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+Project Gutenberg's Cardinal Newman as a Musician, by Edward Bellasis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Cardinal Newman as a Musician
+
+Author: Edward Bellasis
+
+Release Date: August 25, 2008 [EBook #26427]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CARDINAL NEWMAN AS A MUSICIAN ***
+
+
+
+
+Produced by Charlene Taylor, Linda Cantoni, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+CARDINAL NEWMAN
+
+AS A MUSICIAN.
+
+
+BY
+
+EDWARD BELLASIS,
+
+_Author of "Cherubini: Memorials Illustrative of his Life."_
+
+
+[Illustration]
+
+
+LONDON:
+KEGAN PAUL, TRENCH, TRÜBNER, AND CO.
+1892.
+
+REPRINTED (WITH ADDITIONS AND MUSICAL EXAMPLES) FROM
+"THE MONTH" OF SEPTEMBER, 1891.
+
+ROEHAMPTON: PRINTED BY JAMES STANLEY.
+
+
+     Music's ethereal fire was given
+       Not to dissolve our clay,
+     But draw Promethean beams from Heaven,
+       And purge the dross away.
+
+     J.H.N.
+
+
+
+
+_Cardinal Newman as a Musician._
+
+
+It is a remark of St. Philip Neri's latest biographer that, "Our Saint
+was profoundly convinced that there is in music and in song a
+mysterious and a mighty power to stir the heart with high and noble
+emotion, and an especial fitness to raise it above sense to the love
+of heavenly things."[1] In like manner the Saint's illustrious son,
+Cardinal Newman, has spoken of "the emotion which some gentle,
+peaceful strain excites in us," and "how soul and body are rapt and
+carried away captive by the concord of musical sounds where the ear is
+open to their power;"[2] how, too, "music is the expression of ideas
+greater and more profound than any in the visible world, ideas which
+centre, indeed, in Him whom Catholicism manifests, who is the seat of
+all beauty, order, and perfection whatever."[3] Music, then, to him
+was no "mere ingenuity or trick of art like some game or fashion of
+the day without meaning."[4] For him man "sweeps the strings and they
+thrill with an ecstatic meaning."[5] "Is it possible," he asks, "that
+that inexhaustible evolution and disposition of notes, so rich yet so
+simple, so intricate yet so regulated, so various yet so majestic,
+should be a mere sound which is gone and perishes? Can it be that
+those mysterious stirrings of heart, and keen emotions, and strange
+yearnings after we know not what, and awful impressions from we know
+not whence, should be wrought in us by what is unsubstantial, and
+comes and goes, and begins and ends in itself. It is not so; it cannot
+be. No; they have escaped from some higher sphere; they are the
+outpourings of eternal harmony in the medium of created sound; they
+are echoes from our home; they are the voice of angels, or the
+_Magnificat_ of saints, or the living laws of Divine governance, or
+the Divine attributes, something are they beside themselves, which we
+cannot compass, which we cannot utter."[6] And with him, as with St.
+Philip, may we not say that music held "a foremost place in his
+thoughts and plans"?[7] True, out of its place, he will but allow that
+"playing musical instruments is an elegant pastime, and a resource to
+the idle."[8] Music and "stuffing birds"[9] were no conceivable
+substitutes for education properly so called, any more than a
+"Tamworth Reading-Room" system could be the panacea for every ill; but
+so long as an art in any given case did not tend to displace the more
+serious business of life; should it become for such an one an "aid to
+reflection," or, _per contra_, profitably distract him; in brief, if
+it anywise helped a soul on to her journey's end, then welcome the
+"good and perfect gift."
+
+[Footnote 1: Cardinal Capecelatro's _Life of St. Philip Neri_,
+translated by the Rev. Thomas Alder Pope, of the Oratory, vol. ii. p.
+83.]
+
+[Footnote 2: _Discourses to Mixed Congregations_, p. 297, Fourth Edit.
+1871.]
+
+[Footnote 3: _Idea of a University_, dis. iv. p. 80, Sixth Edit.
+1886.]
+
+[Footnote 4: _Oxford University Sermons_, p. 346, Edit. 1884.]
+
+[Footnote 5: _Idea_, dis. ix. 230. Dr. Chalmers writes to Blanco
+White: "You speak in your letter of the relief you have found in
+music.... I am no musician and want a good ear, and yet I am conscious
+of a power in music which I want words to describe. It touches chords,
+reaches depths in the soul which lie beyond all other influences....
+Nothing in my experience is more mysterious, more inexplicable."
+(Blanco White's _Life and Correspondence_, edited by Thom, 1845, vol.
+iii. p. 195.)]
+
+[Footnote 6: _Oxford University Sermons_, pp. 346, 347. Writing to her
+brother about the passage on music, partly cited above, beginning:
+"There are seven notes in the scale, make them fourteen; yet what a
+slender outfit for so vast an enterprise! What science brings so much
+out of so little! Out of what poor element does some great master in
+it create his new world!" Mrs. J. Mozley says, "We are pleased at your
+tribute to music, but what do you mean by fourteen notes? Do you mean
+the twelve semitones, as some suggest? I am indignant at the idea. I
+think you knew what you were saying. Please tell me when you write."
+(Mozley, _Corr._ ii. p. 411.) He replies: "I had already been both
+amused and provoked to find my gross blunder about the 'fourteen.' But
+do not, pray, suppose I _doubled_ the notes for semitones, though it
+looks very like it. The truth is, I had a most stupid idea in my head
+there were fifteen semi tones, and I took off one for the octave. On
+reading it over when published, I saw the absurdity. I have a great
+dislike to publishing hot bread, and this is one proof of the
+inconvenience." (_Ibid._) The Second Edition has "thirteen notes,"
+which is correct, if the octave be included, but later editions go
+back to "fourteen."]
+
+[Footnote 7: Pope, _Capecelatro_, ii. 82.]
+
+[Footnote 8: _Idea_, dis. vi. p. 144.]
+
+[Footnote 9: _Ibid._]
+
+Thus, of a pupil's violin playing, September, 1865: "There are more
+important things, and I had some fear that he might be neglecting his
+proper studies. Now since he has not been, his music is all gain....
+To my mind music is an important part of education, where boys have a
+turn for it. It is a great resource when they are thrown on the world,
+it is a social amusement perfectly innocent, and, what is so great a
+point, employs their thoughts. Drawing does not do this. It is often a
+great point for a boy to escape from himself, and music enables him.
+He cannot be playing difficult passages on the violin, and thinking of
+anything else." Perhaps he was speaking from experience, for he told
+us in September, 1875: "I began the violin when I was ten years old,"
+and his two brothers used to accompany him in trios, Frank playing
+"the bass." On going to Oxford he kept up his music. Thus in February,
+1820: "Our music club at St. John's has been offered, and has
+accepted, the music-room, for our weekly private concerts;" and later:
+"I went to the R's to play the difficult first violin to Haydn,
+Mozart, &c.;"[10] and in June, 1820: "I was asked by a man yesterday
+to go to his rooms for a _little_ music at seven o'clock. I went. An
+old Don--a very good-natured man but too fond of music--played bass,
+and through his enthusiasm I was kept playing quartets on a heavy
+tenor from seven to twelve. Oh, my poor eyes and head and back."[11]
+When the news arrived of his success at Oriel he was practising
+music. "The Provost's butler--to whom it fell by usage to take the
+news to the fortunate candidate--made his way to Mr. Newman's lodgings
+in Broad Street, and found him playing the violin. This in itself
+disconcerted the messenger, who did not associate such an
+accomplishment with a candidateship for the Oriel Common-Room, but his
+perplexity was increased when on his delivering what may be considered
+to have been his usual form of speech on such occasions, that 'he had,
+he feared, disagreeable news to announce, viz., that Mr. Newman was
+elected Fellow of Oriel, and that his immediate presence was required
+there,' the person addressed merely answered, 'Very well,' and went on
+fiddling. This led the man to ask whether, perhaps, he had not gone to
+the wrong person, to which Mr. Newman replied that it was all right.
+But, as may be imagined, no sooner had the man left than he flung down
+his instrument and dashed downstairs."[12] And again, "With a
+half-malicious intent of frightening them (his electors at Oriel), it
+was told them that Mr. Newman had for years belonged to a club of
+instrumental music, and had himself taken part in its public
+performances, a diversion, innocent in itself, but scarcely in
+keeping, or in sympathy with an intellectual Common-Room, or promising
+a satisfactory career to a nascent Fellow of Oriel."[13] So thought
+the _quidnuncs_; nevertheless, Mr. Newman "went on fiddling." His
+pupil, F. Rogers (the late Lord Blachford), joined him herein, and
+writes, January, 1834: "Your sermons ... and Beethoven are most
+satisfactory. I wish I could hope to join you in the last in any
+moderate time. However, I do expect you will take me to Rose Hill to
+hear some of it again, if it were only to remind me of those evenings
+I used to spend with you when at Iffley. I am afraid you will have
+enough of my bass to satisfy you without Beethoven in the course of
+next term." N.B.--"He was to be in Froude's room over my
+head,--J.H.N."[14] Mr. Bowden also played the violoncello, and Newman
+was further supported by one who was a musician, and a deal more
+besides. "Mr. Blanco White," he writes, November, 1826, "plays the
+violin, and has an exquisite ear."[15] "I have only one sister alive
+now," he said sadly in September, 1875, "and she is old, but plays
+Beethoven very well.[16] She has an old-fashioned, energetic style of
+playing; but one person, I remember, played Beethoven as no one else,
+Blanco White. I don't know how he learned the violin, but he would
+seem to have inherited a tradition as to the method of playing him."
+"Both were violinists," writes Mr. T. Mozley of Blanco White and Mr.
+Newman, "but with different instruments. Blanco White's was very
+small.... Poor gentleman! Night after night anyone walking in the
+silence of Merton Lane might hear his continual attempts to surmount
+some little difficulty, returning to it again and again like Philomel
+to her vain regrets.[17] With Reinagle ... Newman and Blanco White had
+frequent (trios) at the latter's lodgings, where I was all the
+audience.... Most interesting was it to contrast Blanco White's
+excited and indeed agitated countenance with Newman's sphinx-like
+immobility, as the latter drew long rich notes with a steady
+hand."[18] Dr. Newman was still "bowing" forty years later, by which
+time the alleged "sphinx-like immobility" had made way for an
+ever-varying expression upon his face as strains alternated between
+grave and gay. Producing his violin from an old green baize bag,[19]
+bending forward, and holding his violin against his chest, instead of
+under the chin in the modern fashion, most particular about his
+instrument being in perfect tune, in execution awkward yet vigorous,
+painstaking rather than brilliant, he would often attend at the
+Oratory School Sunday practices between two and four of an afternoon,
+Father Ryder and Father Norris sometimes coming to play also. For many
+years Dr. Newman had given up the violin,[20] but finding some of the
+school taking to the strings, he took it up again by way of
+encouraging them to persevere in what he deemed to be so good a thing
+for his boys. And he quietly inculcated a lesson in self-effacement
+too, for albeit he had begun the violin very long before our time, he
+invariably took second fiddle. He had no high opinion of his own
+performances. Answering the Liverpool anti-Popery spouter's summons to
+battle, he relied rather on his friends' estimate of his powers than
+upon his own. "Canon M'Neill's well-known talents as a finished orator
+would make such a public controversy an unfair trial of strength
+between them, because he himself was no orator. He had in fact no
+practice in public speaking. _His friends, however, told him_ that he
+was no mean performer on the violin, and if he agreed to meet Canon
+M'Neill, he would only make one condition, that the Canon should open
+the meeting, and say all he had to say, after which he (Mr. Newman)
+would conclude with a tune on the violin. The public would then be
+able to judge which was the better man."[21] With mere fiddling, a
+fluency void of expression he had little patience, and when, at a term
+"break-up," a youth's bow cleverly capered about on a violoncello, he
+uttered no compliment when the boy had concluded his flourishes. It
+was a mere display for executive skill, without feeling.
+
+[Footnote 10: Mozley, _Correspondence_, i. p. 52.]
+
+[Footnote 11: _Ibid._]
+
+[Footnote 12: Mozley, _Corr._ i. p. 71. On one occasion (between
+1860-70) two Oratory boys went up to his room to make a complaint, and
+hearing only "fiddling" the other side of the door, made bold to
+enter, but their visit was ill-timed. "Every Englishman's house is his
+castle," said the Father, and he "went on fiddling." This term,
+"Father," is what every one in the house called Dr. Newman, and
+correctly, as being Father Superior of the Oratory. It is the name (it
+need scarcely be added) that he liked to be called by.]
+
+[Footnote 13: _Ibid._ i. p. 104: Provost Hawkins, at this time a
+Fellow, and ultimately succeeding Copleston, had no love for music,
+and rather despised such a thing as being "a sign of an effeminate (or
+frivolous) mind." He used one or other of these terms, or _both_.]
+
+[Footnote 14: Mozley, _Corr._ ii. p. 22.]
+
+[Footnote 15: _Ibid._ i. p. 146.]
+
+[Footnote 16: She writes in July, 1843: "Now I do so wish, John, you
+would pay us a visit. I will practise hard to get up some Beethoven."
+(Mozley, _Corr._ ii. 415.)]
+
+[Footnote 17: With this difference, however, Philomel had not to learn
+her regrets: she knew them already.]
+
+[Footnote 18: _Reminiscences_, i. pp. 247, 248, Second Edition, 1882.
+Of statements in this work the Cardinal humorously observed: "When a
+thing won't stand on three legs, Tom supplies a fourth." The Father
+played the viola a good deal, which is larger than the violin; hence
+Mr. Mozley's "different instruments," &c.]
+
+[Footnote 19: One of the boys was once lent this aged green baize bag,
+and losing it, never heard the end of it. Whenever there was question
+of lending him anything else, the Father would say very quietly: "I
+think I lent you a green baize bag." Nor would he allow that it was
+lost: "You mean mislaid."]
+
+[Footnote 20: A friend remembers Father Whitty, S.J., bringing to
+Maryvale Mr. McCarthy and Mr. M'Quoin, young converts and subsequently
+priests (the former is still living in Jersey). Both played the
+violin, so an instrumental quartet was essayed (a rare event in the
+community), the executants being the two named, and Fathers Newman and
+Bowles (violoncello).]
+
+[Footnote 21: Father Lockhart, in the _Paternoster Review_ for
+September, 1890.]
+
+Readers will remember here the passage in _Loss and Gain_: "Bateman:
+'If you attempt more, it's like taxing a musical instrument beyond its
+powers.' Reding: 'You but try, Bateman, to make a bass play
+quadrilles, and you will see what is meant by taxing an instrument.'
+Bateman: 'Well, I have heard Lindley play all sorts of quick tunes on
+his bass, and most wonderful it is.' Reding: 'Wonderful is the right
+word, it is very wonderful. You say, "How _can_ he manage it? It's
+very wonderful for a bass;" but it is not pleasant in itself. In like
+manner, I have always felt a disgust when Mr. So-and-so comes forward
+to make his sweet flute bleat and bray like a haut-bois; it's forcing
+the poor thing to do what it was never made for.'"[22]
+
+[Footnote 22: _Loss and Gain_, p. 284, Sixth Edition, 1874.]
+
+In the same mood, when a quartet of Schubert was played to him in
+March, 1878, the sole remark he let fall was, "Very harmonious and
+clever, but it does not touch the heart."
+
+In March, 1883, he observed that he missed the minor key in
+Palestrina, and on our adding that, perhaps, Mendelssohn had too much
+of it, he went on, "It cuts me to the heart that minor," and so he
+liked the mixed mode to the Psalm _In exitu Israel_, and was much
+affected by the slow movements in Beethoven's Ninth Quartet and C
+minor Symphony, and the Allegretto of the Symphony in A.
+
+     I cannot of that music rightly say,
+     Whether I hear or touch or taste the tones,
+     Oh, what a heart-subduing melody![23]
+
+[Footnote 23: _The Dream of Gerontius._]
+
+There was just that human element about it, so "deeply pathetic,"
+which in the same way made him prefer Euripides to Sophocles, for all
+the latter's "sweet composure, melodious fulness, majesty and
+grace."[24] And here we may add, that as late as January, 1890,
+_apropos_ of a Greek play for his school, he was as keen and eager as
+ever about the merits of Euripides, expressed himself as being at a
+loss to understand the critics invariably preferring Sophocles to the
+other two, and evidently placed Euripides and Æschylus first and
+second respectively. A frequently true and natural feeling, whether
+displayed by the author of the _Bacchæ_, or by the composer of
+_Fidelio_, evidently almost atoned, in his estimation, for every
+deficiency.
+
+[Footnote 24: _Essays_, i. 7, Fifth Edit.]
