors: Ludwig Bonvin S.J., Buffalo, N. Y.; Gregory Hugle, O.S.B", Conception, Mo.; Adelard Bouvilliers O.S.B., Belmont,
N. C.; Rev. F. T. Walter, St. Francis, Wise.: Leo P. Manzetti D.. D., Baltimore, Md.: Joseph Villani S.C•• San Francisco. Cal.;
Rev. P. H. Schaefers, Cleveland, Ohio; Sr. M. Cherubim O.S.F., Milwaukee, Wise.; Sr. M. Gisela S.S.N.D.• Milwaukee, Wise.;
M. Mauro-Cottone, Mus. Doc., New York, N. Y.; Richard Keys Biggs, Hollywood, Cal.; Martin G. Dumler M.M., Cincinnati,
Ohio; .T oseph J. McGrath, Syra~use, N. Y., etc.

Vol. 60 APRIL 1934 No.4

CONTE1\lTS
FATHER BONVIN RECEIVES PUBLIC OVATION AS
CONDUCTOR OF BUFFALO ORCH:ESTRA 144
SECOND ANNUAL BOSTON CATHOLIC CHOIR FESTIVAL
TO BE DIRECTED BY FATHER FINN 144
ACCOMPANIlVIENT OF GREGORIAN CHANT Rev. Carlo Rossini 145
HAVE YOU A NEW CHOIR? 147
THE SEMINARY AND INSTRUMENTAL MUSIC Rev. F. T. Walter 149
GREAT VOICES ARE BORN-NOT lVIADE 152
ITEMS COLLECTED HERE AND THJERE 154
OBITUARIES: 155
Sir Edw. Elgar, Henry Wert.h, Rev. Joseph Bruneau S.S.
OUR MUSIC THIS MONTH: 156-172
Organ Music, Raffy. Kyrie, Ludwig Bonvin SJ. 0 Salutaris and T~ntum Ergo,
George C. Constantine. Ecce Sacerdos Magnus, Sir Edward Elgar. School Music,
Sister Cherubim O.S.F.
MUSIC APPRECIATION Sister Mary Cherubim O.S.F. 173
QUESTION AND ANSWER BOX ·Dom Gregory Hiigle O.S.B. 177
PROGRAMS 179
INTERESTING NEW l\1USIC 182
DUPRE TAKES WIDOR'S POST 182
NE\iVS: 183
Ninna Nanna Given Another Notable Performance. Ursuline Academy Pittsburgh
Hears New McDermott Composition. S1. Wendelin's Church Addition Blessed by
Bishop Boyle. Milwaukee Schola Cantorum Sings at Order's Centenary. Anniver-
sary of Sisters of Notre Dame in Baltimore. Ten Thousand Children to Sing
300th Anniversary of Maryland.
BOSTON CHOIR OF l\1EN'S VOICES GAINING RECOGNITION 184
COMMUNICATION 185
144 The Cae cilia

Father Bonvin Receives Public Ovation

As Conductor of BuFFalo Orchestra
Noted Priest-Musician Guest Conductor of
Buffalo Community Orchestra

Eighty-four year old Father ,Bonvin S.]., such classics has not been equalled very often
eminent in music circles as a composer and in this country.
author of literature on musical subjects, ap- The well known music critic, Mary M.
peared on March 11th at the concert of the Howard, in the Buffalo Times, wrote on
eighty piece Buffalo Community Orchestra. IVlarch 12th,
The orchestra which is one of the best "The venerable Reverend Ludwig Bonvin
known in the state, gave the following pro- S.]. was given a rising salute as he took his
gram: place at the desk, to conduct his Ballade,
Rienzi Overture Richard Wagner opus 25, a composition of thematic fertility,
scholarly construction and clever orchestra-
Prelude to Act 111- tion. Its tuneful melodies, happily devel-
Lohengrin Richard Wagner oped, and interspersed with fugal passages,
Entry of the Guests-Act II received excellent treatment by the orches-
Tanhauser Richard Wagner tra and Father Bonvin was awarded a veri-
Rosenkavalier-Waltz Richard Strauss table ovation at its close."
Invitation to the Father Bonvin S.]. received the annual
W altz Weber-Weingartner dedication by THE CAECILIA magazine, in
1931 as one of the outstanding Catholic mu-
Ballade, op. 25 Ludwig Bonvin S.]. sicians of this country. Advancing years seem
The distinction of having a composition by to impress this fact even more strongly as we
a present day priest-composer on a program of continue to note testimonials of this nature.

Second Annual Boston Catholic Choir Festival

To Be Directed By Father Finn
New Blend o·f Voices Interests Music Lovers

Under "the Auspices of the American Choral 120 Altos, 130 Tenors, and 120 Basses or 500
and Festival Alliance, ilie second annual singers in all.
choir Festival will be held at Symphony Hall, The first rehearsal over which Father Finn
on May 13. Polyphonic motets, and ancient will preside will be on April 5th at the New
madrigals will be heard along with modern England Conservatory of Music. Choir-
choral compositions. masters have been invited to send their best
The celebrated Father Finn C.S.P., of Paul- singers to this rehearsal. In addition singers
ist Choir fame, will again direct the Catholic not connected with choirs will be welcomed,
group. This year however, only selected and many college students, will join with other
voices from the Catholic choirs will be heard. music lovers in this concert. As a result many
Last year almost one thousand singers par- choirs will gai1n new members, and choral
ticipated in the Catholic group, but for the singing will be given emphasis in the press,
coming concert, Father Finn will introduce the and public mind through this fine activity.
most modern theory of voice blending. To It is hoped that this choral festival move-
obtain balanced tone, according to the new ment will extend to other American cities, as
blend being used by the large choral societies it has to N ew York City, Peoria, Ill., Chicago,
of the country, there will be 130 Sopranos, Ill., and Los Angeles.
 l' he C a ~e c iIi a 145

Accompaniment of Gregorian Chant

By REV. CARLO ROSSINI

Organist and Choirmaster at St. Paul's

Cathedral, Pittsburgh, Pa.

"""'YuIRST of all I wish to thank most sin-

II ..".J«lI. . . . companiment to Gregorian Chant, let us see
cerely the Rt. Rev. Msgr. Leo P. 1iVhich musical style is artistically better fitted
Manzetti for his splendid review of to the purpose.
my arrangement of the Proper of the I hold (and Msgr. Manzetti seems to agree
Sunday Mass (The Caecilia, F ebr. 1934). writh me) that, the nearer a musical style is to
It is indeed of great satisfaction to me to learn the age of Gregorian Chant, the better right
that the well known musician of Baltimore, the former has to accompany the latter. Now
considering the present condition of our church let us inquire: When did the idea of "mel-
choirs, finds my little volume very practical odic", imitative contrapuntal style first strike
and useful. This means to me, in fact, that the mentality of musicians ?-Let us be gen-
I have succeeded in the main purpose of my erous and say: In the XIV century. When
work, even though it may contain a few minor did musicians happen upon the "harmonic"
defects. homophonic style ?-About the IX century.
I t is with reference to some of these defects, In fact, when we see the musicians of the IX
which. have· been pointed out by my distin- and X centuries introducing a second voice to
guished critic, that I wish to make my position accompany the Cantus Firmus by parallel
clear. Fourths· and Fifths (Organum) shall we say
that their mentality was "entirely melodic"?
*** It is true that Guido d'Arezzo (XI century)
Concerning the technical part of my work, declared himself against the "parallel progres-
Msgr. Manzetti states that an organ accom- sion" and in favour of the "contrary'direction"
paniment in the harmonic style is not so well- between voices (Discantus); his disapproval,
fitted to Gregorian Chant as an accompani- hO'wever, did not stop the musicians of the
ment in the contrapuntal style would be. In }CII and XIII centuries from developing the
his own words, he says: "Up to the seven- "Organum" into the so-called "Falso-bordone",
teenth century the mentality of musicians was 'with two voices accompaning the Cantus Fir-
entirely melodic"; consequently, "an organ IT1US by parallel Thirds and Sixths. Shall we
accompaniment to Gregorian Chant in the say that the mentality of these musicians was
style of the homophonic age is certainly an still "entirely melodic"?
anachronism". Someone may insinuate that all this was a
It seems to me that the premise of the ar- "casual result" of the musicians' attempt t<7
gument is running a little too fast for such a combine different voices in parallel progres-
stout conclusion. There is, in fact, a very sion, rather than the result of recognized har-
important distinction to be made concerning rnonic principles.-This may be true. How-
the melodic mentality of musicians up to the ever, when a century later (XIV century) we
XVII century, namely, the distinction be- find the new style so firmly standing on its
tween "monodic" and "polyphonic" musical own feet as to produce three and four-part
mentality. Now, it is true that the mentality Laudes Spirituales (sacred songs in the ver-
of musicians, during the first NINE CEN- nacular) where the melody is accompanied by
TURIES of the Christian Era,' was "entirely perfect "harmonic blocks", one can hardly ap-
melodic", but it was also "exclusively mono- peal any longer to the theory of "casual re-
die"; that is to say, the art of those musicians sults". At any rate, such results remain what
was confined to a single melody, absolutely they are, that is, first-class samples of "homo-
free from any vocal or instrumental accom- phony", and a proof that the mentality of mu-
paniment, for the simple reason that harmony sicians before the XVII century WAS NOT
and counterpoint were unknown to them. "entirely melodic". Even at the time of
Consequently, ANY KIND of organ accom- Palestrina (XVI century) we find classic
paniment to the monodic Chant of St. Gregory samples of "harmonized melody" as, for in-
Inust be considered as material "antipodal in stance, the well-known "Adoramus te" by
spirit and form", because it belongs to "an- Roselli which, as far as homophony and
other age" and, therefore, is an "anachronism". beauty are concerned, needs not, indeed, to
I-Iowever, since the present condition of envy the "Panis angelicus" by Casciolini
church choirs seems to demand an organ ac- (XVII century).
146 The Caecilia
CONSEQUENTLY, the use of the "homo- organ accompaniment would be an insur-
phonic" style for the organ accompaniment to mountable handicap, especially when the or-
Gregorian Chant is much less ~'an anachron- ganist must play and sing at the same time,
ism" than the use of the "polyphonic" (imita- as usually happens at Funeral Masses and
tive, thematic) style of the XV and XVI other church services during the week. After
centuries. having examined the technical ability of more
*** than 500 organists in behalf of the Diocesan
The conclusion just mentioned should be, in Music Commission of Pittsburgh, I am posi-
itself, an adequate reason for declaring the tively convinced about this.
homophonic style as the "better fitted" to ac- ***
compafly Gregorian Chamt. Nevertheless I CONCLUDING: Shall we adhere strictly
wish to prove it from an entirely different and invariably to the homophonic style in
angle. accompaning Gregorian Chant? The reader,
Firstly, by the very same reason which my perhaps, expects me to say: Absolutely!-My
distinguished critic has offered to prove the answer, instead, is: Not necessarily; for, any
contrary.-Concerning my homophonic style general principle or general rule admit5 some
of harmonization to Gregorian Chant he says: exceptions. In our case (as my little volume
"As a musical entity, it is purely figurative". in question shows in part) there are circum-
"It seems to be there just for the purpose of stances when the organist may take the liberty
supporting the voices and to keep them from of a choice between organ accompaniments of
side-tracking". "Such an harmonization adds different style, SO LON'G AS THESE RE-
nothing artistic to a composition".-Frankly, FLECT THE MODAL, DIATONIC SyS-
I could not receive a better compliment TEM OF THE GREGORIAN MELODY.
(though unintentional) about my work, for it F or instance, the choice will depend upon:
festifies that I have fully succeeded in com- a) The musical experience of the singers.
plying with the Church's desire in this matter. --If the singers are well trained in Gregorian
The Church, in fact, while it forbids ANY Chant, they do not expect much support from
organ accompaniment to the chants which be- the organ. In su~h instances the organist can
long to the Celebrant at the altar and to his give his undivided attention to the accompani-
ministers (Motu Proprio of Pius X, pgr. 12), ment and develop the same in the contra-
permits the organ accompaniment, for the puntal, inconspicuous style. On the contrary,
benefit of the singers, to the chants which be- if the singers are not familiar with Gregorian
long to the liturgical choir and to the people. Chant (and such is the ordinary case with
At the same time, however, the Church warns our volunteer church singers), then an organ
the organist as follows: "The organist shall accompaniment in the smooth, legato-style of
be careful not to overpower the voices by an "harmonic blocks" placed on the ictic notes,
organ accompaniment OF AN ELABORATE . is just what the organist needs to support the
NATURE" (Regulations for the Province of voices and to save at least "an echo" of the
Rome, Febr. 2, 1912, pgr. 23). Notice that Rhythm which is the "soul" of the Chant.
the .' warning is not only against an accompani- b) The nature of the Gregorian melody.-
ment of "too elaborate" a nature, but even With melodies of neumatic or melismatic na-
against an accompaniment of "elaborate" na- ture (Introits, Graduals, Alleluias, e1Jc.) as
ture. Evidently the Church wants the or- well as with melodies of difficult intonation
ganist to remember that the monodic Chant of (many Tracts, Offertories and Communions)
St. Gregory, by nature essentially melodic, is an "harmonic" organ accompaniment will
not in need of any "artistic addition", for it prove to be more efficient for ordinary choirs.
is artistic IN ITSELF and self-sufficient.- Whereas, with melodies of syllabic, recitative
With this in mind, the organist cannot be nature and of easy intonation (Hymns, Se-
misled in his choice between an homophonic quences, Glorias, Credos, etc.) a rather simple
a,nd a polyphonic-contrapuntal accompaniment "contrapuntal" accompaniment may be found
to Gregorian Chant. preferable and convenient.
Secondly, by way of practical convenience. ***
-;-,-The purpose of publishing books with organ INCIDENTALLY may I remark that the
accompaniment to the Gregorian repertoire is general principles which I have applied during
not to fill the shelves of our libraries, nor to the present discussion are the same as those
assist the well-trained organists of large Cathe- taught at the Pontifical Institute of Church
drals, but rather for the benefit of the ordi- Music in Rome. If these same teachings,
nary organists of smaller churches who have more or less, have been given for the past half
not had the opportunity of an adequate mu- century (as my distinguished critic states) "in
sical training. F or the latter, an elaborate (Continued on Page 151)
 The (:aecilia 147

HA VE YOU ANEW CHOIR?

