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Page 19 text:
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fi. X I g k ki .. ilf' so Fl ., I.. .ff if if 9 N i . .i ,, E- ,3 K 1. ar ,ig 335, 1 ,. and in his hands, greater beauty was forthcoming. He captured the remote quality and pressed it into living melodies which glorify the pious intent. Handel, too, with his genius for the organ and its resonant music, lent himself to enrich the Gregorian repertoire. The result is apparent from the great numbers of his works which the Church uses in her services. Thus these immortals do unceasing honor to God. Sacred music is so strictly undeviating in its path and so clear is its purpose that compositions though they be excellent in musical tradition and the Work of the greatest masters-if they be not strictly liturgical-are unworthy of the temple of God. Into this category fall the mighty masses of Haydn and Beethoven, the glori- ous Requiem of Verdi, Rossini's exalted Stabat Mater. These are golden Works of the highest musical merit-and yet they are banned from the rites of the Church -for they are not liturgical. The solemnity of the strictly liturgical functions of the Church forbids even the extra-liturgical music which may be used in less important functions. For the former only the solemnity of the Chant is permissible, the blend of voice and organ in which the great virtue of humility plays the leading role, for here, the vaunting of solo voice is eliminated. The accompaniment of our worship must be of such finesse of note and motif as to transcend petty Vanities and form a bridge from the human to the Divine. The Chant is the lamp Whose beams illumine the paths of prayer. It is the voice which speaks and sobs and sings of life and death and eternal happiness. Its very inaccessibility makes it the more precious. The Chant, as St. Bernard says, is Full of gravity, neither worldly nor too rude and poor-sweet yet Without levity, it alleviates sadness, and calms the angry spirit, and whilst it pleases the ear, it moves also the heart. 15 -fw X-r , Nils f ex 5' 1 lg 2 sg. i mv... sam.. 5 gg, ' ,U rd V M N . 1. .ff W' ' . 4. ' ffjf29y.Tfi':4,c lg . fin. 1., ,. .. 34 F1 ,ek . .iff ii- I zlwpgakilv f f M M f. nfwadg 4 g .. 4, '- N ' Ax T 'TANK ,...'I2' v
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Page 18 text:
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1 Y X Qi .wa 1-mfw sn , , - .....- .. ...aa.u,,..w , ,. .,,.a.,. ,--.,,. .a.,, .L-J ,,.. ,..+.-. 4-f... .. afar'-westin 1-'vw - A A I r:zfSiY f .V JS 'G 'Fi .. 1 . . L-if . ,J . . c.'.rz1:'f,iA!1T:L.'1.1'if, V , A 35-1' '1.,s:w 4-'A K J .'P4H'f1 ' -.5-:al-ffmrmw 'f A ips'-.,., Q- :mu fa as . -if A ' A , L, 'fav .fv-'Mfi-ff -, ..,...w,f Maru 3 J- A ,.,.,,., ..,v ...., . , ,-,. .V ..N. 4- ...a 7 sz-ffQ,11ffa,:s,4mm9e.w1-am. N ,4.i'.L.'r..., an-..,,...- - -1 ' 'wha -Lf .'+- 1 .tbl 3 ,..,EM:,,:-f..... - Q. serif-if Q- Q at 'J' lQ: ' 13y,9gw, ,yvg1', T-mm: 'fl fE. g,.:fL o .i Cbwgnrian Glhtmt HE Chant embodies the spirit of the Church in the melodies of music. It speaks of the triumphal march of innumerable saints and breathes quietly among the pillars of churchly architecture, livening them until they pulse with spiritual life-it is the tonal Church. Long before, under the benign interest of Pope Gregory, the monks inscribed on parchment, those notes which grew to take form in the Gregorian Chant-long before, the dignity of the theme was present. The writing of the Chant was the voicing of the heart of true religion. Far from being a mental and technical invention, it was only the translation into expression of a hitherto mute power. Thus was it ever present-in the sombre, inscrutable tone, the voice of many, crying in the wildernessguntil the monks of the 17th century captured the spiritual meaning of that inner voice and translated it into tangible form and presented it to the Vicar of Christ on earth. It is a fitting vehicle for the noble privilege of worship and a proper accompaniment for the great divine institu- tion, the Eucharistic Sacrifice. Other arts have been called upon to do homage to the beauty of the Christian liturgy-great works of architecture and sculpture have arisen, precious vessels have been wrought in silver and gold, the age-old experience of the loom has worked fragile beauty for priestly vestments, noble minds have fashioned immortal series of words and captured their rhythm in classic poetry, but none of them is so close to the Altar as music. It insinuates itself about every cornice. Gently it strikes the altar steps and swells to soar domeward. The great steeples of perfected architecture may loom proudly above, sculptured hands may be lifted high in prayerful entreaty, the sparkling of gold-wrought vestments may shine with glorious light-but none of these is so mighty that with its gentle effort it may rise directly to its purpose, as does liturgical music, such is the power of the Chant. With its softest note it bom- bards the very portals of heaven and even the angels are hushed while mortal prayer ascends to Godls Throne, wafted on notes which even their angelic tones cannot surpass. This music is no common art-it is sanctified by its holy use. Music, which may administer to so many human emotions, is here moulded and fashioned into a superb vessel to dignify the sacred services of the Church. The great musician finds in the sacred Chant a rare symmetry of form. It is like the flower which grows not in the paths where men tread but in the hidden places where it must be sought out. lt is not, and never will be, vulgarly popular, rather has it the mellowness born of antiquity and sublime usage. The quiet strains of Bach adapted themselves in many instances to the peculiarity which is the Chant- 14 l kr
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