+
+He writes to his sister, October, 1834: "There is a lady here" (at
+Tunbridge Wells), "who plays most beautifully. I think I never heard
+such a touch--why, I cannot make out, for she has not long fingers to
+be brilliant. So you must set yourself to rival her. It would be
+interesting to _examine_ the causes of expression, which you might
+easily do. _Strength_ of finger is one thing certainly. This lady is
+not brilliant in the common sense--that is, smart and rattling--but
+every note is so full-toned, so perfect, that one requires nothing
+beyond itself. This in Beethoven's effective passages produces a
+surprising effect. I accompanied her last night and am to do so again
+to-night."[25] He wrote in September, 1865, of a certain boy's
+progress with the violin: "He plays fluently, so to say; by fluency I
+mean in time, in tune, and with execution. This is stage one; stage
+two is eloquence, by which I mean grace, delicacy, and expression. To
+gain this nothing is better than to accompany his sisters. A boy who
+always is first fiddle is in danger of artistic faults parallel to
+those which are implied in the metaphorical sense of the words. When
+he comes back I think he has had enough of the music-master, and I
+shall try to make him turn his thoughts to a higher school of music
+than is suitable to a beginner, but I cannot tell whether he is old
+enough to take to it. I recollect how slow I was as a boy to like the
+school of music which afterwards so possessed me that I have to come
+to think Haydn, in spite of his genius, almost vulgar." And just as
+Blanco White would seem to have thoroughly initiated Mr. Newman into
+the mysteries of Beethoven, so did Dr. Newman lead on his boys (as
+they would say) "to swear by" that master. They might start with
+Corelli, and go on to Romberg, Haydn, and Mozart: their ultimate goal
+was Beethoven, and round would come the "Father Superior" with ancient
+copies of the quintet version of the celebrated septet, and
+arrangements from the symphonies; nor were the first ten quartets, the
+instrumental trios, the violin sonatas, and the overtures forgotten.
+The "Dutchman," with his force and depth, his tenderness and
+sweetness, was the Cardinal's prime favourite. "We were at the
+concert," Mrs. Newman writes to him at school, "and fascinated with
+the Dutchman" (the name he had given to Beethoven to tease his
+music-master because of the _van_ to his name), "and thought of you
+and your musical party frequently."[26] "They tell me," he said in
+May, 1876, on occasion of hearing at the Latin Play, the _scherzo_ and
+_finale_ of the Second Symphony, "that these first two symphonies of
+Beethoven are not in his style; to me they are Beethoven all over.
+There is no mistaking that _scherzo_." And again in October, 1877,
+after a rendering of the _allegretto_ of the Eighth Symphony, on our
+observing that it was like the giant at play, he said: "It is curious
+you should say that. I used to call him the gigantic nightingale. He
+is like a great bird singing. My sister remembers my using the
+expression long ago." And although he betrayed a little doubt as to
+Beethoven's tone being essentially religious, he was unwilling to hear
+anything said against him.[27] The late Father Caswall, once
+distracted, while singing High Mass, with Beethoven's Mass in C,
+half-humorously vented his wrath at recreation against the _Credo_.
+Said he: "I think that's a condemnable _Credo_." "Oh, I rather liked
+it," was Father Newman's rejoinder. "More dramatic than reverent," had
+been the remark made to the latter in September, 1882, by the then
+Warden of Keble, after the conclusion of the _Mount of Olives_ at the
+Birmingham Festival. The Cardinal said little or nothing at the time,
+but his affection for Beethoven came out subsequently. "When you come
+to Beethoven," said he, "I don't say anything about good taste, but he
+has such wonderful bits here and there." And in the department of
+_cadenza_ and variation he deemed him without an equal.
+
+[Footnote 25: Mozley, _Corr._ ii. 67.]
+
+[Footnote 26: Mozley, _Corr._ i. 19.]
+
+[Footnote 27: The late Canon Mozley said that Chopin was "certainly a
+Manichean; he did not believe in God; he believed in some spirit, not
+in God;" while "the moral grandeur of Beethoven's genius was always
+present to him, as, with less force, was also Mendelssohn's: 'They
+believed in God--their music showed it.'" (_Letters_, p. 353, Edit.
+1885.)]
+
+Distrusting their talent lest it should run away with them, and they
+neglect the rubrics, Dr. Newman was sensitive over musicians of the
+day setting to work upon liturgy. Of sorts of liberty taken we have
+modern examples in Gounod's _Mors et Vita_ Oratorio, where _O felix
+culpa_, &c., is planted in the middle of the _Dies Iræ_, and in his
+_Messe Solennelle_, where _Domine, non sum dignus_, &c., figures as a
+solo in the _Agnus Dei_ (a less objectionable case, the treatment
+being fortunately devotional). Berlioz, too, in his _Requiem_,
+introduces before the _Tuba mirum_ the words, _Et iterum venturus est
+judicare vivos et mortuos_. And in a passage where he would appear to
+be depicting Beethoven's power, after alluding to "the marvellous
+development which musical science has undergone in the last century,"
+Dr. Newman continues: "Doubtless, here, too, the highest genius may be
+made subservient to religion," but "it is certain that religion must
+be alive and on the defensive, for if its servant sleep a potent
+enchantment will steal over it.... If, then, a great master in this
+mysterious science ... throws himself on his own gifts, trusts its
+inspirations and absorbs himself in those thoughts which, though they
+come to him in the way of nature belong to things above nature, it is
+obvious he will neglect everything else. Rising in his strength he
+will break through the trammels of words; he will scatter human
+voices, even the sweetest, to the winds; he will be borne upon nothing
+else than the fullest flood of sounds which art has enabled him to
+draw from mechanical contrivances; he will go forth as a giant, as far
+as ever his instruments can reach, starting from their secret depths
+fresh and fresh elements of beauty and grandeur as he goes, and
+pouring them together into still more marvellous and rapturous
+combinations; and well indeed, and lawfully, while he keeps to that
+line which is his own; but should he happen to be attracted, as he
+well may, by the sublimity, so congenial to him, of the Catholic
+doctrine and ritual, should he engage in sacred themes, should he
+resolve by means of his art to do honour to the Mass, or the Divine
+Office--(he cannot have a more pious, a better purpose, and religion
+will gracefully accept what he gracefully offers; but) is it not
+certain from the circumstances of the case, that he will be carried on
+rather to use religion than to minister to it, unless religion is
+strong on its own ground, and reminds him that if he would do honour
+to the highest of subjects, he must make himself its scholar, must
+humbly follow the thoughts given him, and must aim at the glory, not
+of his own gift, but of the Great Giver."[28] How entirely is this
+spirit in accord with the Congregation of Rites; with the sentiments,
+indeed, of every lover of true church-music. He was thus very slow to
+take (if he ever really took) to new-comers on the field of sacred
+music. And holding, as he did, that no good work could be adequately
+adjudged without a thorough knowledge of it, he was disinclined to be
+introduced to fresh musical names at all, on the bare chance, that
+might never occur, of what had been a casual acquaintanceship ripening
+into intimate friendship. He had in early days found time and
+opportunity to comprehend certain masters, Corelli, Handel, Haydn,
+Romberg, Mozart, and Beethoven, but Schubert, Schumann, Wagner ("I
+cannot recollect all the fellows' names"[29]); who were these
+strangers, intruding somewhat late in the evening upon a dear old
+family party? Thus, writing of Mendelssohn's chief sacred work in
+March, 1871, which he had been reluctantly induced to go and listen
+to, and which he never got to hear again: "I was very much
+disappointed the one time that I heard the _Elijah_, not to meet with
+a beautiful melody from beginning to end. What can be more beautiful
+than Handel's, Mozart's, and Beethoven's melodies?" Now, of course,
+there is plenty of melody in the _Elijah_, though it may be conceded
+that Mendelssohn's melodious gift is less _copious_ than that of
+Mozart, but the fact was, Cardinal Newman never got to know the
+_Elijah_, doubtless deemed it long, and felt content to feed upon the
+musical _pabulum_ that he had so long found satisfying. And underlying
+this particular form of the _gravamen_ against Mendelssohn, we should
+say that there existed a species of irritation with some of the modern
+oratorio. Was it not very possibly in his eyes a kind of Protestant
+rejuvenescence of an eighteenth century Biblical institution, all
+quietly founded, without acknowledgment, on St. Philip's own Catholic
+creation,[30] and nowadays bidding fair to do duty at convenient
+intervals for proper religious worship with large numbers alike of
+church-goers and of people who never go to church? Better oratorio
+here, it may be said, than nothing at all, and that may be conceded;
+but we have an impression that the Cardinal looked jealously at the
+use of Scripture for general musical performances in concert-halls. He
+was a little put out, too, by librettists interlarding Holy Writ with
+their own "copy." Scripture was good, and Gounod, for example, might
+be good, but both together in literary collaboration were--well, not
+so good. While allowing that there was something of interest in the
+history of the latter's _Redemption_ Oratorio, insomuch as when first
+conceived long ago its composer had entertained thoughts of embracing
+the religious state, he could with difficulty be induced to go and
+hear it, at its first production in Birmingham on the last day of
+August, 1882. Nor could he be got to say anything about it by way of a
+compliment. "As the work of a man of genius one does not like to
+criticize it," was what he let fall, and he was rather troubled by its
+"March to Calvary," which he likened in private to "the bombardment of
+Alexandria." At the 1876 Festival, Wagner's _Supper of the Apostles_
+was to his ear "sound and fury," and Brahms' _Triumphlied_ fared no
+better in 1882. We happened to be with him at the Friday morning
+performance, September 1. A certain party came in late, and talked
+away behind us all through the G minor Symphony of Mozart, whose
+"exuberant inventiveness"[31] excited our wonder. When the din of the
+_Triumphlied_ came on, her voice was quite drowned, and the Cardinal
+whispered: "Brahms is a match for her."[32]
+
+[Footnote 28: _Idea_, dis. iv. 80, 81. In a Bull of 1749, Pope
+Benedict the Fourteenth lays great stress on the words being heard and
+understood, "Curandum est ut verba quæ cantantur plane perfecteque
+intelligantur," and this is best secured in the unaccompanied chant.
+In an interesting article of the _Dublin Review_ (New Series, vol. ii.
+January-April, 1864), the effect of official pronouncements on the
+questions affecting the plain chant and concerted music is thus
+succinctly summed up: "1. That music, properly so called, may be
+admitted as well as plain chant. 2. That the music of the church is to
+possess a certain gravity and to minister to devotion. 3. That
+instrumental music may be allowed, under certain restrictions."]
+
+[Footnote 29: _Discussions and Arguments_, p. 343, Fourth Edit. 1882.]
+
+[Footnote 30: We have it, however, on good authority that a Jesuit
+Father told a Mr. Okely that "one of our Fathers received him
+(Mendelssohn) into the Church shortly before his death." Our informant
+thinks the occurrence took place in Switzerland. If so, the fact ought
+to be better known than it is. Moreover, he adds, that the late Father
+W. Maher, S.J., on one occasion, previous to Mendelssohn's _Lauda
+Sion_ being done at Farm Street, addressed the congregation: "Perhaps
+you would like to know that the author of the music we are about to
+hear died a Catholic."]
+
+[Footnote 31: _Oxford University Sermons_, p. 346.]
+
+[Footnote 32: She subsequently resumed talk, trying to draw him out
+about Ireland and Gounod, but all in vain. It was nearly 3 p.m. ere
+this _morning_ concert came to an end, when a second lady, introduced
+by a noble lord, appeared on the scene, and detained him upon
+questions relative to the state of the soul after death, what St.
+Thomas had said, &c. Meanwhile sweepers, uninterested in this
+ill-timed discussion, were pursuing their avocation in the emptying
+hall, and stewards were set wondering as to when His Eminence would be
+released.]
+
+He got to know fairly well Mendelssohn's canzonet quartet and
+Schumann's pianoforte quintet Op. 44; but we recall no musical works
+heard by him for the first time in very late life making any
+particular impression on the Father, with one notable exception;
+Cherubini's First Requiem in C minor, done at the Festival, August 29,
+1879. We were to have gone with him, but a Father who accompanied him
+wrote to us instead next day: "The Father was quite overcome by it,
+and that is the fact. He kept on saying, 'beautiful, wonderful,' and
+such-like exclamations. At the _Mors stupebit_ he was shaking his head
+in his solemn way, and muttering, 'beautiful, beautiful.' He admired
+the fugue _Quam olim_ very much, but the part which struck him most by
+far, and which he spoke of afterwards as we drove home, is the ending
+of the _Agnus Dei_--he could not get over it--the lovely note C which
+keeps recurring as the 'requiem' approaches eternity." When it was
+done twice in its true home, the church, later, on the 2nd and 13th
+November, 1886, he said, "It is magnificent music." "That is a
+beautiful Mass" (adding, with a touch of pathos), "but when you get as
+old as I am, it comes rather too home." A diary noting the service on
+All Souls' day, says: "His Eminence was at the throne in his purple
+robes. I was in the gallery at the end of the nave, and the dim-lit
+sanctuary (with the Cardinal's _zucchetto_ the only bit of bright
+colour in the gloom), the sublime music, all had a most impressive
+effect." On November 13, 1885, he heard in the church and for the
+first time, the Florentine's Second Requiem in D minor, for male
+voices; and thought it beautiful and devotional, and in no way lacking
+in effect through the absence of _soprani_ and _contralti_, which he
+had not missed. He was most struck with the _piano_ passage in canon
+beginning with the words _Solvet sæclum_. On September 1, 1882, he
+heard at the Festival the same composer's Mass in C, and characterized
+as "beautiful" the fugue at the end of the _Gloria_, the part in the
+Offertory where the chorus enters in support of the soprano solo, and
+the conclusion of the _Dona_. It came as a relief to him after Brahms,
+who was not understood at a first hearing, and this inability in
+general to grasp good music at once is exhibited in his Italian
+correspondence. "This last week," he writes from Rome in April, 1833,
+"we have heard the celebrated _Miserere_, or rather the two
+_Misereres_, for there are two compositions by Allegri and Boii [it
+should be Bai, and a third is now added, composed by Father Baini] so
+like each other that the performers themselves can scarcely tell the
+difference between them. One is performed on the Thursday and the
+other on Good Friday. The voices are certainly very surprising; there
+is no instrument to support them, but they have the art of continuing
+their notes so long and equally that the effect is as if an organ were
+playing, or rather an organ of violin strings, for the notes are
+clearer, more subtle and piercing, and more impassioned (so to say)
+than those of an organ. The music itself is doubtless very fine, as
+everyone says, but I found myself unable to understand all parts of
+it. Here and there it was extremely fine, but it is impossible to
+understand such a composition on once or twice hearing. In its style
+it is more like Corelli's music than any other I know (though very
+different too). And this is not wonderful, as Corelli was Master of
+the Pope's Chapel, and so educated in the school of Allegri,
+Palestrina, and the rest. These are the only services we have been to
+during the week."[33]
+
+[Footnote 33: Mozley, _Corr._ i. 380. We do not think that Corelli
+ever was Papal choirmaster. For some years, however, he led the
+orchestra of the Roman Opera, and was a great friend of Cardinal
+Ottoboni. How different the _Tenebræ_ music at St. Peter's can be from
+that at the Sixtine chapel, is seen by the three _Misereres_ at the
+former being by Basili, Guglielmi, and Zingarelli, all composers of
+light opera.]
+
+For good operatic music Cardinal Newman had, we believe, more of a
+liking than for the more modern oratorio. Rossini, as a religious
+composer, was, we fear, in his bad books, yet when the choice had to
+be made at the 1879 Festival as to what performance he would attend,
+he at first said, "I shall go once, and I choose _Mosé in Egitto_." He
+was, he continued, fond of operatic music, and heard very little of
+it. "However," he added to two of the Fathers, "there's no reason why
+you shouldn't go to all." Perhaps there was one reason against that
+course; it would be expensive. There is an amusing notice of Rossini
+in the Anglican Letters of Mr. Newman. "Bowden tells me," he wrote in
+March, 1824, "that Sola, his sister's music-master, brought Rossini to
+dine in Grosvenor Place not long since; and that as far as they could
+judge (for he does not speak English) he is as unassuming and obliging
+a man as ever breathed. He seemed highly pleased with everything, and
+anxious to make himself agreeable. Labouring, indeed, under a severe
+cold, he did not sing, but accompanied two or three of his own songs
+in the most brilliant manner.... As he came in a private, not a
+professional, way, Bowden called on him, and found him surrounded, in
+a low, dark room, by about eight or nine Italians, all talking as fast
+as possible, who, with the assistance of a great screaming _macaw_,
+and of Madame Rossini in a dirty gown and her hair in curl papers,
+made such a clamour that he was glad to escape as fast as he
+could."[34]
+
+[Footnote 34: Mozley, _Corr._ i. 83.]
+
+The revised Latin play, and music in conjunction, and all played by
+the boys themselves, were two striking traditions (not, we trust, to
+die out) of the Oratory School in our time, and they were institutions
+introduced by Dr. Newman there, and rooted in his affections from
+boyhood's associations. "Music was a family taste and pursuit," writes
+the late Miss Mozley, "Mr. Newman, the father, encouraged it in his
+children. In those early days they could get up performances among
+themselves, operatic or simply dramatic."[35] At Ealing School he took
+the parts of Davus in the _Andria_, Cyrus in the _Adelphi_, and
+Pythias in the _Eunuchus_, as he told us himself; a varied
+_répertoire_, _i.e._ the confidential family servant, the young man
+about town, and the maid of all work! We see not only plays, and then
+music, and lastly the two together, but original composition also,
+early engaging his attention. He tells us, "In the year 1812 I think
+I wrote a mock drama of some kind.... And at one time I wrote a
+dramatic piece in which Augustus comes on. Again, I wrote a burlesque
+opera in 1815, composing tunes for the songs."[36]
+
+[Footnote 35: _Ibid._ i. 19.]
+
+[Footnote 36: Mozley, _Corr._ i. 19.]
+
+As to composing, he writes to his mother in March, 1821: "I am glad to
+be able to inform you that Signor Giovanni Enrico Neandrini has
+finished his first composition. The melody is light and airy, and is
+well supported by the harmony."[37] We may add that Mr. Newman, Mr.