T'S easy for the professional "full time" must explain why a choir exists, the types of
musician, (hired by a Pastor who is choir possible, the need for cooperation and a
.1~ musically conscious and interested in definite objective. The last is very important,
good music), to preach to others less a choir must point to some feast or some re-
fortunate. The writer of this article, has held ward not too far off, to stir up enthusiasm.
membership in choirs of all types and descrip- Too many choirmasters fall down here. They
tions, from the rural chapel to the metropolitan think that a volunteer singer is going to re-
cathedral, but he is not a professional musi- hearse for hours getting a tonal blend, so that
cian, nor is he qualified to preach. the choirmaster may get a lot of credit for
However, as a member of several successful himself. Present day volunteer singers will
organizations at various times, he has observed not do that for long. If they can't be heard
that, generally speaking, the best choirmasters personally, they want to get some other benefit
follow along the same general lines at re- from their choir membership.
hearsals. Therefore it is his purpose here to
tell others of his· observations without mention- ORGANIZING
ing the names of any of the choirmasters he As quickly as possible the voices must be
has served under. tested. Find out how many soprano, alto,
The personality of the teacher determines tenor and bass voices are available.
the extent of disciplinary problems. If the Determine whether it would be better to sing
choirmaster has a good background, and a two part music, or three part music or four
nice personality, he will have a large choir part music, according to the character of the
and no disciplinary troubles. voices, found.
Are the voices light or heavy, are they
We will have to presume that the choir- rough and will circumstances permit rehearsals
master is fit for the job (although many aren't) enough to improve the tone? If so then four
and by that we mean temperamentally fit as part music may be undertaken after the pre-
well as technically fit. If the choirmaster can't liminary work is done. If the voices are rough,
attract choir members, or hold those sent to and a mixture of qualities appear, sta.rt with
him, then the choir needs a manager, or a unison and two part music, and have the
Priest to handle the social end of the choir, choir sing as softly as possible.
and thus help out the choirmaster who may be Chose music that will fit the voices. Easy
a good musician but a poor mixer. Then the music, at first, selecting graceful melodies if
choir members will "stand" the choirmaster light voices prevail, or more ponderous
for the sake of the parish or some friend, or melodies if heavy voices are dominant.
for the good time that goes with membership
in any real choir. In this manner a volunteer PROCEDURE AT REHEARSAL
parish choir may hold its numbers, and have (I) Call the rehearsal for 15 minutes
frequent rehearsals. Lots of choirs today, ahead of the time you intend to begin.
have friends of good singers enrolled, even 'Then meet the singers as they come in, talk
though their voices have no value to the choir. 'with them, take an interest in their voices,
The experienced choirmaster knows that you and in their personal activities outside of the
have to take what you can get, and therefore choir. Get to know your singers.
one good singer admitted to the choir can mean (2) Promptly at the appointed hour begin
that two or three friends have to be accepted the rehearsal. It will mean better attendance.
for the sake of companionship. Diplomatically A.lso stop promptly at an agreed hour. It will
the friends should be assigned to a section encourage singers to attend rehearsals even
where they can do no harm. though they have a later appointment.
Thus the average parish choir assembles. (3) Begin every rehearsal with a piece for
Some are old, some are young, some are sing- vocalization. Use, or improvize, melodies that
ers and others are just friends who are more employ downward sequences of notes. Have
sociable than musical. the choir sing softly, then loudly, then alternate
The choirmaster has personally met each quickly,to get control of the singers, and for
singer, so that the singer may feel as though them to get control of their breathing.
his presence is of some meaning to the choir- (4) Take up the first composition, and ex-
master, and that the choirmaster will miss plain it to the choir. This is very important.
him if he is absent. rrell them the meaning of the text, what part
Then the choirmaster outlines his plans. He of the service it's for, and why it is selected by
148 The Caeeilia
you as a beginning number. Tell about the Choirmasters vary in the~e procedures, but
composer, his history in music. If you don't all aim for the same thing. Good tone, and
know these things take steps to find them out. good interpretation. The prinCiple of singing
You should know such things. is prolonged speech. Vocal teachers can im-
(5) Take the hardest part of the com- prove tone, and secure good pronunciation.
position first. Some choirmasters use the dif- The choirmaster must be a vocal teacher. Per-
ficult passages as a vocal exercise, and thus fect results will not be obtained, but the princi-
the choir automatically learns the music with... ples to be applied are the same.
out knowing it. After some progress has been When rehearsel is over, compliment those
made with the hard part, take the beginning. deserving of compliments. Have a solo or two
Then when the choir com.es to the hard part, sung by some of the choir members, or by
it will not be discouraged. It is easier to teach guests. Plan to join a neighborhood choir in
early in the rehearsal than after the singers a joint concert, or competition. Plan a social,
have become tired. or assume some club activity, to keep your
(6) Play each part through separately. members entertained. An hour to an hour
Then have each part sing the melody through and a half is plenty for a rehearse!. Longer
(alone) no matter how poorly it is done. Then than that just tires out the voices.
take each phrase of the part and have it sung, Remember the most musical singer will al-
with accompaniment and without accompani- ways sing as badly as you let him.
ment, until a full page or two has been learned.
Thus the Soprano part learns its part. Then
SUGGESTED MUSIC FOR NEW CHOIRS
the Alto, etc.
(7) Next comes the blend. If 4 part mu- ...7IJass in honor of St. Francis by J. Singen-
sic is to be learned have the Sopranos and berger.
Basses, sing their parts together. Each tone This mass may be sung by I, 2, 3 or 4
will have a corrective influence on each other. voices, it is easy and yet liturgical.
Then add the other parts. Having sung a Choral Mass by Wm. /. Marsh) is a more
page or two immediately try for good inter- melodic mass than Singenberger's, and has a
pretation. unison Credo. The easy Credo, means less
(8) Once 'the notes are learned and the work, and fine chance for refinement or tone.
text is learned, and the four voices can sing There are no solos in this work.
together. Then see how softly the music can Responses at High M ass. Here the choir:-
be sung. NEVER SING LOUDLY. Don't master has a fine chance to show whether he
let the choir sing as loud as it can,-ever. knows good tone when he hears it. The Gre-
Raucous singing spoils more choral music than gorian responses, should be used" although
any other type. Sing unaccompanied as often such churches as Westminster Cathedral sing
as possible, it keeps the singers alert. The harmonized responses. Both are obtainable
tone must be of such elasticity that a crescendo in handy form, on cards.
and diminuendo may be made at will. Asperges Me or Vidi Aquam: Use the
(9) Watch pronunciation of text. Make Gregorian here. Every choir should begin at
sure the vowels are heard plainly. Make sure once to sing the Gregorian Asperges, and
syllables are clearly defined, yet without a Responses at Mass. All do not want gregor-
break in the word. To test this ask someone ian music throughout the service, but all should
to stand off and without the music repeat the have some gregorian. With the Asperges, and
words sung by the choir in the first three or Responses, a fine beginning can be made for
four measures. Have the choir sing a few teaching the Gregorian Credo, which can be
numbers, and have various choir members used with all masses, hereafter.
judge whether the words were clear enough. Proper of the Mass: At the beginning we
By judging they will be impressed on the need recommend the book by Father Laboure. It
for clarity of diction. is the easiest thing imaginable, and furnishes
(10) Keep time! Can you tell whether the Proper for every Sunday of the year, set
the piece is being sung 2/4 or 4/4? Listen to one of four melodies.
to a choir sometime, and try to determine With this material, the choir is ready for a
what the time signature of the piece is. High Mass service.
From these points you will see why we re- Later motets can be procured to brighten
commend unison and two part music. Unison up the service after the proper offertory has
to get soft and flexible tone, two part, so that been sung. A good jubilant festival piece may
time can be given to interpretation. If four be sung after the mass, or before the mass,
parts are possible, according to the choir mem- so that a well balanced musical program, will
bers talents, then of course, all the principles accompany the delivery of the text by the
mentioned here may be adopted. (Continued on Page 151)
 l"he Caecilia 149

The Seminary and Instrumental Music

REv. F. T. WALTER
(Professor of Music and Gregorian Chant,
St. Francis Seminary, Wisconsin)

~
'"OME time ago a priest and Doctor of directed beneficially towards an actIVIty that
" . Theology hailed me with the words, will be a continued source of spiritual growth
c·" "Well Father, I am not a musician. and self-discipline throughout life. The value
"". I never knew a note, I could never of musical training is so great that, even though
sing atone". This good priest seemed to be one should have no intention of making pro-
perfectly satisfied with himself, and evidently fessional use of that knowledge, the educa-
never wasted any time on music. "Wasting tional, recreational, ethical, and practical worth
time on music"-this is the oft repeated hue can scarcely be overestimated.
and cry in schools and Seminaries. Now it 1. Educational Value of Musical Training.
must be adrnitted that a student can waste
time on music as well as on any other There is hardly a subject that requires more
branch. But is the serious study of music attention, concentration, energy of intellect and
wasted time for a seminarian or priest? I do memory, than music. The pupil has to con-
not speak here of his course in singing or chant- sider and remember at least half a dozen dif-
ing, which is as indespensable as a good course ferent things in each note that he plays, i.e.,
in Liturgy. If a priest prides himself on his clef, key-signature, accidentals, time-signature,
total eclipse and deficiency in singing he might the name and exact value of the note, the
just as well be proud of a complete ignorance proper fingering etc. In addition there are the
of rubrics. The Motu Proprio of Pius X re- interpretative signs, such as piano, forte, mar-
quests that the chant be cultivated by all sem- cato, legato, staccato, crescendo, ritarando, to-
inarians "with diligence and love'). "Cantare gether with the phrasing of groups and periods.
amantis est". (St. Augustine). And before This problem of reading many things at the
seminarians and priests learn to appreciate same time become~ more difficult as the
and love true liturgical music there is little musical score increases to two, three, four or
hope for a great and lasting forward move- more parts. If the pupil wishes to test his
ment in this field. acuteness of mind let him take up the study
of harmony and counterpoint. He will find
Is it desirable for the candidate for the therein all the intellectual problems that algebra
priesthood to pursue the study of instrumental or metaphysics can offer. Music is a science
music, of piano, organ, violin, harmony etc.? that sharpens the intellect and memory, opens
A prominent Church Dignitary once said to the mind, expands the views. Aristotle says,
me, "Tell all your seminarians to learn SOIne in- "Music is calculated to compose the mind and
strumental music; it was the regret of my life fit it for further instruction." On account of
to have neglected it when I had a chance". its educational value it was always included in
Many others have expressed themselves in a the scholastic curriculum. If a student expects
similar way. to find only entertainment or' amusement in
It would not be desirable that all students music he probably wiII be as disappointed as
take music. Musical talent is not necessary to the young man who came to me saying,
successful training, and a degree of proficiency "Father, I want to take up music. I want to
in learning to play is no more difficult to ac- finish it in one year". I told him that he might
quire than arithmetic or grammer. Yet there even do better. He was delighted, but only
are weak boys who would drain the patience later understood the meaning of my words,
of a Saint, and others who lack the means or for a short while afterwards he came to me
the inclination. saying, "Father, I give it up. It is too hard."
As a rule it is too late for the student of a
Major Seminary to take up this study. The II. Ethical Value of Musical Training.
proper age to begin instrumental music is from rrhe ethical or moral advantages of musical
ten to fourteen years. The study of this branch training are undeniable. Whatever tends to
should be encouraged in all intelligent students cultivate and ennoble the mind, to supply a
of the Minor Seminary who show an interest continuous source of intellectual and innocent
in this subject, especially in those who had a pleasures, to withdraw the soul from the coarse
good start before entering the Seminary. gratification of the senses, must tend to im-
Youth often has surplus energy which may be prove the morals.
 150 The Caecilia
The first effects of the musical training will corded and affect the quality of the tones he
be the close observation of notes, rests and all produces. It takes even a talented pupil from
the various musical signs, the proper estima- two to three years until he begins to correct
tion of their respective values, the strict ad- his tones himself. He has become a "little"
o herence to rule and method, the preciseness of musician and, if gifted with a good voice, will
time and rhythm. In addition, the pupil learns be a valuable member of a choir. The most
regularity and exactness in practicing, self- practical instrument to learn is probably the
control in overcoming ;physical and mental piano, as it is the preparatory school for organ,
difficulties, patience and perseverance in the a very fascinating instrument for the priest.
face of seeming failure. To substitute a gentle Majestic in form, complicated in construction,
touch of the finger for a stroke of the arm, the very presence of the organ inspires awe.
to use a supple, delicate wrist movement in It is the only instrument admitted into the
place of a blow from the elbow, to think and Sanctuary, but it must not be made an imitative
reflect carefully before acting: all these things instrument. It must maintain the dignity of
develope the habit of self-restraint. Who has its own character and not try to replace profane
not seen the young student at times striking instruments or the orchestra.
the keyboard with his fist, when the blow A few semesters of piano playing will enable
should have been directed at his head? the student to play a melody that he wishes
The advanced player will find an unlimited to learn or memorize, to tryout a song or
fountain of spiritual and sublime enjoyment hymn that interests him.
in the works of the great masters which cannot Music will furnish a great deal of whole-
help but elevate his soul. Members of a well some recreation to the priest. Most men have
directed choir or rather musical organization their particular hobbies, such as the various
pass through a rigid school of character build- sports, games, arts, sciences. Music is an ideal
ing. The regular attendance at rehearsals and diversion for the priest. True, we get all sorts
performances, the undivided attention re- of music over the radio, but there is a certain
quested, the energy spent, the unselfish co- fascination in producing your own music, in
operation and almost complete surrender of selecting favorite compositions.
self to the leader's will and judgment, the per-
sonal sacrifices brought for the realization of b). Most Seminaries or Colleges maintain
a common ideal, are powerful means to moral an orchestra, band or Glee Club for their en-
growth and strength. tertainments and programs during the year.
Milton writes, "If wise men are not such, These organizations benefit the performers as
music has a great power over disposition and well as the listeners. They also have a social-
manners to make them such". It would be in- izing power. They offer such excellentop-
teresting to obtain reliable statistics relative portunity for cooperation that they at once
to the ethical standard or moral character of present themselves as a social as well as an
great and secondary musicians. Many are artistic influence. These organizations must
temperamental and irascible in their work, be recruited constantly from the ranks of in-
many are inclined to eccentricities or roman- strumentalists. Where can they be found if
ticism, but criminology will not find its client- young men have no opportunity to take up
age among them. The constant association or carryon the study of such instruments as
with the beautiful and the sublime in art can- the cello, flute, clarinet, cornet, horn, etc.?
not fail to produce its salutary effects. c.) The priest with a good knowledge of
music can do splendid work. in his parish. I
III. The Practical Value of Musical Training. know of many young priests "\"ho have taken
a.) The study of music advances a better charge of a boys choir, a male quartet, a band
understanding and sense of music in the young or orchestra, to the delight of the parishioners
man. After all, music is a vital and dominant and their own gratification. Such activities of
force in the social and religious life. It is by the young priest will be powerful agencies in
the study of some instrument that the student promoting Church music and in helping the
will concentrate his attention on the value of youth to remain attached to the parish.
notes, rests, dots, keysignatures, intervals, The reform of eccle,siastical music depends,
phrasing, dynamics etc. It has been my ex- to a large degree, on the attitude of the clergy.
perience that only such students are reliable I t is only the cultured musician who rises
readers of music. The violin, the most soul- above the customary conceptions of the every
ful of all instruments, is the best suited to train day artisan. Men impregnated with the art-
the ear since the violinist has to produce his less forms of our contemporaneous music can-
tones and intervals. The lightest touch, the not easily value the works of the contrapuntal
slightest shifting of fingers of his left hand, or period, much less those of the still more remote
the most delicate pressure of the bow, are re- Gregorian art.
 SACRAMENT
The Cae:cilia 151

lVlany of the larger dioceses now have their Milwaukee, already noted for its perform-
commissions for the regulation and preserva- ance of "The Messiah" during the Christmas
tion of true Church music. Since this is not season, indicated a whole-hearted approval of
only a musical, but also a liturgical move-
ment, it cannot be left entirely in the hands this sacred Lenten concert, the first public
of laymen. Though our organists are willing performance of its kind in this city.
enough to do their share, it is evident that the Appropriate to the occasion, the Chorus
Church needs musically trained priests, who offered "The Seven Last Words," by the Ital-
can lead with authority and skill. Candidates
for such a charge must be selected from the ian composer, S. Nlercadante.
mo~t promising music students of her Semi- Selections from "The Dream of Gerontius,"
nanes. by the late Sir Edward Elgar, includi~g the
d). A last reflection: the priests, as "rec- famous "Proficiscere Anima Christiana" were
tores ecc1esiarum", come into close contact
with the choir directors or organists. It is aIso be sung. "The Crucifixus" of Bach, selec-
usually the priest who engages or discharges tions from the "Stabat Maters" of both Dvorak
them, who decides on their salary. It is no and Rossini, and an Anthem from Mendels-
easy task, at present, to keep the parish budget sohn's "Hymn of Praise" completed the pro-
balanced. But even during the good years the gram.
organists were underpaid. Naturally they be-
came more and more scarce and their places
are being filled by organists, or even pianists,
who have no adequate training. Every priest Accompaniment of Gregorian Chant
knows that preaching, hearing confessions etc.
is hard work and that it requires long training (Continued from Page 146)
to prepare for it~ The organist makes a similar all the Conservatories and Schools of Music in
plea. To manage an organ, to harmonize an Europe", one may feel justified in believing
accompaniment to the chant or to a hymn, to
transpose a score into a different key, to direct that it will take some time to prove that they
the choir and to lead the singing-functions are ALL wrong.
which a church organist often performs simul-
taneously-are no recreations, but very strenu-
ous work, requiring energy and skill which are P.S. I have read Msgr. Manzetti's criti-
the fruits of years of severe and expensive cism of the "Treatise on the Accompaniment
training. Whoever has made a serious attempt of Gregorian Chant" by Henry Potiron (The
to do one or more of these tasks will gain a
sympathetic understanding and feeling for the Diapason, February 1934), and I wish to say
Catholic church organist. here that I join "toto corde" with him in de-
In conclusion let me reassert that musically testing the obstructive, disharmonic dis-
trained priests are a real need, and that the sonances which have been employed by Mr.
study of music must be started in the Minor Potiron in his accompaniment to the Chant of
Seminary. Even if many should enter the
race, only a few will win the prize, but the St. Gregory.
time spent on the earnest pursuit of this branch
will not be wasted.
Suggested Music For New Choirs
SACRED LENTEN CONCERT (Continued from Page 148)

By Marquette University Chorus choir. This music is easy, and suitable for
Alfred Hiles Bergin) Directs any choir, at the beginning. As the choir be-
comes more capable, naturally larger works
Attendant upon the observation of the most
sacred event of the year, the Marquette Uni- may be· done.
versity Chorus of one hundred and fifty voices Begin by using dignified music. If you start
presented a concert of classical music, especially with masses like Rosewigs, Wiegands, Loesch's,
chosen for Holy Week, at the Marquette Lejeal's, La Hache's, etc., you will get un-
University High School Auditorium, on Mon-
satisfactory results, and the choir will form a
day and Tuesday, March 26 and 27, at 8: 15
p.m. The program was given under the direc- tast.e for light music of a melodic nature that
tion of Alfred Hiles Bergen. is not approved for church use.
152 The Caecilia

Great Voices Are Born -- Not Made

Trying to Sing Tenor When He Should
Have Sung Baritone Killed Caruso, in the
Opinion of Dr. Stetson Humphrey

o less a musical authority than new, he is still best known for his other mu-
L. E. Behymer presented Dr. Stetson sical connections-Vanderbilt University, lec-
Humphrey to Los Angeles music turer on music at Peabody College for Teach-
, masters as "one of the greatest voice ers. He won his BA at Columbia and his
authorities of the day." Dr. Humphrey claims music degree at Rochester and was head of
that a voice is limited by the quality of instru- the voice department of the New York music
ment from which it springs. school and Syracuse University.
"You can't make a piano sound like a church "Original tone,"· says Dr. Humphrey, ex-
organ. If you try too hard, you'll break the plaining the new science, "is born in the cords
strings." in the pharyngeal arch (back of the throat;)
"That's what Caruso did," avers Dr. Hum- it enters the mouth where position of lips and
phrey. "Radiography showed that he was tongues form the vowels and here the arch
really a baritone. In singing tenor he put a of the mouth should be in harmony with the
strain on the instrument that it could not with- pharyngeal arch. The tone then passes into
stand. It killed him. Amato tried to be a the antrums (back of the cheek bones) and
tenor but discovered his mistake." then into the nose and skull cavities or sinuses.
In the old days, before the perfection of When these various sounding boards are of
radiography, the exact status of a voice was perfect shape and proportionate balance we
guesswork. The great teachers were some- have a perfect voice, a fine instrument."
times right, sometimes wrong. They were en- Dr. Humphrey explains that the kind of
tirely dependent upon eye and ear. One of voice is primarily determined by the vocal
the most dramatic incidents of grand opera cords. A basso, for example, has thick cords,
was a conference between the great Jean De which resound in a large pharyngeal and
Reszke and his tutor. mouth arch the antrums and sinuses are not
"You can be the world's greatest tenor for large. The size of your chest has nothing to
about five years-or a great baritone for life," do with the voice type.
was the diagnosis of the artist's voice. The "The chest gives sonority, governed by
latter pondered for a moment. breath support. It is like throwing a ball against
"I will be the world's greatest tenor," he a wall. If the ball is lopsided there is an in-
decided. His career is history. accurate rebound; the same is true if the ball
is perfect but the wall crooked or spongy.
Radiography doesn't guess at what the hu- That is the principle of amplification of the
man eye cannot detect. I t sees all, for the fundamental tone. The tone is the ball, the
science as well as the name, is based upon breath is the throwing arm.
X-ray photographs of the whole· sound in- "It is the study of the cranium enclosures,
strument from the chest up to the highest . by means of X-ray, that enables us to de-
antrums and sinuses. termine vocal range, for the pictures point out
Every little detail revealed in these X-rays the singer's limitations. The vocal cords
means something to the expert. Soprano, con- themselves, which of course do not show in
tralto, tenor and bass instruments are recog- an X-ray, are examined with the familiar
nized at a glance. More than twenty thou- medical device called the laryngoscope. The
sand pictures, studied and systematized, en- rest is all amplification.
able the reader to point unerringly to a lyric "Radiography determines just how good or
or a coloratura voice; range, volume, flexibility bad this is and if good, the possessor must
possibilities are revealed. .The X-rays indicate learn to use it! Perhaps I can make it clearer
why one voice fills. a hall without effort while by saying that the vocal cords are the micro-
another person has to yell; why one singer has phone and the head and chest constitute the
literally to stretch high notes out of the vocal loud speaker. To work properly, there must
cords while another renders them with ease. be perfect balance."
It has taken Dr. Humphrey twenty years to Dr. Humphrey's statement that Caruso,
develop the new science and since it is still world's most famous tenor, was really a bari-
 153

tone, suggests a challenge to the accuracy of ance and the necessary sinuses to take high
r~diography, but there is a ready defense. notes with volume but without strain.
"You see," explains the doctor, "many art- I-Ie admits that there are some great singers
ists use the back palate and throat resonance vvho lack good facilities. "Ludwig Wullner,"
to overcome the lack of high sinuses. It is like he says, "is the greatest artist I know, with
standing on tiptoe and stretching your arms the poorest instrument."
to the farthest limits to drive a nail high up "Lily Pons," Dr. Humphrey declares, "has
in the wall. You can do it, but for how long? phenomenal vocal cords, but lacks amplifiers.
l~hat is why she requires frequent rests and is
"That is why French voices often remain
so nervous. Singing for her, is a terrific strain.
fresh even though the singers are old. They
Onegin, on the other hand, is a great contralto,
are accustomed to nasal tone, whereas the
due to marvelous amplification.
I talian, more accustomed to open tone and
broad vowels is likely to place too much "Often, you are listening to personalities
strain on his vocal cords. It's the bell-shaped rather than voices. Vilna is an example and
brow tha~ denC?tes the real tenor or soprano, Julia Culp. Then there is Chaliapin, a great
whose VOIce WIll endure because the sinuses artist but not a great instrument. These
are high and furnish proper amplification of people might be called vocal Kreislers, whose
tone produced on vocal cords without strain." rnarvelous artistry enables them to give superb
concerts on '$5 violins," the doctor explains.
Is there such. a thing as a perfect voice, or
pe:fect vocal Instrument? Dr. Humphrey The new voice discovering science has dem-
pOInts to Rosa Ponselle. onstrated that the best voices for radio are
"She has an almost perfect instrument," he light. A tiny, clear voice, without much na-
declares and adds, with a rueful smile, "and tural amplification is better than one that is
so has her brother, although to the best of my to resonant. The same holds true for picture
knowledge, he is still an iceman in Connecti- work because in both instances, the voice can
cut. We tried to get him to take up music but
he wouldn't stick. He isn't musical. Neither be amplified mechanically. Resonance is
a perfect piano, violin nor vocal instrument is floating, while force over vocal cords gives a
of value unless there be a musician to play it." fuzzy sound. It is easier to fill a hall by yell-
Lawrence Tibbett also possesses a splendid ing than to sing softly, because the soft voice
v?cal instr.ument, according to Dr. Humphrey, must be perfect in order to resound. Picture
hIS splendId body, huge chest and diaphragm voices can be amplified without the physical
and his bell forehead plainly indicating reson-
effort required for grand opera.
But there are few things that will not work
SPECIAL SALE OF tvvo ways. The new basso Farris, knew he
could sing, but was modest enough to place
ORGAN MUSIC
picture work as the goal of his ambition. He
GUILMANT'S PRACTICAL
was planning to come to Hollywood when ra-
ORGANIST
diography disclosed that his vocal instrument
Volume II was of grand opera calibre. After only a year
We have a few slightly soiled copies and a half of intensive study, he has made
of this standard organ collection. good, a Manhattan sensation.
Regularly priced at $2, \lve offer these It is in this manner that radiography holds
books at $1.25, while they last. out pOromise of uncovering undreamed of tal-
ent, but, as Dr. Humphrey hastens to add, "it
Each book is well bound in cloth, does not tell you whether you have an instru-
with heavy board covers. The con- ment or not." In emphasizing this fact, he
tents are appropriate for church use, also insists that due credit for the new science
and are moderately easy grade. be accorded Dr. .Francis Wheeler, his colleague
Send Cash with Order through the long years of study and develop-
McLAUGHLIN & REILLY CO. ment.
Condensed from an Article by
BOSTON N. D. Moss in the Boston
Sunday Herald.
154 The Cae cilia