+Walker (afterwards Canon of Westminster), and Mr. Bowles, played
+together at Littlemore instrumental trios written by the Cardinal
+himself, and which Father Bowles once told us were "most pleasing."
+What has become of them?[38] On our showing the Father in 1869 an
+original song to his words "The Haven,"[39] he pointed to the second
+chord, exclaiming, "Ah, a diminished seventh!" We had no notion at
+that time what perpetrated iniquity that might be, but two years later
+he wrote: "Every beginner deals in diminished sevenths. At least, I
+did as a boy. I first learnt the chord from the overture to
+_Zauberflöte_; and henceforth it figured with powerful effect in my
+compositions. You must try to make a melody. Without it you cannot
+compose. Perhaps, however, it is that which makes a musical genius."
+If you have no ideas, in fact, go in _con amore_, for the chord of the
+diminished seventh.
+
+[Footnote 37: _Ibid._ p. 61.]
+
+[Footnote 38: Mrs. J. Mozley to J.H.N., December 1, 1842: "I suppose
+you are able to make use of your violin now you are at Littlemore. I
+have been practising hard lately, and wish you could come, that I
+might turn my practice to good account." (Mozley, _Corr._ ii. 405.)
+Father Lockhart, too, refers to Newman's playing at Littlemore
+"exquisite sonatas of Beethoven." (_Paternoster Review_, Sept. 1890.)
+Father Coffin, afterwards Bishop of Southwark, assisted at the musical
+performances.]
+
+[Footnote 39: _Verses on Various Occasions_, p. 86, Edit. 1888.]
+
+On receiving a march, written by a pupil in 1873, he gently indicated
+faults while giving encouragement, and wrote in July, "It shows you
+are marching in your accomplishments. It is a very promising
+beginning.... On reading it, I thought I had found some grammatical
+faults, but perhaps more is discovered in the province of discords,
+concords, and coincidences of notes than when I was a boy." And in
+September of the same year, "Thank you for your new edition of _St.
+Magnus_. On what occasion did he march? I know Bishops were warlike in
+the middle ages. However, whenever it was, his march is very popular
+here, and it went off with great _éclat_." Then he wrote to his
+correspondent in April, 1880, who talked about not being "skilled,"
+"Why should you not qualify yourself to deserve the title of a
+'skilled musician?' 'Skilled' is another word for 'grammatical' or
+'scholarlike.'"
+
+When an Oratory organist in the early days was shown a hymn with tune
+and accompaniment all composed by Dr. Newman himself (for insertion in
+the printed Birmingham Oratory Hymn Book), unaware of the authorship
+he at once corrected some of the chords. The Father Superior noticed
+this, and asked him why he had made the changes. The organist
+proceeded to advert to some consecutive fifths in the harmony. But,
+urged the Father, Beethoven and others make use of them. "Ah," came
+the answer, "it's all very well for those great men to do as they
+like, but that don't make it right for ordinary folk to do as they
+like." Dr. Newman therefore learned that musically he was only an
+ordinary folk, and he would have been the first to laugh down the
+notion that he was anything else; for a modest estimate of himself in
+many things was a very marked characteristic with him, and made him
+call his beautiful verse "ephemeral effusions" to Badeley, and write
+in May, 1835, _apropos_ of a suggested uniform edition of his revised
+Latin plays, "I have not that confidence in my own performance to
+think I can compete with a classical Jesuit" (_i.e._ Father Jouvency).
+In 1828 he had contemplated writing an article on music for the
+_London Review_, along with one on poetry. The latter, in the event,
+alone saw the day; the former "seems to have remained an idea
+only."[40] He is apologetic in the _Idea of a University_, when about
+to descant so eloquently upon music: "If I may speak," he says, "of
+matters which seem to lie beyond my own province;"[41] but in very
+early Oratory days at Edgbaston, he essayed some lectures on music to
+some of the community in the practice-room. And at the opening of the
+new organ there in August, 1877, he "preached a most beautiful
+discourse [taken down at the time], upon the event of the day; and on
+music, first as a great natural gift, then as an instrument in the
+hands of the Church; its special prominence in the history of St.
+Philip and the Oratory; the part played by music in the history of
+God's dealings with man from first to last, from the thunders of Mount
+Sinai to the trumpets of the Judgment; the mysterious and intimate
+connection with the unseen world established by music, as it were the
+unknown language of another state. Its quasi-sacramental efficacy,
+_e.g._, in driving away the evil spirit in Saul and in bringing upon
+Eliseus the spirit of prophecy; the grand pre-eminence of the organ in
+that it gave the nearest representation of the voice of God, while the
+sound of strings might be taken as more fitted to express the varying
+emotions of man's state here on earth."[42]
+
+[Footnote 40: _Essays_, i. Fifth Edit. 1881; Mozley, _Corr._ i. 194.]
+
+[Footnote 41: _Idea_, dis. iv. 80.]
+
+[Footnote 42: _Tablet_, 25 Aug. 1877.]
+
+At Oxford, in his time, he said, there were none of the facilities for
+music that now form part of the institutions of the place; there was
+little to encourage individual musical talent. At St. Clement's we
+only learn, "I had a dispute with my singers in May, which ended in
+their leaving the church, and we now sing _en masse_,"[43] and in June
+still, "My singers are quite mute."[44] At St. Mary's, Mr. Bennett,
+who was killed on his way to Worcester Festival by the upsetting of a
+coach,[45] and after him Mr. Elvey, elder brother of Sir George Elvey,
+sometime organist at St. George's Chapel, Windsor, were Mr. Newman's
+organists. "I shall never forget," writes a hearer, "the charm it was
+to hear Elvey play the organ for the hymn at Newman's afternoon
+parochial service at St. Mary's on a Sunday. The method was to play
+the tune completely through on the organ before the voices took it up,
+and the way he did it was simply perfect."
+
+[Footnote 43: Mozley, _Corr._ i. 97.]
+
+[Footnote 44: _Ibid._]
+
+[Footnote 45: "There is a chant of his composing," writes a friend,
+"which was reckoned at the time a stroke of genius--quite a new idea.
+I have it in a Collection made by his father, who was organist of
+Chichester Cathedral," and Bennett's elder brother "was my master at
+Chichester in 1842. He used to speak of his brother's genius, and what
+a loss he was to music."]
+
+Still the Anglican service, taken as a whole, was scarcely then
+calculated to stir artistic fervour, and this listener, so delighted
+with Elvey at St. Mary's, went home to his village parish church only
+to hear the hymn murdered, or if it were Advent, Christmas, or Easter,
+a tradesman shout from the gallery, "We will now sing to the praise
+and glory of God a _h_anthem!" when a motet would be sacrificed to
+incompetency with every circumstance of barbarity attending the
+execution. Mr. Newman in language of appalling force, written a year
+after his conversion, has described the Anglican service as "a ritual
+dashed upon the ground, trodden on, and broken piecemeal; prayers
+clipped, pieced, torn, shuffled about at pleasure, until the meaning
+of the composition perished, and offices which had been poetry were no
+longer even good prose; antiphons, hymns, benedictions, invocations,
+shovelled away; Scripture lessons turned into chapters; heaviness,
+feebleness, unwieldiness, where the Catholic rites had had the
+lightness and airiness of a spirit; vestments chucked off, lights
+quenched, jewels stolen, the pomp and circumstances of worship
+annihilated; a dreariness which could be felt, and which seemed the
+token of an incipient Socinianism, forcing itself upon the eye, the
+ear, the nostrils of the worshipper; a smell of dust and damp, not of
+incense; a sound of ministers preaching Catholic prayers, and parish
+clerks droning out Catholic canticles; the royal arms for the
+crucifix; huge ugly boxes of wood, sacred to preachers, frowning on
+the congregation in the place of the mysterious altar; and long
+cathedral aisles unused, railed off, like the tombs (as they were) of
+what had been and was not; and for orthodoxy, a frigid, unelastic,
+inconsistent, dull, helpless dogmatic, which could give no just
+account of itself, yet was intolerant of all teaching which contained
+a doctrine more or a doctrine less, and resented every attempt to give
+it a meaning."[46] The Catholic Church's ritual he found very
+different.
+
+[Footnote 46: _Essays_, ii. pp. 443, 444.]
+
+"What are her ordinances and practices," he asks, "but the regulated
+expression of keen, or deep, or turbid feeling, and thus a 'cleansing'
+as Aristotle would word it, of the sick soul? She is the poet of her
+children; full of music to soothe the sad, and control the
+wayward--wonderful in story for the imagination of the romantic; rich
+in symbol and imagery, so that gentle and delicate feelings, which
+will not bear words, may in silence intimate their presence, or
+commune with themselves. Her very being is poetry; every psalm, every
+petition, every collect, every versicle, the cross, the mitre, the
+thurible, is a fulfillment of some dream of childhood, or aspiration
+of youth. Such poets as are born under her shadow, she takes into her
+service, she sets them to write hymns, or to compose chants, or to
+embellish shrines, or to determine ceremonies, or to marshal
+processions; nay, she can even make schoolmen of them, as she made St.
+Thomas, till logic becomes poetical."[47]
+
+[Footnote 47: _Ibid._ 442, 443.]
+
+And, of course, as the Catholic poet that he now was, he duly set
+about to "write hymns" and "to compose chants." Since 1834, it will be
+found, his original muse, amid the "encircling gloom," had been
+entirely silent, but once emerging into the light of the true faith,
+it struck the lyre again with those most lovely notes of
+"Candlemas"--
+
+     The Angel-lights of Christmas-morn,
+     Which shot across the sky,
+     Away they pass at Candlemas,
+     They sparkle and they die.[48]
+
+[Footnote 48: _Verses on Various Occasions_, p. 279, Edit. 1888. The
+well-known tune to this was adapted by him, for the Birmingham Oratory
+Congregation, from Reinagle's hymn tunes, brought out by subscription
+at Oxford, and to which he subscribed.]
+
+In 1849 appeared his most original and pathetic "Pilgrim Queen," or
+No. 38, _Regina Apostolorum_, in the Hymn Book, the sweet music
+thereto being his own composition, (or in part adaptation?)
+
+[Music:
+
+     There sat a Lady all on the ground,
+     Rays of the morning circled her round;
+     Save thee, and hail to thee, gracious and fair,
+     In the chill twilight what wouldst thou there?]
+
+In 1850 came two more exquisite hymns in honour of the Mother of God,
+_i.e._, the "Month of Mary," and the "Queen of Seasons," both headed
+_Rosa Mystica_ in the hymn-book. The hymns and tunes of two others, of
+No. 51. "Regulars and St. Philip," (an expressive melody),
+
+[Music:
+
+     The holy monks conceal'd from men
+     In midnight choir or studious cell,
+     In sultry field or wintry glen,
+     The holy monks, I love them well,
+     In sultry field or wintry glen,
+     The holy monks, I love them well.]
+
+and No. 81, "Night" ("The red sun is gone," from the Breviary),
+
+[Music:
+
+     The red sun is gone,
+     Thou light of the heart,
+     Blessed Three Holy One,
+     To Thy servants a sun
+     Everlasting impart.]
+
+are also by him; and there may be others. And though this tune to No.
+81 has been irreverently referred to as being "just like an old
+sailor's song," the same critic has extolled its effect, and told us
+how he loved to sing its long note at eventide. No. 61, "Conversion,"
+is Father Faber's hymn, "I was wandering and weary" (No. 66 in the
+London Oratory Hymn Book[49]), but the original air in both Oratory
+books is the same, and the composition of Cardinal Newman.
+
+[Footnote 49: _Oratory Hymn Tunes._ Arranged by W. Pitts. London:
+Novello.]
+
+[Music:
+
+     I was wandering and weary,
+     When my Saviour came unto me,
+     For the ways of sin grew dreary,
+     And the world had ceas'd to woo me;
+     And I thought I heard Him say,
+     As He came along His way, &c.]
+
+Its peculiar merits grow upon familiar acquaintance, and a devoted
+lover of plain chant, rather to our surprise, once expressed his
+affection for it. It has been termed "briny," like No. 81. Its
+expressiveness and "go" are unquestionable,[50] and it is becoming
+popular without the public in general knowing who the composer is. The
+study of the application of music to words was interesting enough, as
+the Cardinal remarked in April, 1886. Sometimes the music could not
+quite fit in with the words,[51] and one or other had to give way, and
+on our referring to this music to Father Faber's hymn "Conversion," he
+said he had an idea that the words had been somewhat altered to suit
+his tune. The reverse would appear to be the case. At least the
+refrain, "O silly souls," &c., is not identical in the Birmingham and
+London books.
+
+[Footnote 50: Father Lockhart's solitary original tune, harmonized by
+Mr. A.H. Prendergast, and set to Father Faber's Hymn to St. Joseph,
+"There are many saints above," is another example of tender sentiment
+by an amateur that outweighs any technical defect as to settled
+rhythm.]
+
+[Footnote 51: In 1834, when Keble wrote an Ode on the Duke of
+Wellington's installation as Chancellor at Oxford, Dr. Crotch was
+employed to write the music, and Mr. Newman wrote to his friend: "I
+hope Dr. Crotch will do your ode justice." And on difficulties arising
+with the composer, he wrote again to Keble: "I like your ode
+uncommonly. I would not budge one step for Dr. Crotch. His letter is
+most amusing, and your counter-suggestions are amusing too.... I would
+go so far for Dr. C. as to offer him your _frigate_, which certainly
+does better for music than the long ode." Later on he inquires: "How
+do you and Dr. Crotch get on?" and Keble replies: "Crotch has
+swallowed the _frigate_ whole." (Mozley, _Corr._ ii. 29.)]
+
+[Music: _Birmingham._
+
+     O silly souls come near me,
+     My sheep should never fear me,
+     I am the Shepherd true,
+     I am the Shepherd true.
+
+_London._
+
+     O silly souls come near me,
+     My sheep should never fear me,
+     I am the Shepherd true,
+     I am the Shepherd true.]
+
+Mr. W. Pitts, the compiler of the latter, sends us word that "the
+melody _only_ came into my hands, and it stands in the London book
+exactly as I received it. I think it was sent by one of the Birmingham
+Fathers, or by Mr. Edward Plater." This is satisfactory, and points to
+a smoother and far more effective version of the refrain by the
+composer himself.[52]
+
+[Footnote 52: Mr. Pitts' chords are generally good, but might be
+considerably improved (more especially at the words "I am the Shepherd
+true"), by some contrary motion in the harmony.]
+
+Altogether we have ever felt that there is an indescribable
+brightness, a radiant cheerfulness, which might have pleased St.
+Philip, about the Birmingham selection of hymns and tunes, with
+Beethoven, Mozart, Mendelssohn, Pleyell, Crookall, Webbe, Moorat, and
+others laid under contribution. In the Saint's time, we know, "there
+were sung at the Oratory many _Laudi_, motets, madrigals, and sacred
+songs in the vulgar tongue, and these gave scope for composers to
+essay a simpler, and more popular and stirring style of music."[53]
+Take up then the Father's book, hear the people at the May devotions
+sing such winning songs as the "Pilgrim Queen" (No. 38, _Regina
+Apostolorum_), and the "Month of Mary" (No. 32, _Rosa Mystica_), or
+listen during St. Philip's Novena, to "St. Philip in his School" (No.
+49), "in his Mission" (No. 50), "in Himself" (No. 51, "Regulars and
+St. Philip"), and "in his Disciples" (No. 54, "Philip and the Poor"),
+and we conclude that, as with the Saint, so with his distinguished
+son, it has been his "aim to make sacred music popular;"[54] and may
+we not further say that the Cardinal, without any parade whatever, but
+in the simplest fashion, has somehow succeeded at Birmingham in his
+aim?
+
+[Footnote 53: Pope, _Capecelatro_, ii. 88. Father Gigli to Tarugi at
+Naples, about the Roman Oratory, 1587: "Our feast passed off most
+joyously, and with admirable music.... We had three choirs--two in the
+galleries, besides one in its accustomed place." (_Ibid._ ii. 103.)]
+
+[Footnote 54: _Ibid._ 99.]
+
+The Birmingham Oratory Book, with the tunes, only privately printed
+for local use, came, nevertheless, as a surprise to Messrs. Burns and
+Westlake, who made merry over the occasional simplicity, not to say
+meagreness of the harmonies. A quick movement, too, from a Beethoven
+Rasoumousky quartet, is rather awkward, albeit taken slow, for No. 74,
+"Death," and Leporello's song for Nos. 22 and 23, is possibly not over
+suitable, however intrinsically appropriate, looking to the
+associations it might arouse, not so much, however, among the poor,
+who cannot afford to patronize opera, as among the rich. "Just look at
+the harmony," says one of No. 51; and of the famous No. 61, "there is
+a strange want of unity, the first part has no second harmony." A
+noble lord, too, disapproved of No. 51, the notes being, said he, all
+over the key-board, but such are the strains of some of the best music
+in the world, and the notice to this anonymous collection is almost an
+answer to particular criticism, as Burns felt at once, _i.e._:
+"Neither the following tunes themselves, nor the hymns to which they
+belong, have been brought together on any one principle of selection,
+or to fulfil any ideal of what such composition ought to be. Many of
+them have grown into use insensibly, without any one being directly
+responsible for them; the rest have been adapted as the most
+appropriate, under circumstances, to complete the set, and to answer
+the needs of our people."[55]
+
+[Footnote 55: An examination of the book of words published by
+Pickering, and which originally numbered eighty-two hymns, since
+increased from time to time up to one hundred and forty-nine (1888),
+shows forty-one hymns (original or translated) by Father Caswall, Nos.
+5, 8-11, 13, 15-17, 19, 21-28, 33-36, 40, 42, 43, 47, 48, 62, 64, 79,
+80, 116, 118, 121, 134, 143-145, 147, 148, 149; thirty by Father
+Faber, 1, 3, 4, 12, 14, 29, 30, 37, 44, 45, 52, 53, 55, 57, 61, 65,
+73, 85, 115, 119, 120, 124, 125, 127-129, 133, 137, 138, 141; thirteen
+by Father Newman, 31, 32, 38, 41, 49, 50, 51, 54, 63, 67, 76, 78, 81;
+two by Father Stanfield, 123, 126; one by Father Bittleston, 39 (the
+familiar "Daily, daily," from St. Anselm, _Sancti Anselmi Mariale_, p.
+15, _Omni die_, &c., the second part, No. 40, by Father Caswall); one
+by Father Christie, S.J., 122 ("To Jesus' Heart all burning"); one by
+Father Vaughan, C.SS.R., 130 ("God of mercy and compassion"); one by
+Bishop Chadwick, 131 ("Jesus, my God, behold at length the time"); one
+by Dr. Lingard, 20 ("Hail, Queen of Heaven"). Bishop Heber also
+contributes, but the remaining Nos. 2, 6, 7, 18, 41, 46, 56, 58, 59,
+60, 66, 68, 69, 70, 72, 74, 75, 77, 78, 82, 84, 86, 117, 129, 135,
+136, 139, 140, 142, 146, have not yet been identified by the present
+writer. (See _Lyra Catholica_, 1849, by Father Caswall, &c.) How
+beautifully, by the by, has not the late Father Bittleston rendered
+St. Anselm's hymn. For example:
+
+             _Hæc Regina,
+             Nos divinâ,
+             Illustravit gratiâ._
+     She the Queen who decks her subjects,
+     With the light of God's own grace.]
+
+Like St. Philip, too, "he took the word music in its widest sense, and
+made use of both vocal and instrumental music, and of their blended
+harmony."[56] While we believe that he would have been the first to
+admit the beauty of large portions of the old chant, its incomparable
+hymns in the liturgy, the familiar _accentus_ dear to every Catholic
+ear, for the Preface, the _Pater noster_, &c., the modes for Holy
+week, the tones for the Psalms of the Divine Office, &c., we question
+whether he could have made much of a mass of antiphons that seem to
+illustrate the sacred text, "All we like sheep have gone astray." "In
+Gregorian music," said a writer in 1890, speaking more positively than
+we are able to do, "Newman could see no beauty whatever--none, at any
+rate, in the usual antiphons and 'tones.' An exception must be made in
+favour of those familiar chants occurring in the Mass.... I recollect
+his telling me, after we had heard one of Cherubini's Masses admirably
+performed at a Birmingham Festival, that the music, though so
+beautiful, needed the interspersing of those quaint old chants to make
+it really devotional," but "I believe," writes a friend, "it is very
+difficult for one who has heard only Mozart and Beethoven, &c., in all
+his early years ever to get a liking for Gregorian tones. It used to
+drive Canon Oakeley wild when he heard his nephew, the present Sir H.
+Oakeley, play a fugue of Bach's even on the organ. The Cardinal,
+however, liked the _modus peregrinus_ to the _In exitu Israel_ (that
+was only natural), and I remember once he seemed quite put out because
+once we followed the Rubrics in Easter week (when the _In exitu_ is
+used) by having all the Psalms to one tone. For a moment it seemed as
+if he would contradict himself in his strict rule of going by
+authority against what he liked, and would change the tones so as to
+have the _peregrinus_." He somewhere, however, calls Gregorian an
+"inchoate science." Could mediæval work, largely out of touch with the
+times, claim for itself a monopoly of existence to the exclusion of
+the modern? So loyal a son of Holy Church as Dr. Ward had let fall
+that a plain chant _Gloria_ reminded him of "original sin." "And, if
+sometimes," writes a friend of old Oratory days, "we were so
+unfortunate as to have on some week-day festival of our Lady, only the
+Gregorian Mass, Father Darnell used to say we were 'burying our Lady,'
+and though he would make no remark, I have little doubt the Father
+thought so too." Perhaps, then, Cardinal Newman's love for vocal and
+instrumental ecclesiastical music in combination (especially at
+Christmas, Easter, and Pentecost) was a true instinct recognizing the
+undoubted needs of another day, and is best labelled for a motto with
+some verses of the 149th and 150th Psalms, which we recommend to the
+attention of a few purists in case they may have forgotten them? Thus,
+acknowledging in January, 1859, the Gothic to be "the most beautiful
+of architectural styles," he "cannot approve of the intolerance of
+some of its admirers," and he would "claim the liberty of preferring,
+for the purposes of worship and devotion, a description of building
+which, though not so beautiful in outline, is more in accordance with
+the ritual of the present day, which is more cheerful in its exterior,
+and which admits more naturally of rich materials, of large pictures
+or mosaics, and of mural decorations."[57]
+
+[Footnote 56: Pope, _Capecelatro_, ii. 82.]
+
+[Footnote 57: _Merry England_, No. 30, p. 380. Mon Reale, in Sicily,
+we think, was his ideal in the Italian style of architecture.]
+
+"My quarrel with Gothic and Gregorian when coupled together," says
+Campbell, in _Loss and Gain_, "is that they are two ideas not one.
+Have figured music in Gothic churches, keep your Gregorian for
+Basilicas." Bateman: "... You seem oblivious that Gregorian chants and
+hymns have always accompanied Gothic aisles, Gothic copes, Gothic
+mitres, and Gothic chalices." Campbell: "Our ancestors did what they
+could, they were great in architecture, small in music. They could not
+use what was not yet invented. They sang Gregorian because they had
+not Palestrina." Bateman: "A paradox, a paradox." Campbell: "Surely
+there is a close connection between the rise and nature of the
+Basilica and of Gregorian unison. Both existed before Christianity,
+both are of Pagan origin; both were afterwards consecrated to the
+service of the Church." Bateman: "Pardon me, Gregorians were Jewish,
+not Pagan." Campbell: "Be it so, for argument sake, still, at least,
+they were not of Christian origin.[58] Next, both the old music and
+the old architecture were inartificial and limited, as methods of
+exhibiting their respective arts. You can't have a large Grecian
+temple, you can't have a long Gregorian _Gloria_." Bateman: "Not a
+long one, why there's poor Willis used to complain how tedious the old
+Gregorian compositions were abroad." Campbell: "... Of course you may
+produce them to any length, but merely by addition, not by carrying on
+the melody. You can put two together, and then have one twice as long
+as either. But I speak of a musical piece, which must, of course, be
+the natural development of certain ideas, with one part depending on
+another. In like manner, you might make an Ionic temple twice as long
+or twice as wide as the Parthenon; but you would lose the beauty of
+proportion by doing so. This, then, is what I meant to say of the
+primitive architecture and the primitive music, that they soon come to
+their limit; they soon are exhausted, and can do nothing more. If you
+attempt more, it's like taxing a musical instrument beyond its
+powers."... Campbell: "This is literally true as regards Gregorian
+music, instruments did not exist in primitive times which could
+execute any other."... Reding: "... Modern music did not come into
+existence till after the powers of the violin became known. Corelli
+himself, who wrote not two hundred years ago, hardly ventures on the
+shift. The piano, again, I have heard, has almost given birth to
+Beethoven." Campbell: "Modern music, then, could not be in ancient
+times for want of modern instruments, and, in like manner, Gothic
+architecture could not exist until vaulting was brought to perfection.
+Great mechanical inventions have taken place both in architecture and
+in music, since the age of Basilicas and Gregorians; and each science
+has gained by it." Reding: "... When people who are not musicians have
+accused Handel and Beethoven of not being _simple_ I have always said,
+'is Gothic architecture _simple_?' A Cathedral expresses one idea, but
+is indefinitely varied and elaborated in its parts; so is a symphony
+or quartet of Beethoven." Campbell: "Certainly, Bateman, you must
+tolerate Pagan architecture, or you must in consistency exclude Pagan
+or Jewish Gregorians, you must tolerate figured music, or reprobate
+tracery windows." Bateman: "And which are you for, Gothic with Handel,
+or Roman with Gregorian?" Campbell: "For both in their place. I
+exceedingly prefer Gothic architecture to classical. I think it is the
+one true child and development of Christianity; but I won't for that
+reason discard the Pagan style which has been sanctified by eighteen
+centuries, by the exclusive love of many Christian countries, and by
+the sanction of a host of saints. I am for toleration. Give Gothic an
+ascendancy; be respectful towards classical."... Reding: "Much as I
+like modern music, I can't quite go the length to which your doctrine
+would lead me. I cannot, indeed, help liking Mozart; but surely his
+music is not religious?" Campbell: "I have not been speaking in
+defence of particular composers, figured music may be right, yet
+Mozart or Beethoven inadmissible. In like manner you don't suppose,
+because I tolerate Roman architecture, that therefore I like naked
+cupids to stand for cherubs, and sprawling women for the cardinal
+virtues.... Besides, as you were saying yourself just now, we must
+consult the genius of our country, and the religious associations of
+our people." Bateman: "Well, I think the perfection of sacred music is
+Gregorian set to harmonies; there you have the glorious old chants,
+and just a little modern richness." Campbell: "And I think it just the
+worst of all, it is a mixture of two things, each good in itself, and
+incongruous together. It's a mixture of the first and second courses
+at table. It's like the architecture of the _façade_ at Milan,
+half-Gothic, half-Grecian." Reding: "It's what is always used, I
+believe." Campbell: "Oh, yes, we must not go against the age, it would
+be absurd to do so. I only spoke of what was right and wrong on
+abstract principles; and to tell the truth, I can't help liking the
+mixture myself, though I can't defend it."[59]
+
+[Footnote 58: "I think with you that what is called Gregorian is but a
+_style_ of music: viz., before the fixing of the diatonic scale, and
+the various keys as rising out of it. The Pagan and Jewish tunes are
+_necessarily_ in this style. And in this sense certainly the Gregorian
+comes from the Pagan _and_ the Jewish. The names 'Lydian,' 'Phrygian,'
+&c., look like Pagan. One should think, however, some _must_ be
+Jewish. I can't answer your question about the genuineness of the
+professed specimen of Pagan, as in Rousseau's Dictionary. Will
+Rousseau answer your question? All true art comes from revelation, to
+speak generally, I do think, but not necessarily through the Jewish
+Dispensation," &c. (Dec. 1850, J.H.N.) Mozley, _Corr._ ii. 479.]
+
+[Footnote 59: _Loss and Gain_, pp. 282-286.]
+
+The irrepressible Bateman has Gothic and Gregorian on the brain: and
+in another place goes "on boldly to declare that, if he had his will
+there should be no architecture in the English churches but Gothic,
+and no music but Gregorian. This ... gave scope for a very pretty
+quarrel, Reding said that all these adjuncts of worship, whether music
+or architecture, were national; they were the mode in which religious
+feeling showed itself in particular times and places. He did not mean
+to say that the outward expression of religion in a country might not
+be guided, but it could not be forced; that it was as preposterous to
+make people worship in one's own way, as to be merry in one's own
+way.'... Bateman: 'But surely ... you don't mean to say that there is
+no natural connection between internal feeling and outward expression,
+so that one form is no better than another?' Reding: 'Far from it,
+but let those who confine their music to Gregorians, put up crucifixes
+in the highways. Each is the representative of a particular locality
+or time.'... Campbell: 'You can't be more Catholic than Rome, I
+suppose, yet there's no Gothic there.' Bateman: '... Rome has
+corrupted the pure Apostolic doctrine, can we wonder that it should
+have a corrupt architecture?' Reding: 'Why, then, go to Rome for
+Gregorians?'"[60]
+
+[Footnote 60: _Loss and Gain_, p. 277.]
+
+The foregoing would probably open out, in the eyes, say, of the
+accomplished author of the _Vesper Psalter_,[61] a wide field for
+further discussion, but so much may be fairly gathered, viz., that the
+Cardinal's musical views were sensible ones, even if open,
+theoretically, to some differences of opinion. _Omnia probate_, he
+seems to say, _quod bonum est tenete_. He had, of course, no sympathy
+with extravagances. His was a cultured, at any rate a refined taste,
+_sui similis_, and when it was said in April, 1886, that Niedermeyer's
+B minor Mass was "elaborate," he observed: "Well, I like a medium in
+music, although I may be wrong in that." All was well, we suppose,
+provided the best gifts of Catholic masters in their art were in good
+faith proffered to Almighty God. In the words herein of St. Gregory
+the Great: _Mihi placet ut, sive in Romanâ, sive in Galliarum, sive in
+quâlibet ecclesiâ, aliquid invenisti quod plus omnipotenti Deo possit
+placere, sollicite eligas._[62] All was well, too, if singers and
+players were animated with the Catholic spirit that breathed in a
+Haydn and a Mozart, to say nothing of later giants.[63] Under such
+conditions, and with due observance of the unaccompanied chant in
+Advent and Lent, the male choirs of both Oratories in England have
+probably done a good work, and if so, one worthy of St. Philip's
+blessing.
+
+[Footnote 61: By the late Sir John Lambert, K.C.B., and published by
+Burns in 1849. Its Preface is well worthy of attention, and we note
+with pleasure his remark, "that while pleading for the restoration of
+the Ritual Song as the Church system and the music of the people, and
+as the basis of all that is really grand and ecclesiastical, the
+writer would not wish to be understood to object to the superadding of
+the most elaborate music where it can be properly executed, if it does
+not supersede the Church Song, and is of a character to harmonize with
+it. Doubtless," he adds, "as the Church employs all the resources of
+art, as far as in accordance with her own spirit, the most perfect
+celebration of the Divine Office would be where both could be
+combined. All would then be impressed and edified, each person
+according to his peculiar sense, and God would be worshipped with all
+the magnificence which art can be made to minister." (p. xiii.)]
+
+[Footnote 62: S. Greg. Epist. xxxi. lib. xii. _De expos. divers.
+rerum._]
+
+[Footnote 63: Thus M. Tonnellé, pupil of Father Gratry, of the
+Oratory: "Haydn et Mozart, c'est la foi Catholique, c'est la
+soumission naïve et spontanée, c'est la devotion tendre et vive,"
+which can, of course, be truly said without implying that they are
+always perfection.]
+
+It was in April, 1886, that two of the Fathers, along with the writer,
+played over to Cardinal Newman, Dykes' well-known setting to "Lead,
+kindly Light," which (he said) he had never heard before, and he
+seemed rather surprised at its very quiet, hymn-like quality. No
+piano, he added, could equal the strings, nor any organ,[64] and we
+gave him the version of the "Lead" by Pinsuti, and West,[65] as also
+Hurrell Froude's "Tyre"[66] and his own "Watchman" and the "Two
+Worlds,"[67] all with violoncello _obbligato_. In 1889 he had been
+very ill, and when recovering, said to a Father: "Father Faber wrote
+the hymn 'Eternal Years.'[68] I have always had the greatest affection
+for it--quite a passionate affection for it--in connection with Father
+Faber, and I always used to think that when I came to die, I should
+like to have it sung to me; and I want you to play it for me." Would a
+harmonium do? "Yes, a harmonium would be just the thing; perhaps one
+could be spared me."
+
+[Footnote 64: There was nothing, however, so really "magnificent," he
+said once (speaking of the wind instruments of brass and wood), as a
+military band.]
+
+[Footnote 65: The following have set "Lead, kindly Light" to music:
+Canon J. Ballantine-Dykes, Rev. H. Earle Bulwer, Dr. G.A. Macfarren,
+Dr. S.S. Wesley, Dr. A.R. Gaul, Dr. C.J.B. Meacham, Sir A. Sullivan,
+J. Barnby, F. Tozer, C. Pinsuti, W. Hamilton, W. Hume, M.A. Wood (Mrs.
+Harvey), Katharine Rowley, C.T. Gatty, T.W. Barth, A. Allen, F.G.
+Pincott, H.C. Layton, J. Tilleard, J. Otter, W.H. Walter, J.A.
+Gardiner, W. Nicholson, J.W.R., and three anonymous composers. We may
+add that Mr. Rowton has musically essayed the _Dream of Gerontius_;
+"J.W.R.," "Warnings" from the _Lyra Apostolica_; Dr. Macfarren a duet,
+"O God, Who canst not change" (breviary translation); "R.S.," "All is
+divine which the Highest has made;" E.W., "Softly and gently, dearly
+ransomed soul;" the Rev. C.E. Butler, "Praise to the Holiest;" Maria
+Tiddeman, the same; Mr. Bellasis, the "Haven," "Consolation," "Waiting
+for the Morning," "The Two Worlds," "The Watchman," and "Heathen
+Greece;" and an anonymous composer, "The Pilgrim Queen," "There sat a
+Lady," &c.]
+
+[Footnote 66: From the _Lyra Apostolica_, and a striking little poem,
+as indeed are all the few signed [Greek: b], the music by a pupil of
+the Cardinal.]
+
+[Footnote 67: _Verses on Various Occasions_, pp. 80, 319; the latter
+written in 1862, the music by a pupil, and according to the Father
+"better than my words." The words also appear in the Birmingham book
+as a hymn (No. 67), entitled "Sacrifice."]
+
+[Footnote 68: Father Faber's _Poems_, No. 135, pp. 379-381, new edit.