ITEMS COLLECTED HERE AND THERE

1. GOUNOD.-As Charles Gounod is the Panis angelicus which he added to his Mass
composer of Masses and Motets in former in .A. He has, therefore, also a claim to the
times frequently and widely performed and interest of church musicians. He is often con-
now still to be heard in some of our churches, sidered a Frenchman; however he is only an
the following little known rumor will interest adopted son of France, he is a Belgian of
church musicians. In the]anuary issue of the German blood. Ernest Closson tells us this
Catholic World George Cecil asks: Did in an article of the Parisian review S. 1. M.
Gounod compose "Faust"? Of his discussion (April 15, 1913). We learn there that not
the following lines are an extract. only Franck's mother was a genuine German
woman, but that also his father was of Ger-
When Faust, in 1859, was first given in man nationality. According to the Liege re-
Paris the music critics referred to the advance view Wallonia (XXI p. 123) Cesar's grand-
made by Gounod since his opera Sapho. "It father, Bartholomew Franck, was born and
might have been the work of another com- lived in Gemmenich, on the Prussian frontier,
poser," one wrote. At the end of the late War, a country where only a German dialect is
the subject was revived, but again dropped. spoken. His son, Nicholas Joseph, the
Recently, however, two elderly Parisians, who father of Cesar, was born in Volkerich, a lo-
profess to have known Gounod, declare that cality forming a part of Gemmenich; he mar-
a poor student composed Faust and invited ried, on August 24th, 1820, a young girl from
the "Master" to pass judgment on the score. Aachen. The new couple took up their domi-
According to the story, Gounod retained the cile in Liege, where, on December loth, 1822,
manuscript for a considerable period, and Cesar was born.
(upon the young man developing madness and
being incarcerated in a lunatic asylum) put Franck's compositions for the Church are
his own name to it. Discussing the allegation not numerous; they are mostly for three part
some competent writers declare that Gounod mixed chorus (S.T.B.), a voice combination
was incapable of producing anything half so which in countries where boys have to sing
good as Faust. Others regard the attack as the highest parts, is generally the usual one,
unjustifiable. on account of the difficulty to get the nec-
Every composer has a musical idiom; com- essary number of singers, especially of altos.
posers may improve their style, their new In spite of the author's deep religious feeling
style, however, more or less reflects the old. they lack in general the tone of the specific
Gounod's Sapho, the opera preceding Faust, liturgical music which is only hit in the famil-
contains no hint of the coming Faust, while his iar intercourse with the historical ecclesias-
Philemon et Baucis and La Reine de Saba, tical style.
which follow close upon Faust are singularly
unlike the last named. Their successors also
go to prove the fact that, if Gounod really
composed Faust, genuine operatic inspiration PIUS X CHOIR GIVES CO,NCERT FOR
came to him only once. A single act of Faust FEDERATION OF CATHOLIC
is worth all these operas put together. ALUMNAE IN NEW YORK
As to the genesis of Gounod's well-known
Ave Maria see ((Religious Solo Songs)) iii The On March 11th, the Pius X School of Litur-
Caecilia) 1933, page 179· gical Music presented its choir at a concert
in Town Hall, New York City.
2. CESAR FRANCK. - This composer, The proceeds were devoted to· a fund for
who has become famous especially through his tuition for some talented student to be chosen
now often performed symphony in D minor,
and who was during 32 years organist of St. by competitive examination, and admitted for
Clotilde in Paris, has written various works a comprehensive three year course in liturgic-al
for the Church, among them the well-known music and pedagogy.
 The Ca.eeilia 155

OBITUARIES
ELGAR, ENGLISH COMPOSER, DIES Elgar leaves an example of high endeavour
London. - Sir Edward Elgar, 77, English and fine achievement. To those privileged to
composer noted for his church music died enjoy his friendship he leaves memories of a
Feb. 23. Had been "master of the King's sweet and pleasant savour. Recognition did
mu?i~k" since 1924. His most popular com-
not come until he reached the forties but his
pOSItIon was the March "Pomp and Circum- early struggles did not breed pushfulness.
stance." It was written on the occasion of From sordid climbing he stood aloof with a
the coronation of King Edward VII who setene detachment, and sudcess found him
knighted him in 1904. His death came on the neither arrogant nor embittered. This no-
day of another coronation-that of Leopold III bility of mind finds its reflection in his music
of Belgium. which will remain for all time a priceless na~
tional heritage."
Born in Worcester, he was the son of W. H.
Elgar, many years organist in the Roman R.1. P.
Catholic Church of St. George.
After frequent assignments in Worcester and HENRY WERTH
Birmingham, one of which was to succeed his On February 5th, in Breese, Illinois, Henry
!at~er at St. George's, Sir Edward in 1905 was Werth died at the age of 71 years. He was
InVIted to become a professor of music at the one of the best known organists in the middle
University of Birmingham. west and he had served his community in sev-
Sir Edward became famous for his Cath- eral posts of responsibility. He had been
olic church music. "The Kingdom" and "The Postmaster, County Treasurer, and Bank
Apostle" were in this class, as well as an "Ecce Cashier at various times.
Sacerdos," "0 Salutaris," and "Ave Verum," After graduation from St. Francis, Wise.,
motets best known in this country. where he had been a pupil of the late John
Royalty attended the funeral and musicians Singenberger, he came to Breese, where he
the world over mourned Sir Edward's death. taught school and played the organ at St.
Dominic's Parish until 1912. Thereafter he
Commenting on Mr. George Bernard was organist at the new St. Augustine's
Shaw's suggestion that Sir Edward should be Church. Musically he carried out the pre-
buried in Westminster Abbey, a near relative cepts of his famous teacher. His music was
said: "It is very kind of Mr. Shaw to suggest always liturgical, elevating, and appropriate.
this, but it cannot be. No Catholic can be His own voice was better than average, and
buried in the Abbey." his singers were well trained vocally.
Fr. R. H. Gibb, S.]., who visited Sir Ed- Mr. Werth is survived by Mrs. Werth and
ward shortly before he died, says: "Almost five children.
a week ago, in the presence of the doctor (who R. 1. P.
is not a Catholic) he said, (/ am a Catholic and
a Roman Catholic.) REV. JOSEPH BRUNEAU S.S.
"This," adds Fr. Gibb, "discredits the sug-
gestion made by some writers that Sir Ed- Rev. Joseph Bruneau, President of St.
ward had developed some scepticism which Mary's Seminary, Baltimore, Md., long an ad-
vocate of liturgical music, recently· passed
made him unsympathetic to the Church."
away. He was a contributor to "Cantate Deo"
R. 1. P. the diocesan periodical on church music, and
last fall he gave a lecture on gregorian chant
SIR. R. TERRY'S TRIBUTE and liturgical music at Notre Dame Hall.
His passing marks the breaking of another
Sir Richard Terry wrote: "Ave atque vale.
link between the old generation of chuch mu-
So passes England's greatest composer, a
sicians and the new.
noble life nobly lived; a peaceful rest well
and truly earned. To the young musician, R. 1. P.
156 The Caecilia

OUR MUSIC THIS MONTH

Organ Music by Louis Raffy
This series by the popular French composer is dravving to a close.
It will be followed by compositions of similar grade by various composers,
prior to publication in book form for use wherever small organs restrict
the form of the composition. 'The present offering this month will be found
suitable for use in May, the month of the Blessed Virgin.

Kyrie by Ludwig Bonvin S.J.

This is an example of Father Bonvin's skill at composition on
a given theme. It is from his latest work "Missa Defensor Noster"
the first edition of which was brought up by choirs who welcomed
such a work from this eminent church musician of our day. The hymn
"Defensor Noster Aspice" is from Mettenleiter's Enchiridion Chorale, and is
generally used throughout Germany as a hymn-prayer in times of distress.
It also appears in the Roman Hymnal. The composer has used this them~
for the "Kyrie", before and after the "Christe". This "Christe" though very
simple in its theme,- is very expressive enhanced as it is, by attractive har;..
monies, leading of voices, and climaxes.
At its end, the organ bass again takes up (forte) the melody of the
Kyrie and thus prepares the resumption, by the voices, of the whole Kyrie
melody.
Other parts of the mass will be presented in subsequent issues of this
periodical, with analytic studies, by various church musicians.

o Salutaris and Tantum Ergo by George C. Constantine

During this season of the year, the best ,"vay to hold choir membership,
and their interest, is to take up some short, easy, new music. These Bene-
diction hymns, by the well knovvn Baltin10re musician, have been approved
by the Diocesan Director, Rev. J. Leo Barley. They are in easy choral
style yet each voice part has enough independent melody to interest. To
get the full harmonic effect of these pieces try them unaccompanied.

Ecce Sacerdos Magnus by Sir Edward Elgar

As a memorial to the great English composer, whose death occurred
in February we give here a sample of his church music. His Ave Verum
is his best known motet, followed by his a Salutaris. This piece is not so
well known, possibly because the text is not complete in the form used at
most receptions to a Bishop. The liturgical use for this text is at Vespers
of a Confessor Pontiff, it being the antiphon for 2nd Vespers. It is followed
by the antiphon "Non est Inventus" and then the antiphon "Ideo jure jur-
ando" all separately. Notice the moving pedal part for the organ at the be-
ginning, which establishes the character of the piece at once. There is no
doubt but that Sir Edvvard intended this for reception use.

School Music by Sister Cherubim O.S.F.

A supplement to the course on Music Appr,eciation given on the fol-
lowing pages, this music follows its predecessors appropriately in grade and
style.
 Fan.tasie
On a Hymn to The 'Blessed Virgin Mary
sw.{ 8' Diapason
Ch. Flute 8; BourdonS"
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 f,6,8
To Miss Mary J. Finnessey ,
Directress, St. FI&lll'sChoir, Baltimore

OSALUTARIS and TANTUM ERGO

1. 0 Salutaris
GEO. C. CONSTANTINE

'--+-+4-7-lA..-~_d+_a_n+-'t_e +-+~-t-- - +- "'- ~H' . . .-:=-.". .~-

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 '2.'Tantum Ergo

GEO. C. CONSTANTINE

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Ecce Sacerdos Magnus

Edited by
EDWARD ELGAR
James A. Reilly

Andante maestoso

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M. & R.131-3 COPJ'rigbt, MCM:xII, by<M~La.ughlln &: ReHlyCo. Bosto.n .

 167

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 169
,SONG·S l'OR INTE,RMEDIATE GRADES

God is Good~)
SISTER M. CHERUBIM, 0.. S. F .
.Op.47, No.14
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- r ... i- -
-..;;r .-I