+1861. This is not in the London Oratory Hymn Book, but under the
+heading "Eternity" six of the quatrains (Nos. 1, 8, 9, 11, 15, 16)
+appear in the Birmingham book as No. 73, and are set to a tune in the
+minor from Beethoven's sixth trio (for flute, viola, and violoncello),
+taken _andante_.]
+
+So, when evening had set in, a harmonium was put in the passage
+between his two rooms, a Father knelt at his side reciting each verse,
+while two others played and sang the "Eternal Years."
+
+[Music: BEETHOVEN.
+
+     How shalt thou bear the cross that now so dread a weight appears,
+     Keep quietly to God, and think upon th'eternal years.]
+
+"Some people," he then said, "have liked my 'Lead, kindly Light,' and
+it is the voice of one in darkness asking for help from our Lord. But
+this (the 'Eternal Years') is quite different; this is one with full
+light, rejoicing in suffering with our Lord, so that mine compares
+unfavourably with it. This is what those who like 'Lead, kindly Light'
+have got to come to--they have to learn it." Then they played and sang
+it over again. And he said at the end, "I thank you with all my heart.
+God bless you. I pray that when you go to Heaven, you may hear the
+angels singing with the genius that God has endowed them with. God
+bless you."
+
+To quote as we began, and once again from Cardinal Capecelatro and
+Father Pope, and we have done. What His Eminence says of the first
+founder of any Oratorian Congregation may more or less apply to the
+great Oratorian whom we have mourned: "The sweet enticement of music
+is quite in harmony with the spirit of St. Philip, and imparts to
+piety an ineffable gladness and gentleness and grace. Take away from
+our Saint his delight in music, and you leave his image in our hearts
+mutilated, despoiled of much of its winning beauty."[69]
+
+[Footnote 69: Pope, _Capecelatro_, ii. 106.]
+
+
+
+
+INDEX.
+
+
+_Accentus_, 32.
+
+_Adelphi_, 21.
+
+Æschylus, 12.
+
+_Agnus Dei_, 19.
+
+Alexandria, 18.
+
+"All is divine," 38.
+
+All Souls' day at Edgbaston, 19.
+
+Allegri, 19, 20.
+
+Allen, A. 38.
+
+_Andria_, 21.
+
+Anglican service, 25.
+
+Architecture, 33-36.
+
+Aristotle, 26.
+
+
+_Bacchæ_, 12.
+
+Bach, J.S. 33.
+
+Badeley, E. 23.
+
+Bai, 19, 20.
+
+Baini, 20.
+
+Ballantine-Dykes, Canon, 38.
+
+Barnby, Dr. J. 38.
+
+Barth, T.W. 38.
+
+Basili, 20.
+
+Beethoven, 9, 12-17, 22, 23, 30-32, 35, 36, 39.
+
+Bellasis, E. 38.
+
+Benedict XIV. Pope, 16.
+
+Bennett, Mr. 24, 25.
+
+Berlioz, 15.
+
+Birmingham Festival, 18, 32.
+    "      Oratory choir, 38.
+    "         "    hymn-book, 23, 27, 29-31, 39.
+
+Bittleston, Rev. H. 31, 32.
+
+Blachford, Lord, 8.
+
+Blanco White, 5, 9, 13.
+
+Bowden, J. 9, 21.
+
+Bowles, Rev. F.S. 10, 22.
+
+Brahms, 18, 19.
+
+Bulwer. Rev. H. Earle, 38.
+
+Burns, J. 31, 37.
+
+Butler, Rev. C.E. 38.
+
+
+_Candlemas_, 26.
+
+Canzonet quartet, 18.
+
+Capecelatro, Cardinal, 5, 6, 32, 40.
+
+Caswall, Rev. E. 14, 31, 32.
+
+Catholic service, 26.
+
+Chadwick, Bishop, 32.
+
+Chalmers, Dr. 5.
+
+Cherubini, 18, 32.
+
+Chichester, 25.
+
+Chopin, 14.
+
+Christie, S.J. Rev. A.J. 32.
+
+Coffin, C.SS.R. Bishop. 22.
+
+_Consolation_, 38.
+
+_Conversion_, 28, 31.
+
+Copleston, Provost, 8.
+
+Corelli, 13, 16, 20.
+
+_Credo_, 14.
+
+Crookall, Dr. 30.
+
+Crotch, Dr. 29.
+
+
+"Daily, daily," 31.
+
+Darnell, Rev. N. 33.
+
+_Death_, 31.
+
+_Dies Iræ_, 15, 19.
+
+_Discussions and Arguments_, 16.
+
+_Don Giovanni_, 31.
+
+_Dream of Gerontius_, 12, 38.
+
+_Dublin Review_, 16.
+
+
+Ealing school, 21.
+
+Edgbaston, 8, 19, 24, 28, 39.
+
+_Elijah_, 17.
+
+Eliseus, 24.
+
+Elvey, Mr. 25.
+  "    Sir G. 25.
+
+_Essays_, 12, 23, 26.
+
+_Eternal Years_, 39.
+
+_Eunuchus_, 21.
+
+Euripides, 12.
+
+
+Faber, Fr. F.W. 28, 29, 31, 39.
+
+Farm Street Church, 17.
+
+_Fidelio_, 12.
+
+Froude, R.H. 9, 38.
+
+
+Gardiner, J.A. 38.
+
+Gatty, C.T. 38.
+
+Gaul, Dr. A.R. 38.
+
+Gigli, Fr. 30.
+
+"God of mercy," 32.
+
+Gothic, 33-36.
+
+Gounod, 15, 17, 18.
+
+Gratry, Fr. 38.
+
+Grecian architecture, 33-36.
+
+Gregorian, 32-37.
+
+Guglielmi, 20.
+
+
+"Hail, Queen of Heaven," 32.
+
+Hamilton, W. 38.
+
+Handel, 16, 17, 36.
+
+Harvey, Mrs. M.A. 38.
+
+_Haven_, 22.
+
+Hawkins, Provost, 8.
+
+Haydn, 7, 13, 16, 38.
+
+_Heathen Greece_, 38.
+
+Heber, Bishop, 32.
+
+Holy Week, 32, 38.
+
+Hume, W. 38.
+
+
+"I was wandering," 28, 31.
+
+_Idea of a University_, 5, 6, 16, 24.
+
+_In exitu Israel_, 12, 33.
+
+
+"Jesus, My God, behold," 32.
+
+Jewish music, 34, 35.
+
+Jouvency, S.J. Fr. J. 23.
+
+
+Keble, Rev. J. 29.
+
+
+Lambert, K.C.B. Sir J. 37.
+
+Latin play, 21.
+
+_Lauda Sion_, 17.
+
+Layton, H.C. 38.
+
+"Lead, kindly light," 38-40.
+
+Leporello, 31.
+
+Lindley, 11.
+
+Lingard, Dr. 32.
+
+Littlemore, 22.
+
+Lockhart, O.C. Rev. W. 11, 22, 29.
+
+London Oratory choir, 38.
+  "    hymn-book, 28, 29.
+  "    _Review_, 23.
+
+_Loss and Gain_, 11, 34, 36.
+
+Lydian mode, 34.
+
+_Lyra Apostolica_, 38.
+  "   _Catholica_, 32.
+
+
+Macfarren, Dr. G.A. 38.
+
+_Magnificat_, 6.
+
+Maher, S.J. Fr. W. 17.
+
+_Mariale Sti. Anselmi_, 32.
+
+McCarthy, Rev. Mr. 10.
+
+M'Quoin, Rev. Mr. 10.
+
+Meacham, Dr. C.J.B. 38.
+
+Mendelssohn, 12, 14, 16-18, 30.
+
+_Merry England_, 34.
+
+Milan Cathedral, 36.
+
+_Miserere_, 19, 20.
+
+_Mixed Congregations, Discourses to_, 5.
+
+M'Neill, Canon, 11.
+
+Mon Reale, Sicily, 34.
+
+_Month of Mary_, 27, 30.
+
+Moorat, S. 30.
+
+_Mors et Vita_, 15.
+
+_Mors stupebit_, 19.
+
+_Mosé in Egitto_, 20.
+
+_Mount of Olives_, 14.
+
+Mozart, 13, 16, 17, 30-32, 36, 38.
+
+Mozley, A. _Corr. J.H.N._ 6-9, 13, 14, 20, 21, 24, 29, 34.
+
+Mozley, Canon J.B. 14.
+  "     Mrs. J. 6, 9, 22.
+  "     Rev. T. 9, 10.
+
+
+Naples Oratory, 30.
+
+Newman, Mrs. J. 13.
+  "     F.W. 7.
+  "     C.R. 7.
+
+Nicholson, W. 38.
+
+Niedermeyer, 37.
+
+_Night_, 28.
+
+Norris, Rev. J. 10.
+
+Novello, 28.
+
+
+"O God, Who canst not change," 38.
+
+"O silly souls," 29.
+
+Oakeley, Canon, 32.
+   "     Sir H. 33.
+
+Okely, Mr. 17.
+
+_Omni die_, 32.
+
+Oriel College, Oxford, 7, 8.
+
+Otter, J. 38.
+
+Ottoboni, Cardinal, 20.
+
+_Oxford University Sermons_, 5, 6, 18.
+
+
+Pagan music, 34, 35.
+
+Palestrina, 12, 20.
+
+_Pater noster_, 32.
+
+_Paternoster Review_, 11, 22.
+
+Philomel, 9.
+
+Phrygian mode, 34.
+
+Pianoforte quintet, 18.
+
+Pickering, 31.
+
+_Pilgrim Queen_, 27, 30, 38.
+
+Pincott, F.G. 38.
+
+Pinsuti, C. 38.
+
+Pitts, W. 28, 30.
+
+Plater, E. 30.
+
+Pleyell, 30.
+
+Pope, Rev. T.A. 40.
+
+Prendergast, A.H. 29.
+
+Psalms, 149th, 150th, and _In exitu_, 12, 33.
+
+
+_Quam olim_, fugue, 19.
+
+_Queen of Seasons_, 27.
+
+
+R., J.W. 38.
+
+Rasoumousky quartet, 31.
+
+_Redemption_, 18.
+
+_Regina Apostolorum_, 27, 30.
+
+_Regulars and St. Philip_, 27, 30, 31.
+
+Reinagle, 9, 27.
+
+_Requiems_, 15, 18, 19.
+
+Rogers, F. 8.
+
+Roman Oratory Choir, 30.
+
+Romberg, 13.
+
+_Rosa mystica_, 27, 30.
+
+Rose Hill, 9.
+
+Rossini, 20, 21.
+
+Rousseau, J.J. 34.
+
+Rowley, K. 38.
+
+Ryder, Rev. H.I.D. 10.
+
+
+S., R. 38.
+
+_Sacrifice_, 39.
+
+_St. Philip and the poor_, 30.
+  "    "    _in himself_, 30, 31.
+  "    "    _in his disciples_, 30.
+  "    "    _in his mission_, 30.
+  "    "    _in his school_, 30.
+
+St. Anselm, 31, 32.
+ "  Clement's, Oxford, 24.
+ "  George's, Windsor, 25.
+ "  Gregory the Great, 37.
+ "  John's, Oxford, 7.
+ "  Magnus, 23.
+ "  Mary's, Oxford, 24, 25.
+ "  Peter's, Rome, 20.
+ "  Philip Neri, 5, 6, 17, 24, 30.
+ "  Thomas Aquinas, 18, 26.
+
+Saul, 24.
+
+Schubert, 12, 16.
+
+Schumann, 16, 18.
+
+Septet, 13.
+
+"Softly and gently, dearly ransom'd soul," 38.
+
+_Solvet sæclum_, 19.
+
+Sola, 21.
+
+Sophocles, 12.
+
+Stanfield, Rev. F. 31.
+
+Sullivan, Sir A. 38.
+
+_Supper of the Apostles_, 18.
+
+Symphony in A major, 12.
+   "     "  C major, 14.
+   "     "  C minor, 12.
+   "     "  D major, 14.
+   "     "  F major, 14.
+   "     "  G minor, 18.
+
+
+_Tablet_, 24.
+
+Tarugi, Cardinal, 30.
+
+_Tenebræ_, 20.
+
+Terence, 21.
+
+"The Angel-lights of Christmas morn," 27.
+
+"The holy monks," 27, 31.
+
+"The red sun is gone," 28.
+
+"There are many saints above," 29.
+
+"There sat a Lady," 27, 30, 38.
+
+Thom's _Blanco White_, 6.
+
+Tiddeman, M. 38.
+
+Tilleard, J. 38.
+
+"To Jesus' heart all burning," 32.
+
+Tonnellé, M. 38.
+
+Tozer, F. 38.
+
+_Triumphlied_, 18.
+
+_Two Worlds_, 38, 39.
+
+Tunbridge Wells, 12.
+
+
+Vaughan, C.SS.R. Fr. 32.
+
+_Verses on Various Occasions_, 22, 23, 27, 39.
+
+_Vesper Psalter_, 37.
+
+
+W., E. 38.
+
+Wagner, 16, 18.
+
+_Waiting for the morning_, 38.
+
+Walker, Canon, 22.
+
+Ward, Dr. W.G. 33.
+
+Warden of Keble, 14.
+
+_Warnings_, 38.
+
+_Watchman_, 38.
+
+Waller, W.H. 38.
+
+Webbe, 30.
+
+Wellington, Duke of, 29.
+
+Wesley, Dr. S.S. 38.
+
+Westlake, Mr. 31.
+
+Whitty, S.J. Fr. 10.
+
+Wood, M.A. 38.
+
+Worcester Festival, 24.
+
+
+_Zauberflöte_, 22.
+
+Zingarelli, 20.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Cardinal Newman as a Musician, by Edward Bellasis
+
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+      The Project Gutenberg eBook of Cardinal Newman as a Musician, by Edward Bellasis.
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+
+Project Gutenberg's Cardinal Newman as a Musician, by Edward Bellasis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Cardinal Newman as a Musician
+
+Author: Edward Bellasis
+
+Release Date: August 25, 2008 [EBook #26427]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CARDINAL NEWMAN AS A MUSICIAN ***
+
+
+
+
+Produced by Charlene Taylor, Linda Cantoni, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
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+</pre>
+
+
+
+
+<div class="notes">
+<p><i>Transcriber's Note:</i> Click on the [Listen] link to hear a
+midi file of the music. Lyrics contained in the music notation are
+set out below the image.</p>
+</div>
+
+<p>&nbsp;</p>
+
+
+
+<div class="bbox">
+<h1>CARDINAL NEWMAN<br />
+<br />
+<span class="small">AS A MUSICIAN.</span></h1>
+
+<p>&nbsp;</p>
+
+<h2><span class="small">BY</span><br />
+<br />
+EDWARD BELLASIS,<br />
+<br />
+<span class="small"><i>Author of &#8220;Cherubini: Memorials Illustrative of his Life.&#8221;</i></span></h2>
+
+
+<p class="centerp">
+<img src="images/logo.png" width="92" height="102" alt="" title="" />
+</p>
+
+
+<p class="centerp">
+<span class="small">LONDON:</span><br />
+KEGAN PAUL, TRENCH, TR&Uuml;BNER, AND CO.<br />
+1892.<br />
+</p>
+
+<hr class="short" />
+
+<p class="center">
+<span class="small">REPRINTED (WITH ADDITIONS AND MUSICAL EXAMPLES) FROM<br />
+"THE MONTH" OF SEPTEMBER, 1891.</span>
+</p>
+
+<p class="center">
+<span class="small">ROEHAMPTON: PRINTED BY JAMES STANLEY.</span></p>
+</div>
+
+
+<hr />
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+Music's ethereal fire was given<br />
+<span style="margin-left: 1em;">Not to dissolve our clay,</span><br />
+But draw Promethean beams from Heaven,<br />
+<span style="margin-left: 1em;">And purge the dross away.</span><br />
+<span style="margin-left: 15em">J.H.N.</span>
+</td>
+</tr>
+</table>
+
+
+
+
+<hr />
+<p><span class='pagenum'><a name="Page_5" id="Page_5">5</a></span></p>
+
+<h2><i>Cardinal Newman as a Musician.</i></h2>
+
+<hr class="short" />
+
+<p><span class="smcap">It</span> is a remark of St. Philip Neri's latest biographer that, "Our Saint
+was profoundly convinced that there is in music and in song a
+mysterious and a mighty power to stir the heart with high and noble
+emotion, and an especial fitness to raise it above sense to the love
+of heavenly things."<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> In like manner the Saint's illustrious son,
+Cardinal Newman, has spoken of "the emotion which some gentle,
+peaceful strain excites in us," and "how soul and body are rapt and
+carried away captive by the concord of musical sounds where the ear is
+open to their power;"<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> how, too, "music is the expression of ideas
+greater and more profound than any in the visible world, ideas which
+centre, indeed, in Him whom Catholicism manifests, who is the seat of
+all beauty, order, and perfection whatever."<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> Music, then, to him
+was no "mere ingenuity or trick of art like some game or fashion of
+the day without meaning."<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> For him man "sweeps the strings and they
+thrill with an ecstatic meaning."<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> "Is it possible," he asks, "that
+that<span class='pagenum'><a name="Page_6" id="Page_6">6</a></span> inexhaustible evolution and disposition of notes, so rich yet so
+simple, so intricate yet so regulated, so various yet so majestic,
+should be a mere sound which is gone and perishes? Can it be that
+those mysterious stirrings of heart, and keen emotions, and strange
+yearnings after we know not what, and awful impressions from we know
+not whence, should be wrought in us by what is unsubstantial, and
+comes and goes, and begins and ends in itself. It is not so; it cannot
+be. No; they have escaped from some higher sphere; they are the
+outpourings of eternal harmony in the medium of created sound; they
+are echoes from our home; they are the voice of angels, or the
+<i>Magnificat</i> of saints, or the living laws of Divine governance, or
+the Divine attributes, something are they beside themselves, which we
+cannot compass, which we cannot utter."<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> And with him, as with St.