----
-:;;;;;;.I ".:...r
I 1 ..........;,r L

~~_._.. - -
, ,.
~
...
e- .---
- • ..-- -- -
I
-
I
"r'l~t •
..:..
=
I
-
1-

See the morn - ing sun':" bel[tms, Light - ing theup

Hear , the moun-tain stream- let In the so - Ii -.
Bring, my heart, thy trib - ute, Songs of grat - i -

~~~~~~-~==::::::Jt.J2===--:::::::=.--4-::!:.::=~--=:=--===:1
See the morn-ing sun - beams,
Hear the moun-tain stream -let
__--------.::B::.,:ring, my heart,- thy trib - ute,

"'a.--:~--'::"'...J=-..=:'-_-------+---l=------' - ~____+:=---_l_~~...:-.._------

Si - lent··ly pro-claim- Lng, pro - claim - ing,

With its rip-pIes say - ing, ah, say - ing,
While all na-ture ut- ters, 10, ut - ters,

~.....-...f".--~II
lent-ly pro-claim- ing,
its rip-pIes say - ing,
all na-ture ut - tet: s ,

*) The words of the a.bove song are taken from the New Normal Music Course, and used with the per~
missioilOf the publishers, Sn",er,Burdett & Co.
M. Ie R.Co. Copyright MCMXXXIV by :M:cLaug.hlin & Reilly Co., Boston
170

is ev - er good, God_.__ is ev - er good!'

Praise the Lord

SISTER M. CHERUBIM, O. S. F.
Op.4-7, No.H)
Moderato

Him! Pr aise.
ken,Worlds
tion; Hosts

heights; Sun and moon, re -

beyed; Laws that nev er
claim: Heav'n and earth and

joice of light.
can. hath made.
all ere- His Name.

M.ScR.Co.
 171

COLLECTIONS
()f

LITURGICAL BENEDICTION MUSIC

For Unison Two, or Four Part Singing,
unless othervvise indicated

~ TITLE COMPOSER or EDITOR ~

22 15 Hymns (Latin and English) . Sisters of Mercy_ .20
83 7 Latin Hymns (L T. B.) ,Rev. 0. MfJ:.rcette.au . .20
'10 Benedictio,n Service, (Unison). Dom O. Ould, 0.8. B.'. .~2
137 24 Latin Hynms ' . . Msgr. Oroke-Robin8on _ .40
209 80 Hymns for ,Male Voices. AI. Bkode _J. A. Beilf!/ .50
21112 Latin Hymns . . m- J. Marsh. .25
215 17 Latin Hymns from the Standard Catholic Hymnal .25
2607 Motets '. L.M.Jung • .80
283 Four Benediction Services. A. J.Oumpreckt • .15
298 16 Latin Hymns. . A. O. Datu _ .25
,309 50 Gems for Male Choirs .. . J. A. Be'itlll_ • 1.00
3·98 ,4 Latin Hymns for Male Voices. Various. .15
.04 8 Latin Hymns. Arr" for T. L B.B. .. .A. G. DaIU- Rei//'ll .15
406 4 Latin Hymns . .• .• Paul Tonner .' .15
409 Four Motets. for Mens Voices . . Rene L. Becker . .t~
411 8 Benediction· Hymns (S. A) . Rene L. Becker • .fS
427 LaudaSion Vo!.I. (S. S. A.). . J. B. Singenberger • .85
428 Lauda Sion Vol.U. (S.S. A.). . J..B. Singenberger .35
432; Benediction Service (S. A.). J. B. Singenberger. ' .3.5,
433 Bened.i'ctio~Servi(fe(T.T:B.B.) . Otto A., Singenberger. .30
434 Cantabo Domino.. .. ' . . Oomplete Rdition • • 1.25
435 C·antabo Domino (in preparation) . . . Vocal Score •
Latin Hy~ns for 2,3 and -l,Female Voices,
by German and Italian cOInposers. Otto A.8ingenberger
436 Eight Eucharistic Motets . .. Licinio' Befice • .40
442 8 Motets for Three Male Voices. . J. B. Singenberger. .25
482 Laudate Dominum,. Collection of Asperges Me,
Vidi Aquam, Offertories etc. J. B. Singenherger · 2.50
522 Six Selected Motets. ' Variou8.(Jerman(Jofflposers. .25
587 Seven Latin Hymns.' . Piel & Singenberger. • .30
.540 Duodecim Hymni (12 Hymns). . Otto A. 8ingenbel:ger. . .50
542 Rythmus S. Thomae ad Sacram
Eucharistiam 2 and 3 Voices. Msg1': H Tappert. .40
547 Ten Ancient Latin Hymns (Unison) I:Jrarmoni.zedbv L~ .Bonvi1!.. 8.lT. • .30
,548 Benediction Service for Four Mens Voices .Volu:rne I.. .30

Mc LAUGHLIN & REILLY co.

100 BOYLSTON ST~ BOSTON, MASS.
:&LADE IN· u.s. A~
172

Asperges Me and Vidi Aquam

•.. t.
, '{ASPERGES ME S. A~ T.il. F. J. O'Brien}
61 ASPER.GES ME Unison Gregorian .15
,VIDI AQUAM Unisoft Gregorian
iASPERGES ME S. A. T. B~ M. Brosig ~
,4.24 lASPERGES ME S.A.T. B. Witzka f .iti
125 ASPERGES .ME S.A.T.D. T. S. Smith .12.
132 VIDI AQUAM S. A. T.D. Joseph. Smith .12
" . ASP. ERGES ME Unison Wm. J. Marsh. ~ .i~
227 (VIDI AQUAM S.A.T.B. Wrn. J. Marsh f
24:2.i ASP. ERGES ME S.A.'T.B. Stephen A. Erst ~ .t5
l VInI AQUAM S. A~T.B. Witska J
24:8 ASPERGEA ME S. A. T.D. A. Edmonds Tozer .12
260 ASPERGES ME S . .A. T. B. L~ M. Jung .30.
395 VIDI AQUAM Unison J. G. Hacker S. J. .12,

i..
44:3 · .ASPERGESME 2 voices J. Singenb.ergert .80'
l VIDI, AQUAM .2 voice8 J. Singenberger f
Msgr. H. Tnppert t .20
4:95 {~~~f:~~:E 2 voices'
.2 voices Msgr. H. Tappert f
50t VInI AQUAM Msgr.H. Tappert . ill
524 VInI AQUAM 3 voice.s J. Singenberger .10
550 ~SPERGES ME .2 voice,s' Sr. M. Gilana, O. S. F. .t2
56~ VIDI AQUAM .2 voices 'Po Pie I . It)
569 ASPERGES ME S.A.T.B. J. G. E. Stehle .12'
742 ASPERGESM,E S.A.T.B. F. X.Witt .12
743 '. A.SP.ERGJilS ME (G) T. T.B.,'B. J. Singenberger t l>
~vrDI AQUAM . T.T. B.B. J. Singenberger 5 .1
744 ASPERGES ~fE S. A. T. B. Otto A..S ingenberger .15
745 ASPERGES:ME S" A. T. B. J. Mitterer .12
746 ASPERG~S ME S. :A.. T. B. P. Griesbacher .12
747 ASPERG~8 ME (Ab) T. T.B.B. J. Singenberger .12
748 ASPERGES:ME (G) S. A.B. J. ~Singenberger .12

McLAUGHLIN & REILLY COMPANY

too BOYLSTON STREET, BOSTON,_ MASS.
Made in U.S.A.
 The CJlecilia 173

Music Appreciation
By SISTER MARY CHERUBIM, O.S.F.
Directress of Music, St. Joseph Convent, Milwaukee, Wis.

"M usic is a stimulant to mental exertion."

-DISRAELI.
The seasons change} the winds' they shift and
veer;
T he grass of yester-year
Is dead; the birds depart} the groves decay;
Empires dissolve} and l?eoples disappear;
Songs pass not away.
-BREWER

MUSIC APPRECIATION IN THE SIXTH GRADE

CHAPTER FIVE (Continued)

4. FOLK MUSIC OF FINLAND continues throughout the entire composltlon,

becoming gradually more and more intense.
PRE-REQUISITE: Chapter One. Only here and there the music is suggestive
Finland, as we have learned from our geo- of resignation and of a glimpse of hope. The
graphy lesson, i~, called the "Land of a Thou- fLrst rendition of "Finlandia" in Finland had
sand Lakes", because of the "many lakes within so exciting an effect upon the people that its
its borders. Like Norway it also bears the further performance was prohibited.
title "The Land of the Midnight Sun", for Play "Finlandia" V. R. 9015
its northern part lies within the Arctic Circle, The great epic poem "Kalevala" is one of
and, therefore, in summertime for a period of the rnost remarkable epic poems of any people.
about six weeks there is no night in this part From it many folk songs came into being. The
of Finland. Finnish bards who first sang the "Kalevala"
The people of Finland are of the Magyar accompanied their singing on the kantele} a
race, and their music is more like that of kind of hand harp, the most ancient instru-
Hungary, the people of which are also from nlent in Finland. These bards had a very
the Magyar stock, than that of any of its singular way of writing down their songs.
neighboring countries. At different periods VVith a heated point of metal they would burn
Finland has been under Swedish and Russian letters of the alphabet, which they used to
rule; nevertheless, the Finnish people have indicate the melody on to pieces of bark. Such
retained their own unbending Finnish nation- recorded songs were called runes. Folk songs
ality, the outcome of fearful struggle against that had for their text long hero tales were
unfavorable conditions. also called runes. Almost every village had a
The folk music of northern Finland is in choir of singers called rune choir. These choirs
the minor mode and tinged with deep melan- sang not only runes, but. other songs as well.
choly. Loneliness and sorrow are often the 1'hrough these choirs the folk songs of Fin-
subjects of the songs. land came to be better known and kept alive
Jean Sibelius, a Finnish composer born in from generation to generation.
r865, displays in his music a decided bent in The peculiar accents of the Finnish language
favor of the folk music of his country. He produce in all Finnish poetry and consequently
felt deeply the woes and hardships of his in much of its music a curious five- or seven-
people while under Russian rule. He wrote beat rhythm. This rhythm is considered the
a tone-poem which he entitled "Finlandia". In typical Finnish rhythm. It is as natural to
this composition he describes the despairing its people as the three-ibeat and:'four-beat
struggles, the pride of race, the melancholy mleasure is to us.
sadness of a subjugated nation, and voices his Play the melody given below, which is an
own protest against the unjust oppression of outstanding example of Finnish seven-beat
his people. The "mood of revolt and defiance ill.easure (414 and 3/4 alternately).
174 The Cae cilia

Three of a legend "En Saga" by the same com-

poser. Since his music is absolutely Finnish in
character, let the· class hear this also.
The Finns have also dances of a more lively
character. Some of these are borrowed from
the Norse and the Swedes, while others are
imitations of dances of these people. In per-
forming, the dancer never sings the dance tune.
The singing is done by the spectators or hired
singers. The dances are accompanied on the
kantele and thesarwr, a crude horn. Later
the violin and the accordion replaced the old
folk instruments. These are also widely used
as solo instruments.
Play "Majani Kanssa - Scottiisi" and
"Turun Polkka" V. R. 79403
These dances are played on the accordion,
violin, and xylophone. Show pictures of these
instruments and comment on them.
OTHER FINNISH TUNES:
In southern Finland, due to the influence of God, our Loving Father
the more mild climate on the lives and occupa- Daffodils, The
tions of the people, the folk music is less gloomy Deep in the Forest
and sad than that of the northern country. Lullaby
Some of it is even happy and gay; Swedish Our Land
influence is also felt, due to the fact that as (These songs will be found in the books
early as the twelfth century Swedes settled listed in the Introduction to this course-The
along the southern border of Finland. Caecilia, September, 1933).
The oldest and most real Finnish dances
are uncanny ceremonials that originated froI?
the mythical superstitions of the folk. SI- 5. FOLK MUSIC OF ICELAND
belius, the great Finnish composer of whom PRE-REQUISITE: Chapter One.
we have heard, seldom gets away from the It is assumed that the Norsemen of Scan-
atmosphere of legend and rune in his music. dinavia were the first people to make explora-
Most of his compositions are based on national tions in the North Polar Region and make it
legends amd mythical fo!k-Iore; i(?ne m~st their home. They reached Iceland long be-
know something about FInland s hIstory, Its fore Columbus discovered America. The peo-
people, and its deeply influenci~g myt.h01<:gy ple still speak the old Norse language of a
in order to understand the mUSIC of Sibehus. thousand years ago. The music of these people
One of his compositions, entitled "Valse Triste'.', has practically re.mained uncha~ged for ~en­
depicts uncanny darkness a~d horror. In!t turies. The folk tunes are all In the anCIent
he describes a scene of a dyIng mother. It IS Greek modes as used by the early Church.
night. Her son, watching at her bedside, falls This fact again shows the influence Church
asleep from fatigue and weariness.. The Music had on secular music in the early times.
mother in her delirium hears waltz mUSIC and The endless struggles with the elements of
thinks she is in a ballroom. She rises and nature, the long cold winter nights, and the
mingles with imaginary dancers who turn and beauty of the midsummer season have made
glide to uncanny waltz rhythm. The son the folk music full of melancholy longing, but
awakens but cannot detain her. Exhausted not wanting in poetic feeling and sentiment.
she sink~ on her bed, and the music is silent. Through the efforts of Arni Thorstein?on,
She gathers all her strength and beckons the a priest and composer, many of the. anCIent
dancers to return. Back they come, twirling folk tunes are still in use. Some of the most
in a wild, mad rhythm. Again she joins them; beautiful old folk tunes sung in Norway origin-
at the height of her frenzy some~ne knocks at ated in Iceland.
the door; it opens wide; the muslC breaks off; Sverre Sveinbjoernssen is the most im-
the vision fades-on the threshold stands portant of modern Icelandic musicians. He
Death. has written the national anthem of Iceland.
Play "Valse Triste" V. R. 99 26 In this he preserved a very old folk melody
On the opposite side of this record is Part of Iceland.
 The Caecilia 175

This anthem is recorded on V. R. 802 15. Thou, Lord, wast at our side, the glory be
I t is here sung by Eggert Stefansson, a brother Thine.
of the Arctic explorer, Hj alman Stefansson. We all do extol Thee, Thou Leader in battle,
Play "Island" V.R. 80215 And pray that Thou still our Defender wilt be,
Then let the class hear the Iceland patriotic Let Thy congregation escape tribulation,
song called "Midsummer". It is written by Thy Name be ever praised! . 0 Lord, make
Thorsteinson, the priest-composer mentioned us free!
above. The Dutch of old had many beautiful and
Play "Midsummer - Islandsk Foedrelands- happy dances. The hornpipe, a sailor's dance,
sang" V. R. 802 I 5* called 111atellaise by the Dutch, is a present-
* * * day favorite.
CHAPTER SIX The most famous Dutch dance is the Egg
FOLK ~IUSIC OF HOLLAND, BELGIUM, Dance, in which th~ dancer performs the stunt
of dancing with eggs beneath his feet. It was
HUNGARY, ROUMANIA, and CZECKO- mostly used for exhibition purposes to display
SLOVAKIA the skill of a dancer.
I. FOLK MUSIC OF HOLLAND DlJ1'CH TUNES ADAPTED TO ENGLISH
PRE-REQlJISITE: Chapter One. WORDS:
Holland is also called The Netherlands. Amsterdam