+Philip, may we not say that music held "a foremost place in his
+thoughts and plans"?<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> True, out of its place, he will but allow that
+"playing musical instruments is an elegant pastime, and a resource to
+the idle."<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> Music and "stuffing birds"<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> were no conceivable
+sub<span class='pagenum'><a name="Page_7" id="Page_7">7</a></span>stitutes for education properly so called, any more than a
+"Tamworth Reading-Room" system could be the panacea for every ill; but
+so long as an art in any given case did not tend to displace the more
+serious business of life; should it become for such an one an "aid to
+reflection," or, <i>per contra</i>, profitably distract him; in brief, if
+it anywise helped a soul on to her journey's end, then welcome the
+"good and perfect gift."</p>
+
+<p>Thus, of a pupil's violin playing, September, 1865: "There are more
+important things, and I had some fear that he might be neglecting his
+proper studies. Now since he has not been, his music is all gain....
+To my mind music is an important part of education, where boys have a
+turn for it. It is a great resource when they are thrown on the world,
+it is a social amusement perfectly innocent, and, what is so great a
+point, employs their thoughts. Drawing does not do this. It is often a
+great point for a boy to escape from himself, and music enables him.
+He cannot be playing difficult passages on the violin, and thinking of
+anything else." Perhaps he was speaking from experience, for he told
+us in September, 1875: "I began the violin when I was ten years old,"
+and his two brothers used to accompany him in trios, Frank playing
+"the bass." On going to Oxford he kept up his music. Thus in February,
+1820: "Our music club at St. John's has been offered, and has
+accepted, the music-room, for our weekly private concerts;" and later:
+"I went to the R's to play the difficult first violin to Haydn,
+Mozart, &amp;c.;"<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> and in June, 1820: "I was asked by a man yesterday
+to go to his rooms for a <i>little</i> music at seven o'clock. I went. An
+old Don&mdash;a very good-natured man but too fond of music&mdash;played bass,
+and through his enthusiasm I was kept playing quartets on a heavy
+tenor from seven to twelve. Oh, my poor eyes and head and back."<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a>
+When<span class='pagenum'><a name="Page_8" id="Page_8">8</a></span> the news arrived of his success at Oriel he was practising
+music. "The Provost's butler&mdash;to whom it fell by usage to take the
+news to the fortunate candidate&mdash;made his way to Mr. Newman's lodgings
+in Broad Street, and found him playing the violin. This in itself
+disconcerted the messenger, who did not associate such an
+accomplishment with a candidateship for the Oriel Common-Room, but his
+perplexity was increased when on his delivering what may be considered
+to have been his usual form of speech on such occasions, that 'he had,
+he feared, disagreeable news to announce, viz., that Mr. Newman was
+elected Fellow of Oriel, and that his immediate presence was required
+there,' the person addressed merely answered, 'Very well,' and went on
+fiddling. This led the man to ask whether, perhaps, he had not gone to
+the wrong person, to which Mr. Newman replied that it was all right.
+But, as may be imagined, no sooner had the man left than he flung down
+his instrument and dashed downstairs."<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> And again, "With a
+half-malicious intent of frightening them (his electors at Oriel), it
+was told them that Mr. Newman had for years belonged to a club of
+instrumental music, and had himself taken part in its public
+performances, a diversion, innocent in itself, but scarcely in
+keeping, or in sympathy with an intellectual Common-Room, or promising
+a satisfactory career to a nascent Fellow of Oriel."<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> So thought
+the <i>quidnuncs</i>;<span class='pagenum'><a name="Page_9" id="Page_9">9</a></span> nevertheless, Mr. Newman "went on fiddling." His
+pupil, F. Rogers (the late Lord Blachford), joined him herein, and
+writes, January, 1834: "Your sermons ... and Beethoven are most
+satisfactory. I wish I could hope to join you in the last in any
+moderate time. However, I do expect you will take me to Rose Hill to
+hear some of it again, if it were only to remind me of those evenings
+I used to spend with you when at Iffley. I am afraid you will have
+enough of my bass to satisfy you without Beethoven in the course of
+next term." N.B.&mdash;"He was to be in Froude's room over my
+head,&mdash;J.H.N."<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> Mr. Bowden also played the violoncello, and Newman
+was further supported by one who was a musician, and a deal more
+besides. "Mr. Blanco White," he writes, November, 1826, "plays the
+violin, and has an exquisite ear."<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> "I have only one sister alive
+now," he said sadly in September, 1875, "and she is old, but plays
+Beethoven very well.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> She has an old-fashioned, energetic style of
+playing; but one person, I remember, played Beethoven as no one else,
+Blanco White. I don't know how he learned the violin, but he would
+seem to have inherited a tradition as to the method of playing him."
+"Both were violinists," writes Mr. T. Mozley of Blanco White and Mr.
+Newman, "but with different instruments. Blanco White's was very
+small.... Poor gentleman! Night after night anyone walking in the
+silence of Merton Lane might hear his continual attempts to surmount
+some little difficulty, returning to it again and again like Philomel
+to her vain regrets.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> With Reinagle ... Newman and Blanco White had
+frequent (trios) at<span class='pagenum'><a name="Page_10" id="Page_10">10</a></span> the latter's lodgings, where I was all the
+audience.... Most interesting was it to contrast Blanco White's
+excited and indeed agitated countenance with Newman's sphinx-like
+immobility, as the latter drew long rich notes with a steady
+hand."<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> Dr. Newman was still "bowing" forty years later, by which
+time the alleged "sphinx-like immobility" had made way for an
+ever-varying expression upon his face as strains alternated between
+grave and gay. Producing his violin from an old green baize bag,<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a>
+bending forward, and holding his violin against his chest, instead of
+under the chin in the modern fashion, most particular about his
+instrument being in perfect tune, in execution awkward yet vigorous,
+painstaking rather than brilliant, he would often attend at the
+Oratory School Sunday practices between two and four of an afternoon,
+Father Ryder and Father Norris sometimes coming to play also. For many
+years Dr. Newman had given up the violin,<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> but finding some of the
+school taking to the strings, he took it up again by way of
+encouraging them to persevere in what he deemed to be so good a thing
+for his boys. And he quietly inculcated a lesson in self-effacement
+too, for albeit he had begun the violin very long before our time, he
+invariably took second fiddle. He had no high<span class='pagenum'><a name="Page_11" id="Page_11">11</a></span> opinion of his own
+performances. Answering the Liverpool anti-Popery spouter's summons to
+battle, he relied rather on his friends' estimate of his powers than
+upon his own. "Canon M'Neill's well-known talents as a finished orator
+would make such a public controversy an unfair trial of strength
+between them, because he himself was no orator. He had in fact no
+practice in public speaking. <i>His friends, however, told him</i> that he
+was no mean performer on the violin, and if he agreed to meet Canon
+M'Neill, he would only make one condition, that the Canon should open
+the meeting, and say all he had to say, after which he (Mr. Newman)
+would conclude with a tune on the violin. The public would then be
+able to judge which was the better man."<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> With mere fiddling, a
+fluency void of expression he had little patience, and when, at a term
+"break-up," a youth's bow cleverly capered about on a violoncello, he
+uttered no compliment when the boy had concluded his flourishes. It
+was a mere display for executive skill, without feeling.</p>
+
+<p>Readers will remember here the passage in <i>Loss and Gain</i>: "Bateman:
+'If you attempt more, it's like taxing a musical instrument beyond its
+powers.' Reding: 'You but try, Bateman, to make a bass play
+quadrilles, and you will see what is meant by taxing an instrument.'
+Bateman: 'Well, I have heard Lindley play all sorts of quick tunes on
+his bass, and most wonderful it is.' Reding: 'Wonderful is the right
+word, it is very wonderful. You say, "How <i>can</i> he manage it? It's
+very wonderful for a bass;" but it is not pleasant in itself. In like
+manner, I have always felt a disgust when Mr. So-and-so comes forward
+to make his sweet flute bleat and bray like a haut-bois; it's forcing
+the poor thing to do what it was never made for.'"<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p>
+<p><span class='pagenum'><a name="Page_12" id="Page_12">12</a></span></p>
+<p>In the same mood, when a quartet of Schubert was played to him in
+March, 1878, the sole remark he let fall was, "Very harmonious and
+clever, but it does not touch the heart."</p>
+
+<p>In March, 1883, he observed that he missed the minor key in
+Palestrina, and on our adding that, perhaps, Mendelssohn had too much
+of it, he went on, "It cuts me to the heart that minor," and so he
+liked the mixed mode to the Psalm <i>In exitu Israel</i>, and was much
+affected by the slow movements in Beethoven's Ninth Quartet and C
+minor Symphony, and the Allegretto of the Symphony in A.</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+I cannot of that music rightly say,<br />
+Whether I hear or touch or taste the tones,<br />
+Oh, what a heart-subduing melody!<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a><br />
+</td>
+</tr>
+</table>
+
+<p>There was just that human element about it, so "deeply pathetic,"
+which in the same way made him prefer Euripides to Sophocles, for all
+the latter's "sweet composure, melodious fulness, majesty and
+grace."<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> And here we may add, that as late as January, 1890,
+<i>apropos</i> of a Greek play for his school, he was as keen and eager as
+ever about the merits of Euripides, expressed himself as being at a
+loss to understand the critics invariably preferring Sophocles to the
+other two, and evidently placed Euripides and &AElig;schylus first and
+second respectively. A frequently true and natural feeling, whether
+displayed by the author of the <i>Bacch&aelig;</i>, or by the composer of
+<i>Fidelio</i>, evidently almost atoned, in his estimation, for every
+deficiency.</p>
+
+<p>He writes to his sister, October, 1834: "There is a lady here" (at
+Tunbridge Wells), "who plays most beautifully. I think I never heard
+such a touch&mdash;why, I cannot make out, for she has not long fingers to
+be brilliant. So you must set yourself to rival her. It would be
+interesting to <i>examine</i> the causes of expression,<span class='pagenum'><a name="Page_13" id="Page_13">13</a></span> which you might
+easily do. <i>Strength</i> of finger is one thing certainly. This lady is
+not brilliant in the common sense&mdash;that is, smart and rattling&mdash;but
+every note is so full-toned, so perfect, that one requires nothing
+beyond itself. This in Beethoven's effective passages produces a
+surprising effect. I accompanied her last night and am to do so again
+to-night."<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> He wrote in September, 1865, of a certain boy's
+progress with the violin: "He plays fluently, so to say; by fluency I
+mean in time, in tune, and with execution. This is stage one; stage
+two is eloquence, by which I mean grace, delicacy, and expression. To
+gain this nothing is better than to accompany his sisters. A boy who
+always is first fiddle is in danger of artistic faults parallel to
+those which are implied in the metaphorical sense of the words. When
+he comes back I think he has had enough of the music-master, and I
+shall try to make him turn his thoughts to a higher school of music
+than is suitable to a beginner, but I cannot tell whether he is old
+enough to take to it. I recollect how slow I was as a boy to like the
+school of music which afterwards so possessed me that I have to come
+to think Haydn, in spite of his genius, almost vulgar." And just as
+Blanco White would seem to have thoroughly initiated Mr. Newman into
+the mysteries of Beethoven, so did Dr. Newman lead on his boys (as
+they would say) "to swear by" that master. They might start with
+Corelli, and go on to Romberg, Haydn, and Mozart: their ultimate goal
+was Beethoven, and round would come the "Father Superior" with ancient
+copies of the quintet version of the celebrated septet, and
+arrangements from the symphonies; nor were the first ten quartets, the
+instrumental trios, the violin sonatas, and the overtures forgotten.
+The "Dutchman," with his force and depth, his tenderness and
+sweetness, was the Cardinal's prime favourite. "We were at the
+concert," Mrs. Newman writes to him at school, "and fascinated<span class='pagenum'><a name="Page_14" id="Page_14">14</a></span> with
+the Dutchman" (the name he had given to Beethoven to tease his
+music-master because of the <i>van</i> to his name), "and thought of you
+and your musical party frequently."<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> "They tell me," he said in
+May, 1876, on occasion of hearing at the Latin Play, the <i>scherzo</i> and
+<i>finale</i> of the Second Symphony, "that these first two symphonies of
+Beethoven are not in his style; to me they are Beethoven all over.
+There is no mistaking that <i>scherzo</i>." And again in October, 1877,
+after a rendering of the <i>allegretto</i> of the Eighth Symphony, on our
+observing that it was like the giant at play, he said: "It is curious
+you should say that. I used to call him the gigantic nightingale. He
+is like a great bird singing. My sister remembers my using the
+expression long ago." And although he betrayed a little doubt as to
+Beethoven's tone being essentially religious, he was unwilling to hear
+anything said against him.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> The late Father Caswall, once
+distracted, while singing High Mass, with Beethoven's Mass in C,
+half-humorously vented his wrath at recreation against the <i>Credo</i>.