"Netherlands" means "lowlands". One~fourth Blacksmith, The
of Holland is lower than the level of the sea, Butterfly
and hence, the name "Netherlands". The Fisherman, T'he
natives of Holland are called Dutch. The folk For Patriot's Day
music shows German and French influence, Half M_oon, The
and much of it is in strictly formal expression. In May
In the Poplars
The Dutch were always a deeply religious Lincoln's Birthday
people. It is customary in the Dutch Re- Lord in His Righteousness
formed Church that psalms and hymns trans- May Song
lated into common every-day speech are sung Night in the Woods, A
by the entire congregation. The majority of Reveille
the Dutch people prefer these sacred hymns Singing Bird
and tunes to all other music. However, the Vision, The
many years of struggle for freedom from Willows, The
Spanish rule, and the many battles fought for (The above songs can be found in the books
centuries on Netherland soil, stimulated love listed in the Introduction to this course-
for patriotic songs, so that they have come to The Caecilia~ September, 1933).
be regarded with almost the same favor as
religious songs. 2. FOLK MUSIC OF BELGIUM
A folk tune called "Prayer of Thanksgiv- PRE-REQUISITE: Chapter One.
ing" gives equal expression of religious fervor
and of love of freedom. Let the class hear The Belgian people are very fond of music
it sung by the Associated Glee Clubs of and dancing. Every large town has its band
America, 2500 male voices, recorded at a per- and every city its music societies or clubs.
formance in Philadelphia. In some of the larger cities annual music con-
tests are held and prizes given to the best per-
Play "Prayer of Thanksgiving" V. R. 35770 formers. Belgian music strongly reflects
English translation of the text as used on French influence. Among their songs we find
this record: some very fine examples of perfect form and
We gather together to ask the Lord's blessing exquisite melody. Unusually beautiful carols
He chastens and hastens His Will to make come from Flanders.
kno\vn; In Belgium, chimes are an important fea-
The wicked oppressing, cease them from ture. Not only do bells sound from church
distressing, steeples, but also from towers of city and town
Sing praise to His Name; He forgets not halls. Some towers have as many as one
His own hundred bells. Every day chime melodies ring
Beside us to guide us, our God with us joining, out over city and town. In large cities the
Ordaining, maintaining, His Kingdom divine; chimes player is usually a skilled musician who
So from the beginning, the fight we were plays the chimes from a keyboard, the keys
winning, of which are very strong and much larger than
176 The Caecilia

those of a piano keyboard. The action of the Most Popular Chorllses

keys is very heavy; it takes a strong man to For Commencements
manipulate them. Even a strong man can
SECULAR
hardly play them for fifteen minutes without
becoming exhausted. The player wears thick Awake 'Tis Ruddy Morn
S.A.B George Veazie .12
leather gloves.
Farewell Song
In 1830 Belgium won its freedom. During S.A.A.B F. J. McDonough .10
the struggle for independence the famous Bel- In the Sleep Country
gian violinist and operatic tenor, Francois van S.A.T.B. . .1. Lewis Browne .12
Campenhout, wrote the folk tune which was Anthem of the Free
accepted by the Belgians as their national song. Unison Walter Keller .10
It is called "La Brabanconne". The words are Four Canons
2 and 3 vcs.......Ludwig Bonvin SJ. .12
by J enneval, who was killed during the war.
Boat Song, S.A.A.T.B Lohr .10
(See "Americanization Songs"-Faulkner).
SACRED
Play "La Brabanconne" V. R. 20304-B
Lord God Our Father
BELGIAN TUNES ADAPTED TO ENG- S.A .1. S. Bach·Browne .15
Veni Jesu (Bless Our Land)
LISH WORDS: S.A.T.B. . Cherubini·Browne· .12
Cnrlstmas Bells Praise Ye the Father
Miller of Tracade S.A.T.B. . , Gounod .12
Riding on the Elevated Lord God Our King
5.A.T.B M. Z. Beaulieu .15
Planting the Garden
Pony Ride, The Hymn of Praise and Thanks
5.S.A. . Kremser .08
Singing River, The
Laughing Song, 5.S.A. .. Abt .08
(The above songs can be found in the re-
ference books listed in the Introduction to this McLAUGHLIN & REILLY CO.
course-The Caecilia, September, 1933.) 100 Boylston St., Boston, Mass.

Modern Music For Junior High School

BY F. J. McDONOUGH
The adolescent voice was considered, in the
composition of these numbers, and voices will
be helped, not harmed by. the demands of
these melodies.
Happy Lark S.A.
Cloud Pictures S.A.
Woodland Beauty Calls S.A.
The late Frank J. McDonough, Supervisor The First Spring Wind S.A.
of Music in the Public Schools of Rensselaer, Garden of Mine S.A.
N. Y., was not only a composer of popular All Hail to Thee America S.A.B.
Catholic church motets, but he also wrote It Is June S.A.B.
several good choruses for school use. We list Farewell Song S.A.A.B.
below a few which may interest those who
Drowsy Days of Summer S.A.A.B.
have public school, or parochial school music
classes. The first ten are secular, but the text For the Month of May
is eq ually appropriate for public or parochial . Hail Virgin Dearest Mary (S.A.)
schools. The last two are obviously Catholic. Ave Maria-Hail Holy Queen (S.A.)
 The Caecilia 177

Question and Answer Box

Conducted Monthly by DOM GREGORY HUGLE~' O.S.B.,
Prior, Conception Abbey, Conception, Mo.
Send your Questions to Father (;regory, they will be }
{ answered in this column without reference to your name.
Copyright 1934 by McLaughlin & Reilly Co.

Questions submitted in February, 1934 rather ask: "Why apply the logic which holds
Q. ({Why, in the accompaniments of Gre- good in the ancient form, to the ~odern prod-
gorian Chant, do the harmonists place key- uct in which it no longer holds good ?". There
signatures which do not apply in their tran- is .a ma?ifest endeavor of. getting away from
scriptions? For example, in the Missa de An- thiS logiC, and of presenting the harmoniza-
gelis, the key is 3 sharps in the signature, yet tion in strict keeping with the requirements of
one sharp is naturalled every time it appears. the melody as it actually appears, as the above
In a Credo, we find signature of 2 flats, and list of harmonists will show.
then Ais flatted every time it appears. Why Q. (( H ow can a person find out the mode
not put 3 fiats in the signature?" in which the different selections are written?"
A. The Missa de Angelis is written in the (The writer has reference to aThe Sunday
fifth mode. But now it happens that the fifth M ass set t.o simple Gregorian Formulae", by
mode appears in two forms: (I) in the an- AIrs. just'lne B. Ward; Desclee-Tournay,
cient, unmitigated form in which the B flat 193 2 ) •
does not appear; in its harmonization the har- A. In order to answer this question we
monists are compelled to employ 3 sharps, or must first mention some principles. The Gre-
2 flats respectively. Foran illustration take gorian melodies rest on four fundamental
the antiphon "Intret oratio mea", Saturday at tones (called Finals, or key-notes). These
Compline, Liber Usualis, page 293, or the anti- important tones are Re, Mi, Fa, Sol, (D, E,
phon "Ecce Dominus veniet", page 301. In F, G). Each of these Finals carries two
the course of time, as polyphony began to de- modes, one of them being authentic, i.e. run-
velop, the fifth mode appeared also (2) in a ning from the Final to its octave; the other
mitigated form, in which the B flat is em- plagal, i.e. running up only five tones, and
ployed to form the principal cadences. The running down four tones below the Final. The
Kyrie of the Angel Mass and Credo No. 3 are term plagal means ((inverted",. it refers to the
quite modern products: they employ the B fact that the upper four tones (tetrachord) of
molle throughout. We have compared a the authentic mode have been taken down and
group of ten harmonizations of the Vatican added from the lower side; thus, while the
Kyriale in our music library; eight of them tone-material remains the same the sequence
use 2 sharps and three flats (Dr. P. Wagner; of the intervals has been changed. In wishing
Dr. F. X. Mathias; Dr. M. Springer; Al. Des- therefore to determine a mode, you must find
met; Gregory Molitor O.S.B.; Alonsignor F. out two things, (1) the Final, and (2) the
Neckes; Giulio Bas (in his new edition of compass of the melody, i.e. which way the mel-
1926), and Desrocquettes-Potiron (1929), and ody runs. The authentic modes are marked
only two employ 3 sharps and 2 fl.ats in the by the uneven numbers: I, 3, 5, 7, and the
cases mentioned (Giulio Bas 1906 edition and plagal, by the even numbers: 2, 4, 6, 8. The
lkf onsignor M anzetti 1906.) I t is noteworthy four Finals have reference to the four tonal
to remember that the Monks of Solesmes, in families: the Dorian, Phrygian, Lydian, and
editing similar modified fifth modes, instead Mixed-Lydian. (It will be correct to say that
of putting them in the fa-scale with a con- each family has two children: a giant and a
stant B molle, have simply put them in the dwarf; the giant, 8 feet high, and a dwarf, 5
scale of C; e.g. Adoro te; Attende Domine; by 4, meaning the authentic and the plagal
and the simple versions of Salve Regina and constellations respectively).
Alma Redemptoris. Looking at the Advent formula it will be
Q. "If the key in such transcriptions is not seen that it runs from Fa to fa (F-f), and
accurate, and is the only guide, why not put that, consequently it must be the fifth mode;
the complete signature in?" for a group of children the scale ought to be
A. VVe cannot say that the key in such played from D to d (using 3 sharps). The
transcriptions is not accurate; ,ve should Christmas formula runs from A to a, this be-
178 The Caecilia

ing the inversion of the Dorian line, or the that represented different tones, as rhythmic
second mode; Re (D) remains the Final. At units, and consequently transcribed them as
the end of the first part of this forrnula, the duplets, triplets, quadruplets, quintuplets and
melody makes a dip for lower A; in the sec- combinations thereof. (2) Dechevrens S.].
ond part it ascends to upper a. It will be (1840-1912) founded (1861) a mensuralistic
necessary to raise this melody four tonal steps, System of Chant, assigning different time-
i.e. from D to d, observing B flat; in that values to the rhythmic signs attached to the
pitch the meloldy will be bright and effective. neums, and published a great number of
Q. ((What about the remaining Formulae?)) chant melodies in definite measured rhythm;
A. Septuagesima employs the psalm-tone his Confreres: Fleury, Bonvin and Geitmann
of the first mode, with ending on Re (D). endeavored to establish a modified form of his
Play it in the scale of F. The ((Lenten)) In- system, without bars. (3) Dam Jeannin O.S.B.
troits follow the formula used in Advent; the ( 1866-1933) published in one volume (with
Graduals, Tracts and Communions employ the a donation from the Holy See) the Liturgical
psalm-tone of the fifth mode; play them in D Chant of the Syrian Chant. At the same time
scale, using 3 sharps. The Offertories use a he published another volume in which he tried
fourth mode psalm-tone (transposed) " play to prove "that Dam Mocquereau's theory of
first note on a and the rest accordingly, using musical and natural rhythm was just as inac-
the harmonies of the diatonic minor. The ceptable as Dam Pothier's oratorical rhythm".
formula for Easter is an ancient psalm-tone of Lest the Catholic World should think that the
the second mode; play it in 3 sharps beginning Holy See was in any way in sympathy with
on E and ending on F sharp. Ascension em- this aggressive work, the Osservatore Romano
ploys the psalm-tone of the fourth mode, be- (Febr. 22, 1933) published the following ((pre-
ginning and ending on E. The formula for cisation)): "The subsidy from the Holy See
the Proper of Saints is the psalm-tone of the was granted solely and exclusively for the
sixth mode, beginning and ending on F. publication of the Liturgical Chant of the Sy-
Q. ((What kind of chant students are in- rian Church, and not for the propagation of
cluded under the name of 'Mensuralists?' " any particular theory as to the traditional
A. UnGer the name of "Mensuralists" all Rhythm of Gregorian Chant". (4) Dr. Peter
those are included who take as their starting- Wagner (1865-193 I). This eminent scholar
point the divisibility of the basic pulse, or cannot be called a mensuralist except in a very
(in other words) the basic inequality of notes. restricted sense. He taught that according to
Q. (( What kind of chant students come un- the theoreticians of the 9th and loth centuries
der the name of 'Equalists?')). the Neuma-notation was in part metrical,
A. Under the name of "Equalists" all those some signs being reckoned as long, and others
are included who take as their starting-point as short, and that the equality of note-values
the indivisibility of the basic pulse, or (in was occasioned by the Guidonian (4-line) no-
other words) those who teach that the indi- tation in the 12th century, at the time when
visible pulse of the spoken syllable is the basis the cantus planus (plainchant) and the cantus
of Gregorian music. mensuratus (measured music) became estab-
Q. ((Can you offer a diagram making this lished as two distinct forms of church music.
matter clear?" Q. ((Who are the Equalists and what do
A. The basis of mensuralism shows the they teach?))
different divisions of the musical tone in A. 'The principal representatives of Equal-
whole, half, quarter, eighth, sixteenth,thirty- ism are Dam Pothier (1835-1923), and his
second notes etc. The basis of equalism of- pupil, Dam Mocquereau (1849-1930), both
fers but one value, eighth notes only. By monks of Solesmes. Dom Pothier's work
common consent the eighth note is considered "The Gregorian Melodies)) (1880) may be
the nearest approach to represent the value of considered as the basis of this system; the
the spoken syllable. From this diagram it is following principles are set forth: the shape
at once evident that equalism is exceedingly of the notes has nothing to do with brevity,
simple, and that mensuralism is quite com- length or stress of tone; the underlying text
plicated. creates a variation of stress; the last note of
Q. ((C an you give a Historic Survey of the a phrase is to be prolonged (mora vocis);
M ensuralistic Attemps?" duration and energy of tone depend com-
A. For the sake of clearness we divide the pletely upon the text or melodic group at-
Mensuralists into the following groups: (I) tached to it; hence the rhythm of chant is ora-
Houdard (1860-1913) ; Bernoulli (1867- toricaI. Dam Mocquereua created the more
1927); Fleischer (b. 1856). On the strength richly differentiated "Rhythmic System of
of a certain passage in Guido's works these Solesmes". The rhythmic signs, contained in
men regarded all neumatic signs, even those the lVlanuscripts of St. Gall and Metz have
 179

the purpose to intersperse certain tone-pro-

gations in the strictly rhythmical movement
(he taught); the rhythm of the language does
not permit more than two syllables between
two accents: accordingly chant rhythm is com- Now Ready . ..
posed of binary and ternary group-rhythms;
in modern notation the eighth note is the
nearest approach to the value of the spoken MUSIC FIRST YEAR
syllable.

WENTZVILLE, MO. NEW EDITION

Silver Jubilee of Rev. M. J. Clarke
by
On January 16, 1934-, Rev. Martin J. Clarke, pastor
of St. Patrick's Church in Wentzville, Missouri, for-
mally celebrated the Silver Jubilee of his priesthood Justine Ward
with Solemn High Mass. He was assisted at the Mass
by Rev. Jos. A. Tammany as Assistant-priest, the Rev.
Peter J. Dooley, Deacon, and the Rev. Daniel J. Dool-
ing, Sub Deacon. The sermon of the occasion was The pedagogical principles embodied
preached by Rev. Joseph A. McMahon. The Rev. Mar- in the earlier editions remain un-
tin Hellriegel was Master of Ceremonies.
Among those present in the sanctuary to join with changed, but, after twenty years of
the J ubiliarian in this religious celebration in honor of
the Priesthood were the Rt. Rev. Vicar General P. P. experiment in the field, their applica-
Crane, Rt. Rev. Monsignor F. X. Willmes, and about tion requires some revision.
eighty priests of the Arch-diocese.
The Mass according to the Feast of St. Marcellus
was sung by the parish choir of twenty voices under Daily exercises in placing the voice,
the direction of the organist, Miss Lillian Goellner. focussing the tone on syllables Noo,
The Program
o and a. The intervals studied are
Processional "Marehe Pontificale" Gounod
Proper of Mass: Gregorian those of the major scale and chord,
Ordinary of Mass:
l\Jlissa Regina Pacis, N. A. Montani with preparation of modes 7 & 8.
Offertory Insert: Panis Angelicus Franck
Recessional: "Holy God We Praise Thy Name"
Rhythm taught by movements of arms
and feet, and by graded exercises in
FEAST OF THE PURIFICATION OF THE B. V. M. 2/4 and 3/4 time. Ear training by
at
ST. JOSEPH CONVENT CHAPEL melodic and rhythmic dictation.
Milwaukee, Wisconsin G'raded training in rapid observation
During the distribution of the blessed candles: and memory. Notation in numbers and
Ant. "Lumen ad revelationem"
SisterM. Cherubim, O.S.F., Op. 18 No.1
with C clef on staff in two positions.
Canticle of Simeon, "Nune dimittis" Gregorian Suggestions for improvisation and
After the distribution of the candles:
Ant. "Exsurge Domine" Gregorian composition. The work is planned for
During the procession: children of the First Grade in the
Antiphons Sister M. Cherubim, O.S.F.
"Adorna thalamum tuum", Op. 18, No.2 elementary schools.
"Responsum aecepit Simeon", Op. 18, No.3
"Hodie beata Virgo Maria", Op. 18, No.4 Cloth 256 pages, Illustrated, Price $I.50
"Senex puerum portabat", Op. 18, No.4
During the re-entrance of the procession into the
chapel:
Ant. "Obtulerunt pro eo Domino"
Sister M. Cherubim, O.S.F., Op. 18 No.6 THE CATHOLIC EDUCATION
During High Mass: PRESS
Proper of the Mass
Introit, Offertory, Communio Gregorian 1326 Quincy Street, N.E.
Gradual J. Singenberger
Ordinary of the Mass Washington, D. C.
Missa in hon. Setae. Otthiliae Virgo M. Haller, Op. 93
Insert at Offertory
Ave Maria Sister M. Cherubim, O.S.F., Op. 43
180 The Caecilia

ORGAN RECITAL ST. LOUIS, MO.

By ARTHUR C. BECKER (A.A.G.O.) Forty Hours at Santa Maria in Ripa
Assisted by the De Paul Ensemble
January 11 marked the opening day of the Forty
St. Vincent's Church, Chicago, Ill. hours Adoration at the Notre Dame Convent at Sancta
l\1aria in Ripa, St. Louis, Mo.
March 11, 1934 His excellency, Rt. Rev. Christian Winkelman pon-
Program tificated. The program of the 'Mass was as follows.
Premier Choral Pontifical Procession:
Andriessen
(a) In Dulci Jubilo Bach Ecce Sacerdos Montani
(b) In Dulci J ubilo Karg-Elert Proper: Solemn Vot. Mass of the Blessed Sacrament
Introit, Gradual, Communio Vatican Chant
Passacaglia and Fugue in C Minor Bach
Consummation Ordinary: Missa i. h. B.M.V.
Walter Keller Immaculatae de Lourdes Auer
Scherzo from First Symphony Macquaire
Suite for Organ and Small Orchestra Irving Gingrich Insert at offertory:
Moderato-Allegro maestoso Lit Laos Divino S. Gisela
Adagio tranquillo Solemn Procession of the Blessed Sacrament:
Pange Lingoa Vatican-Beltjens,
Allegro moderato Adoro te Vatican-Goonod
Mr. Becker and the De Paul Ensemble Litany of the Saints
(Conducted by the Composer) Closing Hymn:
Second IMovement by the De Paul String Quartet Crown Him with many Crowns Montani

St. Gregory the Great Anniversary GOOD FRIDAY AND EASTER AT

Memorial and Church Music Program ST. AGNES CHURCH
Given at the Holy Trinity Church, Nanticoke, Penna., San Francisco, California
Rev. R. Wieziolowski, Pastor, by the Church choir under
the direction of Prof. Anthony Stankiewicz, Organist, Rev. J. A. Butler, Pastor
March 18th. In addition, a Juvenile choir of two hun- Grace Marie Compagno, Organist and Choir Director
dred fifty voices, selected from among the pupils of
the parochial school under instruction in Gregorian GOOD FRIDAY
Chant from the Bernardine Sisters, rendered Gregorian
Chant selections. Three Hour Service
Part I Choir of Thirty Mixed Voices
1. Boga Rodzico-a traditional Polish hymn of St. THE SEVEN LAST WORDS - Compagno
Adalbert to the Blessed Mother
A short discourse on each word preceded the musical
2. The Lord's Pra\yer-(English) composed by C. interpretation" which was f9llowed by a Meditation and
Mensick rendition of the following Passion Hymns.
3. Gloria-from Mozart's Twelfth Mass
Remember not Lord our Iniquities Arcadelt
4. Jes!!:.. Dulcis Memoria - Hymn for three voices-
by J. Singenberger Soul of Christ Sanctify 'Me Compagno.
Rendered by the school children Mother of Christ Compagno>
God of Mercy and Compassion Traditional
Part II
Act of Contrition Compagno
1. Adoramus Te Christe-Palestrina
2. Bone Jesus-Palestrina
o Sacred Head Compagn()
Bless Thou the Lord, 0 My Soul Ippolitif-Ivanof
3. 0 Christe-Otton Zukowski
4. Omnes Amici Mei-Palestrina EASTER SUNDAY
5. Improperium-Witt F. Solemn High Mass at 11 o'clock
School Children alternating with the Choirs Proper of the Mass CompagnO'
Part III Ordinary of the Mass Elsenheimer
1. Attende Domine-Gregorian-harmonized by Yon, Terra Tremuit Compagn()
Pietro A. 8 o'clock Mass
2. Ave Regina Coelitum-Rossini C.-Mixed voices Easter Anthems. Children's Choir of 125 voices.,
3. Salve Mater Misericordiae-Gregorian-harmonized 12.15 Mass
by Yon, P. A.
Thirty-voice Choir
4. Adoro Te Deote-St. Thomas Acquinas Kyrie Compagno
5. Tantum Ergo~Lambilotte Alleluia 'Beethoven-Compagno
6. Adoremus and Laudate Dominum-Sixth Psalm Benedictus Compagno
Tone Aurora Coelum Yon
7. Hymn Pro Pontifice-(Polish) Recessional
the choir and children combined Glory to Christ the King Eberle-Reilly
 The Caecilia 181

An Anglo-Catholic Church Program

CHURCH OF ST. JOHN THE INSIST ON
EVANGELIST McLAUGHLIN & REILLY CO.
Boston
EDITION WHEN ORDERING
Everett Titcomb, Choirmaster
CATHOLIC CHURCH MUSIC
The following program of selections from the Litur-
gical Music of Holy Week was sung by the Choir, The following dealers are equipped
under the direction of Everett Titcomb, on Sunday even-
ing, March 18, 1934. to handle your order promptly. All
I. Music from the Palm-Sunday Rite prices are net whether you buy frOiii'
1. Antiphon-Hosanna filio David Plainchant the publisher or the dealer. Trade
2. Antiphon-Pueri Hebraeorum Plainchant where you get the best service.
and alternative setting by
Pierluigi Giovanni da Palestrina, 1525-1594
3. Hymn-Gloria, laus et honor . Plainchant Chicago, Illinois
from the Sarum Processionale Lyon & Healy Co.
4. Processional Respond-Ingrediente Plainchant
Gamble Hinged Music Co.
II. Music from the Office of Tenebrae
1. The Lamentation St. Louis, Missouri
of Jeremiah the Prophet Plainchant Hunleth Music Co.
2. Responds Shattinger Piano Co.
(a) Judas mercator pessimus (Maundy Thursday)
B. Herder Book Co.
(h) Seniores populi (Maundy Thursday)
Tomas Luis Victoria, 1535-1611 Cleveland, Ohio
(c) Tenehr81e factae sunt .(Good Friday) Palestrina
Lyon & Healy Co.
(d) Tamquam ad latronem (Good Friday) Victoria
(e) 0 vos omnes (Holy Saturday) Victoria Kollie Music Co.
III. Music from the Good Friday Rite Minneapolis, Minn.
1. Antiphon-Ecce lignum Crucis Plainchant Paul A. Schmidt Co.
2. Improperia- (The Reproaches) Victoria W. J. Dyer & Bro.
3. Hymn-Crux Fidelis
Kng John IV of Portugal, 1604-1656 Pittsburgh, Pa.
IV. The Passion Chorale Hans Leo Hassler, 1564-1612
H. A. Becker Music Co.
harmonized by J. S. Bach Dubuque, Iowa
(Choir and Congregation) Tri-State Educational Music Co.
Seattle, Wash.
The Kaufer Co. Inc.
ST. ALPHONSUS' CHURCH
Toronto, Canada
Lemont, Ill. Heintzman & Co.
Sr. M. Valeriana, O.S.F. Baltimore, Md.
Organist and Director Archdiocesan Music Store,
EASTER SUNDAY Emmitsburg.
High Mass: St. John's, N.F.
Vidi Aquam J. Singenberger Charles Hutton & Sons.
Proper of the :Mass Gregorian
Ordinary of the Mass Los Angeles, Cal.
"Missa Solemnis" In Honor of the Sacred
Heart of Jesus Ig. Mitterer Southern California Music Co.
Gradual "Haec Dies" J. Schweitzer
Offertory "Terra Tremuit" Fr. Nekes San Francisco, Cal.
Benediction:
Sherman Clay Co.
"Jesu Dulcis" J. Singenberger Kansas City, Mo.
"Tantum Ergo" J. SiIigenberger
Laudate Dominum (6 part) Otto Singenberger J. W. Jenkins Co.
After Mass:
Jubilate J. Singenberger
182 The Caecilia

INTERESTING NEW MUSIC

Schweitzer's Mass in C for Men's Choir. (No. 741)
Following the announcement that Schweitzer's Mass in honor of St.
John the Baptist, Ope 18, for choir of four nlixed voices, had been reissued,
comes word that the popular and simple Mass in C, opus 11, for four men's
voices, is published in a new edition.
These popular works, short and easy, in Caecilian style, by the \vell
knov-,;n Johannes Schweitzer are ideal for new choirs. The music is liturgical
yet bright enough to interest untrained volunteer singers. The mass for
men's voices (T.T.B.B.) is 12 pages in length, indicating its brevity. First
performance in New England is being given by the Holy Trinity Church
male choir, B'oston.
Messe Solennelle by Carl Koenig. (N O. 717)
This is a new mass for women's choirs, (S.S.A.) melodic and interesting.
Until recently it was very difficult to get masses for three women's voices,
but now this mass is added to the popular masses available such as Smith's
Mass of The Sacred Heart, (Cary & Co.) Cherion's Messe de Ste. Cecile
(Procure Generale) Sister Gisela's, Father Schaefer's, and Sister Cherubim's.
This ne\¥ work is by a very capable composer, "\vho indicates that he under-
stands the style of music desired in a mass of this type, and the range of
each voice part is most practically considered.
Cantate Domino by Wm. J. Marsh. (No. 730)
A new chorus for S.A.T.B. by a composer whose music is always
popular. This work, is a little more elaborate than the average motet, but
not too festive for the text. Wherever occasion requires a jubilant number
of good proportions, this piece will serve ideally. We suggest it for the
dedication of a church, for the first mass of a priest, for an anniversary, for
Christmas, Easter or the Feast of Christ the King, or any patron saint.
First' performance in New England was given by St. John Church Choir,
Winthrop, l\fass., directed by Mr. Herbert Sheehan.
Ecce Panis Angelorum by Rudolf Meier. (No. 675)
This motet to the Blessed Sacrament, is for S.S.A.A. and originally
appeared in the Cantabo Domino Collection, a book to which Fathers
Gruender S.]., and Bonvin S.]., and Otto Singenberger made notable con-
tributions a few years ago. It is a fine musical motet published separately by
request of many users of Cantabo Domino.
Mass in Honor of the Holy Family by J. Singenberger.
If we were to name the most popular mass of all that J. Singenberger
wrote during his lifetime we would pick this Mass of the Holy Family which