+Said he: "I think that's a condemnable <i>Credo</i>." "Oh, I rather liked
+it," was Father Newman's rejoinder. "More dramatic than reverent," had
+been the remark made to the latter in September, 1882, by the then
+Warden of Keble, after the conclusion of the <i>Mount of Olives</i> at the
+Birmingham Festival. The Cardinal said little or nothing at the time,
+but his affection for Beethoven came out subsequently. "When you come
+to Beethoven," said he, "I don't say anything about good taste, but he
+has such wonderful bits here and there." And in the department of
+<i>cadenza</i> and variation he deemed him without an equal.</p>
+
+<p>Distrusting their talent lest it should run away with<span class='pagenum'><a name="Page_15" id="Page_15">15</a></span> them, and they
+neglect the rubrics, Dr. Newman was sensitive over musicians of the
+day setting to work upon liturgy. Of sorts of liberty taken we have
+modern examples in Gounod's <i>Mors et Vita</i> Oratorio, where <i>O felix
+culpa</i>, &amp;c., is planted in the middle of the <i>Dies Ir&aelig;</i>, and in his
+<i>Messe Solennelle</i>, where <i>Domine, non sum dignus</i>, &amp;c., figures as a
+solo in the <i>Agnus Dei</i> (a less objectionable case, the treatment
+being fortunately devotional). Berlioz, too, in his <i>Requiem</i>,
+introduces before the <i>Tuba mirum</i> the words, <i>Et iterum venturus est
+judicare vivos et mortuos</i>. And in a passage where he would appear to
+be depicting Beethoven's power, after alluding to "the marvellous
+development which musical science has undergone in the last century,"
+Dr. Newman continues: "Doubtless, here, too, the highest genius may be
+made subservient to religion," but "it is certain that religion must
+be alive and on the defensive, for if its servant sleep a potent
+enchantment will steal over it.... If, then, a great master in this
+mysterious science ... throws himself on his own gifts, trusts its
+inspirations and absorbs himself in those thoughts which, though they
+come to him in the way of nature belong to things above nature, it is
+obvious he will neglect everything else. Rising in his strength he
+will break through the trammels of words; he will scatter human
+voices, even the sweetest, to the winds; he will be borne upon nothing
+else than the fullest flood of sounds which art has enabled him to
+draw from mechanical contrivances; he will go forth as a giant, as far
+as ever his instruments can reach, starting from their secret depths
+fresh and fresh elements of beauty and grandeur as he goes, and
+pouring them together into still more marvellous and rapturous
+combinations; and well indeed, and lawfully, while he keeps to that
+line which is his own; but should he happen to be attracted, as he
+well may, by the sublimity, so congenial to him, of the Catholic
+doctrine and ritual, should he engage in<span class='pagenum'><a name="Page_16" id="Page_16">16</a></span> sacred themes, should he
+resolve by means of his art to do honour to the Mass, or the Divine
+Office&mdash;(he cannot have a more pious, a better purpose, and religion
+will gracefully accept what he gracefully offers; but) is it not
+certain from the circumstances of the case, that he will be carried on
+rather to use religion than to minister to it, unless religion is
+strong on its own ground, and reminds him that if he would do honour
+to the highest of subjects, he must make himself its scholar, must
+humbly follow the thoughts given him, and must aim at the glory, not
+of his own gift, but of the Great Giver."<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> How entirely is this
+spirit in accord with the Congregation of Rites; with the sentiments,
+indeed, of every lover of true church-music. He was thus very slow to
+take (if he ever really took) to new-comers on the field of sacred
+music. And holding, as he did, that no good work could be adequately
+adjudged without a thorough knowledge of it, he was disinclined to be
+introduced to fresh musical names at all, on the bare chance, that
+might never occur, of what had been a casual acquaintanceship ripening
+into intimate friendship. He had in early days found time and
+opportunity to comprehend certain masters, Corelli, Handel, Haydn,
+Romberg, Mozart, and Beethoven, but Schubert, Schumann, Wagner ("I
+cannot recollect all the fellows' names"<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a>); who were these
+strangers, intruding somewhat late in the evening upon a dear old
+family party? Thus, writing of Mendelssohn's chief sacred work in
+March, 1871, which he had been reluctantly<span class='pagenum'><a name="Page_17" id="Page_17">17</a></span> induced to go and listen
+to, and which he never got to hear again: "I was very much
+disappointed the one time that I heard the <i>Elijah</i>, not to meet with
+a beautiful melody from beginning to end. What can be more beautiful
+than Handel's, Mozart's, and Beethoven's melodies?" Now, of course,
+there is plenty of melody in the <i>Elijah</i>, though it may be conceded
+that Mendelssohn's melodious gift is less <i>copious</i> than that of
+Mozart, but the fact was, Cardinal Newman never got to know the
+<i>Elijah</i>, doubtless deemed it long, and felt content to feed upon the
+musical <i>pabulum</i> that he had so long found satisfying. And underlying
+this particular form of the <i>gravamen</i> against Mendelssohn, we should
+say that there existed a species of irritation with some of the modern
+oratorio. Was it not very possibly in his eyes a kind of Protestant
+rejuvenescence of an eighteenth century Biblical institution, all
+quietly founded, without acknowledgment, on St. Philip's own Catholic
+creation,<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> and nowadays bidding fair to do duty at convenient
+intervals for proper religious worship with large numbers alike of
+church-goers and of people who never go to church? Better oratorio
+here, it may be said, than nothing at all, and that may be conceded;
+but we have an impression that the Cardinal looked jealously at the
+use of Scripture for general musical performances in concert-halls. He
+was a little put out, too, by librettists interlarding Holy Writ with
+their own "copy." Scripture was good, and Gounod, for example, might
+be good, but both together in literary collaboration were&mdash;well, not
+so good. While allowing that there was something of interest in the<span class='pagenum'><a name="Page_18" id="Page_18">18</a></span>
+history of the latter's <i>Redemption</i> Oratorio, insomuch as when first
+conceived long ago its composer had entertained thoughts of embracing
+the religious state, he could with difficulty be induced to go and
+hear it, at its first production in Birmingham on the last day of
+August, 1882. Nor could he be got to say anything about it by way of a
+compliment. "As the work of a man of genius one does not like to
+criticize it," was what he let fall, and he was rather troubled by its
+"March to Calvary," which he likened in private to "the bombardment of
+Alexandria." At the 1876 Festival, Wagner's <i>Supper of the Apostles</i>
+was to his ear "sound and fury," and Brahms' <i>Triumphlied</i> fared no
+better in 1882. We happened to be with him at the Friday morning
+performance, September 1. A certain party came in late, and talked
+away behind us all through the G minor Symphony of Mozart, whose
+"exuberant inventiveness"<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> excited our wonder. When the din of the
+<i>Triumphlied</i> came on, her voice was quite drowned, and the Cardinal
+whispered: "Brahms is a match for her."<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></p>
+
+<p>He got to know fairly well Mendelssohn's canzonet quartet and
+Schumann's pianoforte quintet Op. 44; but we recall no musical works
+heard by him for the first time in very late life making any
+particular impression on the Father, with one notable exception;
+Cherubini's First Requiem in C minor, done at the Festival, August 29,
+1879. We were to have gone with him, but a Father who accompanied him
+wrote to us instead next day: "The Father was quite overcome by it,
+and that is the fact.<span class='pagenum'><a name="Page_19" id="Page_19">19</a></span> He kept on saying, 'beautiful, wonderful,' and
+such-like exclamations. At the <i>Mors stupebit</i> he was shaking his head
+in his solemn way, and muttering, 'beautiful, beautiful.' He admired
+the fugue <i>Quam olim</i> very much, but the part which struck him most by
+far, and which he spoke of afterwards as we drove home, is the ending
+of the <i>Agnus Dei</i>&mdash;he could not get over it&mdash;the lovely note C which
+keeps recurring as the 'requiem' approaches eternity." When it was
+done twice in its true home, the church, later, on the 2nd and 13th
+November, 1886, he said, "It is magnificent music." "That is a
+beautiful Mass" (adding, with a touch of pathos), "but when you get as
+old as I am, it comes rather too home." A diary noting the service on
+All Souls' day, says: "His Eminence was at the throne in his purple
+robes. I was in the gallery at the end of the nave, and the dim-lit
+sanctuary (with the Cardinal's <i>zucchetto</i> the only bit of bright
+colour in the gloom), the sublime music, all had a most impressive
+effect." On November 13, 1885, he heard in the church and for the
+first time, the Florentine's Second Requiem in D minor, for male
+voices; and thought it beautiful and devotional, and in no way lacking
+in effect through the absence of <i>soprani</i> and <i>contralti</i>, which he
+had not missed. He was most struck with the <i>piano</i> passage in canon
+beginning with the words <i>Solvet s&aelig;clum</i>. On September 1, 1882, he
+heard at the Festival the same composer's Mass in C, and characterized
+as "beautiful" the fugue at the end of the <i>Gloria</i>, the part in the
+Offertory where the chorus enters in support of the soprano solo, and
+the conclusion of the <i>Dona</i>. It came as a relief to him after Brahms,
+who was not understood at a first hearing, and this inability in
+general to grasp good music at once is exhibited in his Italian
+correspondence. "This last week," he writes from Rome in April, 1833,
+"we have heard the celebrated <i>Miserere</i>, or rather the two
+<i>Misereres</i>, for there are two compositions by Allegri and Boii [it<span class='pagenum'><a name="Page_20" id="Page_20">20</a></span>
+should be Bai, and a third is now added, composed by Father Baini] so
+like each other that the performers themselves can scarcely tell the
+difference between them. One is performed on the Thursday and the
+other on Good Friday. The voices are certainly very surprising; there
+is no instrument to support them, but they have the art of continuing
+their notes so long and equally that the effect is as if an organ were
+playing, or rather an organ of violin strings, for the notes are
+clearer, more subtle and piercing, and more impassioned (so to say)
+than those of an organ. The music itself is doubtless very fine, as
+everyone says, but I found myself unable to understand all parts of
+it. Here and there it was extremely fine, but it is impossible to
+understand such a composition on once or twice hearing. In its style
+it is more like Corelli's music than any other I know (though very
+different too). And this is not wonderful, as Corelli was Master of
+the Pope's Chapel, and so educated in the school of Allegri,
+Palestrina, and the rest. These are the only services we have been to
+during the week."<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></p>
+
+<p>For good operatic music Cardinal Newman had, we believe, more of a
+liking than for the more modern oratorio. Rossini, as a religious
+composer, was, we fear, in his bad books, yet when the choice had to
+be made at the 1879 Festival as to what performance he would attend,
+he at first said, "I shall go once, and I choose <i>Mos&eacute; in Egitto</i>." He
+was, he continued, fond of operatic music, and heard very little of
+it. "However," he added to two of the Fathers, "there's no reason why
+you shouldn't go to all." Perhaps there was one reason<span class='pagenum'><a name="Page_21" id="Page_21">21</a></span> against that
+course; it would be expensive. There is an amusing notice of Rossini
+in the Anglican Letters of Mr. Newman. "Bowden tells me," he wrote in
+March, 1824, "that Sola, his sister's music-master, brought Rossini to
+dine in Grosvenor Place not long since; and that as far as they could
+judge (for he does not speak English) he is as unassuming and obliging
+a man as ever breathed. He seemed highly pleased with everything, and
+anxious to make himself agreeable. Labouring, indeed, under a severe
+cold, he did not sing, but accompanied two or three of his own songs
+in the most brilliant manner.... As he came in a private, not a
+professional, way, Bowden called on him, and found him surrounded, in
+a low, dark room, by about eight or nine Italians, all talking as fast
+as possible, who, with the assistance of a great screaming <i>macaw</i>,
+and of Madame Rossini in a dirty gown and her hair in curl papers,
+made such a clamour that he was glad to escape as fast as he
+could."<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></p>
+
+<p>The revised Latin play, and music in conjunction, and all played by
+the boys themselves, were two striking traditions (not, we trust, to
+die out) of the Oratory School in our time, and they were institutions
+introduced by Dr. Newman there, and rooted in his affections from
+boyhood's associations. "Music was a family taste and pursuit," writes
+the late Miss Mozley, "Mr. Newman, the father, encouraged it in his
+children. In those early days they could get up performances among
+themselves, operatic or simply dramatic."<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> At Ealing School he took
+the parts of Davus in the <i>Andria</i>, Cyrus in the <i>Adelphi</i>, and
+Pythias in the <i>Eunuchus</i>, as he told us himself; a varied
+<i>r&eacute;pertoire</i>, <i>i.e.</i> the confidential family servant, the young man
+about town, and the maid of all work! We see not only plays, and then
+music, and lastly the two together, but original composition also,
+early engaging his attention. He tells us, "In the year<span class='pagenum'><a name="Page_22" id="Page_22">22</a></span> 1812 I think
+I wrote a mock drama of some kind.... And at one time I wrote a
+dramatic piece in which Augustus comes on. Again, I wrote a burlesque
+opera in 1815, composing tunes for the songs."<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p>
+
+<p>As to composing, he writes to his mother in March, 1821: "I am glad to
+be able to inform you that Signor Giovanni Enrico Neandrini has
+finished his first composition. The melody is light and airy, and is
+well supported by the harmony."<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> We may add that Mr. Newman, Mr.
+Walker (afterwards Canon of Westminster), and Mr. Bowles, played
+together at Littlemore instrumental trios written by the Cardinal
+himself, and which Father Bowles once told us were "most pleasing."
+What has become of them?<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> On our showing the Father in 1869 an
+original song to his words "The Haven,"<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> he pointed to the second
+chord, exclaiming, "Ah, a diminished seventh!" We had no notion at
+that time what perpetrated iniquity that might be, but two years later
+he wrote: "Every beginner deals in diminished sevenths. At least, I
+did as a boy. I first learnt the chord from the overture to
+<i>Zauberfl&ouml;te</i>; and henceforth it figured with powerful effect in my
+compositions. You must try to make a melody. Without it you cannot
+compose. Perhaps, however, it is that which makes a musical genius."
+If you have no ideas, in fact, go in <i>con amore</i>, for the chord of the
+diminished seventh.</p>
+
+<p>On receiving a march, written by a pupil in 1873, he gently indicated
+faults while giving encouragement, and wrote in July, "It shows you
+are marching in your<span class='pagenum'><a name="Page_23" id="Page_23">23</a></span> accomplishments. It is a very promising
+beginning.... On reading it, I thought I had found some grammatical
+faults, but perhaps more is discovered in the province of discords,
+concords, and coincidences of notes than when I was a boy." And in
+September of the same year, "Thank you for your new edition of <i>St.
+Magnus</i>. On what occasion did he march? I know Bishops were warlike in
+the middle ages. However, whenever it was, his march is very popular
+here, and it went off with great <i>&eacute;clat</i>." Then he wrote to his
+correspondent in April, 1880, who talked about not being "skilled,"
+"Why should you not qualify yourself to deserve the title of a
+'skilled musician?' 'Skilled' is another word for 'grammatical' or
+'scholarlike.'"</p>
+
+<p>When an Oratory organist in the early days was shown a hymn with tune
+and accompaniment all composed by Dr. Newman himself (for insertion in
+the printed Birmingham Oratory Hymn Book), unaware of the authorship
+he at once corrected some of the chords. The Father Superior noticed
+this, and asked him why he had made the changes. The organist
+proceeded to advert to some consecutive fifths in the harmony. But,
+urged the Father, Beethoven and others make use of them. "Ah," came
+the answer, "it's all very well for those great men to do as they
+like, but that don't make it right for ordinary folk to do as they
+like." Dr. Newman therefore learned that musically he was only an
+ordinary folk, and he would have been the first to laugh down the
+notion that he was anything else; for a modest estimate of himself in
+many things was a very marked characteristic with him, and made him
+call his beautiful verse "ephemeral effusions" to Badeley, and write
+in May, 1835, <i>apropos</i> of a suggested uniform edition of his revised
+Latin plays, "I have not that confidence in my own performance to
+think I can compete with a classical Jesuit" (<i>i.e.</i> Father Jouvency).
+In 1828 he had contemplated writing an article on music for the
+<i>London<span class='pagenum'><a name="Page_24" id="Page_24">24</a></span> Review</i>, along with one on poetry. The latter, in the event,
+alone saw the day; the former "seems to have remained an idea
+only."<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> He is apologetic in the <i>Idea of a University</i>, when about
+to descant so eloquently upon music: "If I may speak," he says, "of
+matters which seem to lie beyond my own province;"<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> but in very
+early Oratory days at Edgbaston, he essayed some lectures on music to
+some of the community in the practice-room. And at the opening of the
+new organ there in August, 1877, he "preached a most beautiful
+discourse [taken down at the time], upon the event of the day; and on
+music, first as a great natural gift, then as an instrument in the
+hands of the Church; its special prominence in the history of St.
+Philip and the Oratory; the part played by music in the history of
+God's dealings with man from first to last, from the thunders of Mount
+Sinai to the trumpets of the Judgment; the mysterious and intimate
+connection with the unseen world established by music, as it were the
+unknown language of another state. Its quasi-sacramental efficacy,
+<i>e.g.</i>, in driving away the evil spirit in Saul and in bringing upon
+Eliseus the spirit of prophecy; the grand pre-eminence of the organ in
+that it gave the nearest representation of the voice of God, while the
+sound of strings might be taken as more fitted to express the varying
+emotions of man's state here on earth."<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></p>
+
+<p>At Oxford, in his time, he said, there were none of the facilities for
+music that now form part of the institutions of the place; there was
+little to encourage individual musical talent. At St. Clement's we
+only learn, "I had a dispute with my singers in May, which ended in
+their leaving the church, and we now sing <i>en masse</i>,"<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> and in June
+still, "My singers are quite mute."<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> At St. Mary's, Mr. Bennett,
+who was killed on his way to Worcester<span class='pagenum'><a name="Page_25" id="Page_25">25</a></span> Festival by the upsetting of a
+coach,<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> and after him Mr. Elvey, elder brother of Sir George Elvey,
+sometime organist at St. George's Chapel, Windsor, were Mr. Newman's
+organists. "I shall never forget," writes a hearer, "the charm it was
+to hear Elvey play the organ for the hymn at Newman's afternoon
+parochial service at St. Mary's on a Sunday. The method was to play
+the tune completely through on the organ before the voices took it up,
+and the way he did it was simply perfect."</p>
+
+<p>Still the Anglican service, taken as a whole, was scarcely then
+calculated to stir artistic fervour, and this listener, so delighted
+with Elvey at St. Mary's, went home to his village parish church only
+to hear the hymn murdered, or if it were Advent, Christmas, or Easter,
+a tradesman shout from the gallery, "We will now sing to the praise
+and glory of God a <i>h</i>anthem!" when a motet would be sacrificed to
+incompetency with every circumstance of barbarity attending the
+execution. Mr. Newman in language of appalling force, written a year
+after his conversion, has described the Anglican service as "a ritual
+dashed upon the ground, trodden on, and broken piecemeal; prayers
+clipped, pieced, torn, shuffled about at pleasure, until the meaning
+of the composition perished, and offices which had been poetry were no
+longer even good prose; antiphons, hymns, benedictions, invocations,
+shovelled away; Scripture lessons turned into chapters; heaviness,
+feebleness, unwieldiness, where the Catholic rites had had the
+lightness and airiness of a spirit; vestments chucked off, lights
+quenched, jewels stolen, the pomp and circumstances of worship
+annihilated; a dreariness which could be felt, and which seemed the
+token of an incipient Socinianism, forcing itself upon the eye, the
+ear, the nostrils of the worshipper; a smell of dust and<span class='pagenum'><a name="Page_26" id="Page_26">26</a></span> damp, not of
+incense; a sound of ministers preaching Catholic prayers, and parish
+clerks droning out Catholic canticles; the royal arms for the
+crucifix; huge ugly boxes of wood, sacred to preachers, frowning on
+the congregation in the place of the mysterious altar; and long
+cathedral aisles unused, railed off, like the tombs (as they were) of
+what had been and was not; and for orthodoxy, a frigid, unelastic,
+inconsistent, dull, helpless dogmatic, which could give no just
+account of itself, yet was intolerant of all teaching which contained
+a doctrine more or a doctrine less, and resented every attempt to give
+it a meaning."<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> The Catholic Church's ritual he found very
+different.</p>
+
+<p>"What are her ordinances and practices," he asks, "but the regulated
+expression of keen, or deep, or turbid feeling, and thus a 'cleansing'
+as Aristotle would word it, of the sick soul? She is the poet of her
+children; full of music to soothe the sad, and control the
+wayward&mdash;wonderful in story for the imagination of the romantic; rich
+in symbol and imagery, so that gentle and delicate feelings, which
+will not bear words, may in silence intimate their presence, or
+commune with themselves. Her very being is poetry; every psalm, every
+petition, every collect, every versicle, the cross, the mitre, the
+thurible, is a fulfillment of some dream of childhood, or aspiration
+of youth. Such poets as are born under her shadow, she takes into her
+service, she sets them to write hymns, or to compose chants, or to
+embellish shrines, or to determine ceremonies, or to marshal
+processions; nay, she can even make schoolmen of them, as she made St.