has just been reissued in a new edition. It is not in the Very Easy class,
like the St. Francis, or Holy Ghost Mass, not is it in the medium class, like
the St. Gregory or, the St. Cecilia Mass. It is "in between", and is quite
melodic.

DUPRE TAKES WIDOR'S POST ment of Marcel Dupre as Widor's successor.

Venerable Master Leaves St.. Sulpice After When Dupre was 20 years of age he was sel-
Serving Since 1870 ected by Widor as his assistant at St. Sulphice.
According to word from Paris late in Feb- I t has been the custom for years for Widor to
ruary, the retirement of Charles Marie Widor ask Dupre to play the offertory, almost al-
from the post of organist of the grand organ ways something of Bach, .with Dupre never
of the Church of St. Sulphice, Paris, has just knowing in advance what might be called for.
been announced. Widor, born in 1845, went M. Widor, who no longer is equal to climb-
to St. Sulphice as organist in 1869, and has ing the spiral stairs to the organ loft made fa-
played there since that time. mous by him, now listens to the service every
Upon the recommendation of M. Widor, the Sunday from· the nave of St. Sulphice. The
cardinal of Paris and the authorities of the grand organ of St. Sulphice, built by Cavaille-
Church of St. Sulphice announce the appoint- ColI, is the largest in France.
 The Cae:cilia 183

NINNA NANNA GIVEN ANOTHER The music was under the direction of Prof.
NOTABLE PERFORMANCE P. J. Gitzen, and was rendered by the com-
bined boy's and men's choir of the church.
Famous Rubinstein Club Gives Second The entire congregation joined in the singing
Concert at Waldor! A storia Hotel in of the hymns at Benediction.
New York City
The Second Private Concert of the Rubin- MILWAUKEE SCHOLA CANTORUM
stein Club, was held February 20th, in the
Grand Ballroom of the Waldorf Astoria Hotel, SINGS AT ORDER'S CENTENARY
New York City. The Schola Cantorum will assist in the
Bernard Levitow presented his celebrated singing at the Pontifical High Mass commem-
orchestra and also conducted the Choral num- orating the looth anniversary of the founding
bers, due to the enforced absence of Dr. Wil- of the School Sisters of Notre Dame, to be
liam Rogers Chap!llan. The solo artists were celebrated at Saint Michael's church, April 4.
Remy de Va renne, Tenor, Maurice La Farge, The Mount 1Vlary choir will sing the "Ecce
Accompanist, with Kathryn Kerin-Child, at Sacerdos," by John Singenberger; and Brosig-
the Piano for the Choral. Bonvin's "Ave Maria." Beth Carmody is
This is the 47th season for this illustrious president of the choir, Sister Mary Gisela, its
choir which numbers among its Patrons and director.
Directors many of the socially elite of New Pupils selected from Milwaukee schools
York City. taught by the School Sisters of Notre Dame
will sing the Blessed Virgin Mass, "Cum
One of the most popular numbers on the Jubilo," under the direction of Sister Mary
program was Mauro-Cottone's "Ninna Nanna" Alphonsine of Notre Dame Convent. Sister
the cradle song so well known to CAECILIA Mary Cecilia also of Notre Dame Convent
readers. The incidental solo was rendered by 'will play the organ accompaniment.
Mrs. V. D. Penner, and the composition was
given one of the most perfect renditions pos-
sible, to the delight of the huge audience. ANNIVERSARY OF SISTERS OF
NOTRE DAME IN BALTIMORE
URSULINE ACADEMY PITTSBURGH October 25th, 1933 witnessed a mammoth
chorus of children, 2000 in number singing
HEARS NEW McDERMOTT at St. James' Church. It was the celebration
COMPOSITION on part of the schools of the hundredth anni-
On February 8th, by request of the student versary of the coming to Baltimore of the
body, Professor Alan McDermott of Pi1tts- School Sisters of Notre Dame. The program
burgh, conducted a program at the Ursuline 1Nas prepared by Sister Ceceliana of the Insti-
;Academy. A choir of thirty boys and men tute of Notre Dame and Father Barley di-
performed his new offertory for the feast of rected the chorus.
All Souls "J ustorum Animae" with such a The Proper was Gregorian for the Introit
degree of perfection that great praise followed, and Common Antiphon, Tozer for the Grad-
from the listeners. ual and Offertory. The Ordinary was the
"Mass of the Angels," Gregorian.
The entire program was representative of
the ideals of this fine musician who lectured
on the general purpose and characteristics of ~rEN THOUSAND CHILDREN TO SING
church music giving examples the monodic, 300th ANNIVERSARY OF MARYLAND
polyphonic, and harmonic masterpieces of the
church's history. Baltimore.
The tabernacle used by Fr. Andrew White,
S.J., when he celebrated Mass on Maryland
ST. WENDELIN'S CHURCH ADDITION soil on March 25th, 1634, will be used at the
Solemn Pontifical Mass which Archbishop
BLESSED BY BISHOP BOYLE,
Curley will celebrate in the Baltimore Stadium
PITTSBURGH on May 30 to mark the third centenary of
A large number of the clergy were present the foundation of Maryland.
at the ceremony which was held for the bless- Some 100,000 people are expected to attend
ing of the addition to St. Wendelin's Church in the Mass.
Pittsburgh. An appropriate sermon was The music will be sung by a choir of 10,000
preached followed by Solemn Benediction. children.
184 The Caecilia

BOSTON CHOIR OF l\1EN'S VOICES One man to whom Lehnert owes much gra-
GAINING RECOGNITION titude is the great Russian Composer, Prof.
Paul Juan of the St. Petersburg Conservatory
Holy Trinity Church Maennerchor Heard in of Music, who gave him his entire knowledge
Sunday Night Concerts of Harmony and Counterpoint.
A new figure in Boston Catholic Church On account of his exceedingly good work,
music, has come to the front· in the person of Lehnert was the first American to receive a
Ferdinand Lehnert J L, Basso-profundo, and vocal scholarship at the Academy, whic~ en-
choir director. titled him to study daily with Kammersaenger
Paul Knuepfer of the Royal Grand Opera
Under his direction, a men's choir has been House, Berlin, who is one of the world's great-
formed which is to be regularly heard in Sun-
est singers and master-teachers.
day evening concerts at the Holy Trinity
Church, Boston. The singers are fortunate in After four years at the Academy, he
having a director of the skill, and education of coached daily for another year with Italy's
Prof. Lehnert, and already the choir is looked famous singer, Signor Juan Luria of the fa-
upon with interest by Boston critics. mous La Scala Opera House.
Rich in musical tradition, qualified to an In the season of 1913 and 1914, Lehnert was
unusually high degree as a singer, Prof. the leading bass at the Royal Court Opera
Lehnert is imparting his skill with great Houses: Sondershausen,. Rudolstadt, and Arn-
success, to this chorus as a group and to stadt.
various singers individually. The chorus not
only serves in various church services, but
functions on these Sunday night concerts, as
the nucleous for a wholesome social activity. Let's Sing,
The traditional German singing societies
have a counterpart in the activities of this
new choir. The group singing, is assuming a
new standard of perfection, and the director
OUR HIGH MASS
generally acclaimed by European music critics Arranged by Rev. M. B. Hellriegel
for his portrayal of various operatic parts, is
winning new fame as a conductor.
Prof. Lehnert, was born in Lawrence, Mass.,
Now tOe
in 1887, educated in the public schools there,
from whence he went to Europe for further
study. During the W orId Waf, he· served in
the U. S. Army where he was advanced to the Generally accepted by leading Catholic
rank of 2nd Lieutenant. institutions to further congregational
At the age of seven years Lehnert began the
study of violin, studying with various teachers; participation in the mass.
and last of all with Mr. Vincent Ackeroyd of
the Boston Symphony Orchestra. F or sev-
eral years he played with the leading orches-
tras in Lawrence, Mass. Organ Score 15c
When eighteen years of age, it was dis-
covered that Lehnert had a phenomenal bass THE QUEEN'S WORK
voice and he was advised to study voice in
preference to violin. Immediately he began 3742 West Pine Blvd. St. Louis, Mo.
coaching with Messrs. l\1arowski and Hoff-
meister of Boston, Mass. After three years
of studying he had the assurance of being
qualified for Grand Opera. THANK YOU!
In 1908 he entered the Royal Academy of Thank you all for your letters of encour-
Music, Berlin, Germany, where the following agement after the appearance of the J an-
studies were compulsive: Voice, Opera Pre- uary issue in its improved form. This is
paration, Theory of Music, History of Music, only the beginning of the improvements
Piano, Declamation, Italian and German lan- planned. As suggested by so many we
guages, Elementary Singing, Anatomy, Phy- \vill resume the organ series next month,
siology, and Hygiene of the Vocal Organs. in our music section.
 The Caecilia 185

COMMUNICAliON the metre), and not, as Solesmes insists, in

equal notes.
GREGORIAN CONTROVERSY 3) It is, to say the least, very naive to
make it appear as if Fr. Bonvin did not know
Editor: The Caecilia; what he is talking about, when he maintains
Since the publication of my "Answer to an that equalism is a fundamental principle of
Answer", I have received letters containing Solesmes. The inequalities which Solesmes
various suggestions, which are summarized in does admit are far from satisfying the demands
the following paragraphs. made by the Gregorian authors, who call for
I) Let Mrs. Ward first of all give a direct many more notes as « duplo longiores)) than the
answer to the one important point in Fr. Bon- comparatively few dotted notes and the lengths
vin's challenge, namely to the simple question: indicated by a bistropha, a pressus, etc. Nor
Can Solesmes furnish even a single text from will the so-called "nuances" of Solesmes save
the Gregorian authors of the Golden Era of the day. The many episemas, admittedly sup-
the Chant in support of its rhythmic theory? pressed by Solesmes, clamor for recognition,
While the Mensuralists have furnished dozens when there is question of historical accuracy.
of texts in support of their contentions, So- They all indicated notes which were duplo-
lesmists have never deigned either to refute longiores, and are not found in the editions of
this evidence or to quote any Gregorian author Solesmes.
in their own defence. Until this is done, all 4) The works in \vhich the theory of Soles-
other considerations are irrelevant and only mes is set forth do nothing but build up and
becloud the main issue, which is a purely his- expound a theory of rhythm which rests not
torical question. upon historical arguments, but merely upon
2) In particular, let her explain away, if gratuitious and more or less arbitrary assump-
she can, the clear statement of St. Augustine tions. And as a matter of fact, it is the advo-
and of St. Bede to the effect that the hymns) cates of the Solesmes theory that might well
at least, were sung in a regular succession of be blamed for taking too little cognizance of
long and short notes (in strict agreement with (Continued on Page 186)

Appropriate GiFts For Yc)ur Friends Interested In

Catholic Church Music
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performance, liturgy, etc. New stock will be $4 or $5 per copy.
Cloth bound, 288 pages.
BENEDICTION MANUAL A. Edmonds Tozer $2.00
Cloth bound, collection of Benediction Music by an English
Master of Catholic music. Cloth bound, 87 pages, 48-0
Salutaris, 100 Litanies, 47 Tantl1m Ergo's, 13 Adoremus, etc.
Very popular among Sisters who are organists.
HOLY WEEK BOOK Rt. Rev. Leo P. Manzetti $1.50
The only complete Holy Week book in print contains full text
and music of liturgical ceremonies of Holy Week.
ACCOMPANIMENT TO THE RESPONSES Paul Toner $1.25
For High Mass, Requiems and Benediction Services. In the
Most Used Keys. Excellent for practice work by organ music
students, and seminarians.
PRELUDES AND INTERLUDES IN A.LL THE KEYS J. Pozn.anski $1.00
Short themes for practice work by student organists, or ex-
temporization by Inasters.
THE STANDARD CATHOLIC HYMNAL James A. Reilly $1.25
Cloth bound, contains 115 conlpositions, mostly hymns with
English words. The music is in keys best suited for congrega-
tional singing.
ESSENTIALS IN SIGHT SINGING Nicola A. Montani
2 volumes, (Cloth), Instructions and exercises. Each Vol. $2.00
186 The Caecilia

COMMUNICATION for taking too little cognizance of what their

(Continued from Page 185) opponents have written. They have deliber-
ately and superciliously ignored the scholarly
what their opponents have written. They works of Dechevrens, Jeannin, and others.
have deliberately and superciliously ignored They have even employed unfair means to
the scholarly works of Dechevrens, of Dom squelch their opponents, when they could not
Jeannin, and of others. answer their arguments.
As a matter of fact, it is the advocates of ARTHUR ANGIE
the Solesmes theory that might well be blamed Whitman, Mass.

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 The Cae(:ilia 187

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JUST REISSUED
CATHOLIC CHURCH MUSIC Mass in honor of St. John the Baptist
With us, Church Music is not merely by J. Schweitzer
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THE SIMPLE EASY-LITURGICAL

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Father Pierron, with his rich musical background bothas a

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