+Thomas, till logic becomes poetical."<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a></p>
+
+<p>And, of course, as the Catholic poet that he now was, he duly set
+about to "write hymns" and "to compose chants." Since 1834, it will be
+found, his original muse, amid the "encircling gloom," had been
+entirely silent, but once emerging into the light of the true faith,
+it struck the lyre again with those most lovely notes of
+"Candlemas"<span class='pagenum'><a name="Page_27" id="Page_27">27</a></span>&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+The Angel-lights of Christmas-morn,<br />
+Which shot across the sky,<br />
+Away they pass at Candlemas,<br />
+They sparkle and they die.<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a><br />
+</td>
+</tr>
+</table>
+
+<p>In 1849 appeared his most original and pathetic "Pilgrim Queen," or
+No. 38, <i>Regina Apostolorum</i>, in the Hymn Book, the sweet music
+thereto being his own composition, (or in part adaptation?)</p>
+
+<p class="centerp">
+<img src="images/music01.png" width="550" height="231" alt="music" title="music" />
+</p>
+
+<p class="center">[<a href="music/music001.mid">Listen</a>]</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+There sat a Lady all on the ground,<br />
+Rays of the morning circled her round;<br />
+Save thee, and hail to thee, gracious and fair,<br />
+In the chill twilight what wouldst thou there?<br />
+</td>
+</tr>
+</table>
+
+<p>In 1850 came two more exquisite hymns in honour of the Mother of God,
+<i>i.e.</i>, the "Month of Mary," and the "Queen of Seasons," both headed
+<i>Rosa Mystica</i> in the hymn-book. The hymns and tunes of two others, of
+No. 51. "Regulars and St. Philip," (an expressive melody),</p>
+
+<p class="centerp">
+<img src="images/music02.png" width="550" height="236" alt="music" title="music" />
+</p>
+
+<p class="center">[<a href="music/music002.mid">Listen</a>]</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+The holy monks conceal'd from men<br />
+In midnight choir or studious cell,<br />
+In sultry field or wintry glen,<br />
+The holy monks, I love them well,<br />
+In sultry field or wintry glen,<br />
+The holy monks, I love them well.<br />
+</td>
+</tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_28" id="Page_28">28</a></span></p>
+
+<p>and No. 81, "Night" ("The red sun is gone," from the Breviary),</p>
+
+<p class="centerp">
+<img src="images/music03.png" width="563" height="159" alt="music" title="music" />
+</p>
+
+<p class="center">[<a href="music/music003.mid">Listen</a>]</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+The red sun is gone,<br />
+Thou light of the heart,<br />
+Blessed Three Holy One,<br />
+To Thy servants a sun<br />
+Everlasting impart.<br />
+</td>
+</tr>
+</table>
+
+<p>are also by him; and there may be others. And though this tune to No.
+81 has been irreverently referred to as being "just like an old
+sailor's song," the same critic has extolled its effect, and told us
+how he loved to sing its long note at eventide. No. 61, "Conversion,"
+is Father Faber's hymn, "I was wandering and weary" (No. 66 in the
+London Oratory Hymn Book<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a>), but the original air in both Oratory
+books is the same, and the composition of Cardinal Newman.</p>
+
+<p class="centerp">
+<img src="images/music04.png" width="560" height="326" alt="music" title="music" />
+</p>
+
+<p class="center">[<a href="music/music004.mid">Listen</a>]</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+I was wandering and weary,<br />
+When my Saviour came unto me,<br />
+For the ways of sin grew dreary,<br />
+And the world had ceas'd to woo me;<br />
+And I thought I heard Him say,<br />
+As He came along His way, &amp;c.<br />
+</td>
+</tr>
+</table>
+
+<p>Its peculiar merits grow upon familiar acquaintance, and a devoted
+lover of plain chant, rather to our surprise, once expressed his
+affection for it. It has been termed "briny," like No. 81. Its
+expressiveness and "go" are<span class='pagenum'><a name="Page_29" id="Page_29">29</a></span> unquestionable,<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> and it is becoming
+popular without the public in general knowing who the composer is. The
+study of the application of music to words was interesting enough, as
+the Cardinal remarked in April, 1886. Sometimes the music could not
+quite fit in with the words,<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> and one or other had to give way, and
+on our referring to this music to Father Faber's hymn "Conversion," he
+said he had an idea that the words had been somewhat altered to suit
+his tune. The reverse would appear to be the case. At least the
+refrain, "O silly souls," &amp;c., is not identical in the Birmingham and
+London books.</p>
+
+<p class="centerp">
+<img src="images/music05.png" width="549" height="333" alt="music" title="music" />
+</p>
+
+<p class="center">[<a href="music/music005.mid">Listen</a>]</p>
+
+<p class="center"><i>Birmingham.</i></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+O silly souls come near me,<br />
+My sheep should never fear me,<br />
+I am the Shepherd true,<br />
+I am the Shepherd true.<br />
+</td>
+</tr>
+</table>
+
+<p class="center"><i>London.</i></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+O silly souls come near me,<br />
+My sheep should never fear me,<br />
+I am the Shepherd true,<br />
+I am the Shepherd true.<br />
+</td>
+</tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_30" id="Page_30">30</a></span></p>
+
+<p>Mr. W. Pitts, the compiler of the latter, sends us word that "the
+melody <i>only</i> came into my hands, and it stands in the London book
+exactly as I received it. I think it was sent by one of the Birmingham
+Fathers, or by Mr. Edward Plater." This is satisfactory, and points to
+a smoother and far more effective version of the refrain by the
+composer himself.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></p>
+
+<p>Altogether we have ever felt that there is an indescribable
+brightness, a radiant cheerfulness, which might have pleased St.
+Philip, about the Birmingham selection of hymns and tunes, with
+Beethoven, Mozart, Mendelssohn, Pleyell, Crookall, Webbe, Moorat, and
+others laid under contribution. In the Saint's time, we know, "there
+were sung at the Oratory many <i>Laudi</i>, motets, madrigals, and sacred
+songs in the vulgar tongue, and these gave scope for composers to
+essay a simpler, and more popular and stirring style of music."<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a>
+Take up then the Father's book, hear the people at the May devotions
+sing such winning songs as the "Pilgrim Queen" (No. 38, <i>Regina
+Apostolorum</i>), and the "Month of Mary" (No. 32, <i>Rosa Mystica</i>), or
+listen during St. Philip's Novena, to "St. Philip in his School" (No.
+49), "in his Mission" (No. 50), "in Himself" (No. 51, "Regulars and
+St. Philip"), and "in his Disciples" (No. 54, "Philip and the Poor"),
+and we conclude that, as with the Saint, so with his distinguished
+son, it has been his "aim to make sacred music popular;"<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> and may
+we not further say that the Cardinal, without any parade whatever, but
+in the simplest<span class='pagenum'><a name="Page_31" id="Page_31">31</a></span> fashion, has somehow succeeded at Birmingham in his
+aim?</p>
+
+<p>The Birmingham Oratory Book, with the tunes, only privately printed
+for local use, came, nevertheless, as a surprise to Messrs. Burns and
+Westlake, who made merry over the occasional simplicity, not to say
+meagreness of the harmonies. A quick movement, too, from a Beethoven
+Rasoumousky quartet, is rather awkward, albeit taken slow, for No. 74,
+"Death," and Leporello's song for Nos. 22 and 23, is possibly not over
+suitable, however intrinsically appropriate, looking to the
+associations it might arouse, not so much, however, among the poor,
+who cannot afford to patronize opera, as among the rich. "Just look at
+the harmony," says one of No. 51; and of the famous No. 61, "there is
+a strange want of unity, the first part has no second harmony." A
+noble lord, too, disapproved of No. 51, the notes being, said he, all
+over the key-board, but such are the strains of some of the best music
+in the world, and the notice to this anonymous collection is almost an
+answer to particular criticism, as Burns felt at once, <i>i.e.</i>:
+"Neither the following tunes themselves, nor the hymns to which they
+belong, have been brought together on any one principle of selection,
+or to fulfil any ideal of what such composition ought to be. Many of
+them have grown into use insensibly, without any one being directly
+responsible for them; the rest have been adapted as the most
+appropriate, under circumstances, to complete the set, and to answer
+the needs of our people."<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a></p>
+<p><span class='pagenum'><a name="Page_32" id="Page_32">32</a></span></p>
+<p>Like St. Philip, too, "he took the word music in its widest sense, and
+made use of both vocal and instrumental music, and of their blended
+harmony."<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> While we believe that he would have been the first to
+admit the beauty of large portions of the old chant, its incomparable
+hymns in the liturgy, the familiar <i>accentus</i> dear to every Catholic
+ear, for the Preface, the <i>Pater noster</i>, &amp;c., the modes for Holy
+week, the tones for the Psalms of the Divine Office, &amp;c., we question
+whether he could have made much of a mass of antiphons that seem to
+illustrate the sacred text, "All we like sheep have gone astray." "In
+Gregorian music," said a writer in 1890, speaking more positively than
+we are able to do, "Newman could see no beauty whatever&mdash;none, at any
+rate, in the usual antiphons and 'tones.' An exception must be made in
+favour of those familiar chants occurring in the Mass.... I recollect
+his telling me, after we had heard one of Cherubini's Masses admirably
+performed at a Birmingham Festival, that the music, though so
+beautiful, needed the interspersing of those quaint old chants to make
+it really devotional," but "I believe," writes a friend, "it is very
+difficult for one who has heard only Mozart and Beethoven, &amp;c., in all
+his early years ever to get a liking for Gregorian<span class='pagenum'><a name="Page_33" id="Page_33">33</a></span> tones. It used to
+drive Canon Oakeley wild when he heard his nephew, the present Sir H.
+Oakeley, play a fugue of Bach's even on the organ. The Cardinal,
+however, liked the <i>modus peregrinus</i> to the <i>In exitu Israel</i> (that
+was only natural), and I remember once he seemed quite put out because
+once we followed the Rubrics in Easter week (when the <i>In exitu</i> is
+used) by having all the Psalms to one tone. For a moment it seemed as
+if he would contradict himself in his strict rule of going by
+authority against what he liked, and would change the tones so as to
+have the <i>peregrinus</i>." He somewhere, however, calls Gregorian an
+"inchoate science." Could medi&aelig;val work, largely out of touch with the
+times, claim for itself a monopoly of existence to the exclusion of
+the modern? So loyal a son of Holy Church as Dr. Ward had let fall
+that a plain chant <i>Gloria</i> reminded him of "original sin." "And, if
+sometimes," writes a friend of old Oratory days, "we were so
+unfortunate as to have on some week-day festival of our Lady, only the
+Gregorian Mass, Father Darnell used to say we were 'burying our Lady,'
+and though he would make no remark, I have little doubt the Father
+thought so too." Perhaps, then, Cardinal Newman's love for vocal and
+instrumental ecclesiastical music in combination (especially at
+Christmas, Easter, and Pentecost) was a true instinct recognizing the
+undoubted needs of another day, and is best labelled for a motto with
+some verses of the 149th and 150th Psalms, which we recommend to the
+attention of a few purists in case they may have forgotten them? Thus,
+acknowledging in January, 1859, the Gothic to be "the most beautiful
+of architectural styles," he "cannot approve of the intolerance of
+some of its admirers," and he would "claim the liberty of preferring,
+for the purposes of worship and devotion, a description of building
+which, though not so beautiful in outline, is more in accordance with
+the ritual of the present day, which is more cheerful in its exterior,
+and which admits<span class='pagenum'><a name="Page_34" id="Page_34">34</a></span> more naturally of rich materials, of large pictures
+or mosaics, and of mural decorations."<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></p>
+
+<p>"My quarrel with Gothic and Gregorian when coupled together," says
+Campbell, in <i>Loss and Gain</i>, "is that they are two ideas not one.
+Have figured music in Gothic churches, keep your Gregorian for
+Basilicas." Bateman: "... You seem oblivious that Gregorian chants and
+hymns have always accompanied Gothic aisles, Gothic copes, Gothic
+mitres, and Gothic chalices." Campbell: "Our ancestors did what they
+could, they were great in architecture, small in music. They could not
+use what was not yet invented. They sang Gregorian because they had
+not Palestrina." Bateman: "A paradox, a paradox." Campbell: "Surely
+there is a close connection between the rise and nature of the
+Basilica and of Gregorian unison. Both existed before Christianity,
+both are of Pagan origin; both were afterwards consecrated to the
+service of the Church." Bateman: "Pardon me, Gregorians were Jewish,
+not Pagan." Campbell: "Be it so, for argument sake, still, at least,
+they were not of Christian origin.<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> Next, both the old music and
+the old architecture were inartificial and limited, as methods of
+exhibiting their respective arts. You can't have a large Grecian
+temple, you can't have a long Gregorian <i>Gloria</i>." Bateman: "Not a
+long one, why there's poor Willis used to complain how tedious the old
+Gregorian compositions were abroad." Campbell: "... Of course you may
+produce them to any length, but merely by addition, not by carrying on
+the melody. You can put two together, and then have one twice as long<span class='pagenum'><a name="Page_35" id="Page_35">35</a></span>
+as either. But I speak of a musical piece, which must, of course, be
+the natural development of certain ideas, with one part depending on
+another. In like manner, you might make an Ionic temple twice as long
+or twice as wide as the Parthenon; but you would lose the beauty of
+proportion by doing so. This, then, is what I meant to say of the
+primitive architecture and the primitive music, that they soon come to
+their limit; they soon are exhausted, and can do nothing more. If you
+attempt more, it's like taxing a musical instrument beyond its
+powers."... Campbell: "This is literally true as regards Gregorian
+music, instruments did not exist in primitive times which could
+execute any other."... Reding: "... Modern music did not come into
+existence till after the powers of the violin became known. Corelli
+himself, who wrote not two hundred years ago, hardly ventures on the
+shift. The piano, again, I have heard, has almost given birth to
+Beethoven." Campbell: "Modern music, then, could not be in ancient
+times for want of modern instruments, and, in like manner, Gothic
+architecture could not exist until vaulting was brought to perfection.
+Great mechanical inventions have taken place both in architecture and
+in music, since the age of Basilicas and Gregorians; and each science
+has gained by it." Reding: "... When people who are not musicians have
+accused Handel and Beethoven of not being <i>simple</i> I have always said,
+'is Gothic architecture <i>simple</i>?' A Cathedral expresses one idea, but
+is indefinitely varied and elaborated in its parts; so is a symphony
+or quartet of Beethoven." Campbell: "Certainly, Bateman, you must
+tolerate Pagan architecture, or you must in consistency exclude Pagan
+or Jewish Gregorians, you must tolerate figured music, or reprobate
+tracery windows." Bateman: "And which are you for, Gothic with Handel,
+or Roman with Gregorian?" Campbell: "For both in their place. I
+exceedingly prefer Gothic architecture to classical. I think it is the
+one true child and development of Christianity; but I won't for that
+reason discard the Pagan style which has been sanctified by eighteen
+centuries, by the exclusive love of many Christian countries, and by
+the sanction of a host of saints. I am for toleration. Give Gothic an
+ascendancy; be respectful towards classical."... Reding: "Much as I
+like modern music, I can't quite go the length<span class='pagenum'><a name="Page_36" id="Page_36">36</a></span> to which your doctrine
+would lead me. I cannot, indeed, help liking Mozart; but surely his
+music is not religious?" Campbell: "I have not been speaking in
+defence of particular composers, figured music may be right, yet
+Mozart or Beethoven inadmissible. In like manner you don't suppose,
+because I tolerate Roman architecture, that therefore I like naked
+cupids to stand for cherubs, and sprawling women for the cardinal
+virtues.... Besides, as you were saying yourself just now, we must
+consult the genius of our country, and the religious associations of
+our people." Bateman: "Well, I think the perfection of sacred music is
+Gregorian set to harmonies; there you have the glorious old chants,
+and just a little modern richness." Campbell: "And I think it just the
+worst of all, it is a mixture of two things, each good in itself, and
+incongruous together. It's a mixture of the first and second courses
+at table. It's like the architecture of the <i>fa&ccedil;ade</i> at Milan,
+half-Gothic, half-Grecian." Reding: "It's what is always used, I
+believe." Campbell: "Oh, yes, we must not go against the age, it would
+be absurd to do so. I only spoke of what was right and wrong on
+abstract principles; and to tell the truth, I can't help liking the
+mixture myself, though I can't defend it."<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a></p>
+
+<p>The irrepressible Bateman has Gothic and Gregorian on the brain: and
+in another place goes "on boldly to declare that, if he had his will
+there should be no architecture in the English churches but Gothic,
+and no music but Gregorian. This ... gave scope for a very pretty
+quarrel, Reding said that all these adjuncts of worship, whether music
+or architecture, were national; they were the mode in which religious
+feeling showed itself in particular times and places. He did not mean
+to say that the outward expression of religion in a country might not
+be guided, but it could not be forced; that it was as preposterous to
+make people worship in one's own way, as to be merry in one's own
+way.'... Bateman: 'But surely ... you don't mean to say that there is
+no natural connection between internal feeling and outward expression,
+so that one<span class='pagenum'><a name="Page_37" id="Page_37">37</a></span> form is no better than another?' Reding: 'Far from it,
+but let those who confine their music to Gregorians, put up crucifixes
+in the highways. Each is the representative of a particular locality
+or time.'... Campbell: 'You can't be more Catholic than Rome, I
+suppose, yet there's no Gothic there.' Bateman: '... Rome has
+corrupted the pure Apostolic doctrine, can we wonder that it should
+have a corrupt architecture?' Reding: 'Why, then, go to Rome for
+Gregorians?'"<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a></p>
+
+<p>The foregoing would probably open out, in the eyes, say, of the
+accomplished author of the <i>Vesper Psalter</i>,<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> a wide field for
+further discussion, but so much may be fairly gathered, viz., that the
+Cardinal's musical views were sensible ones, even if open,
+theoretically, to some differences of opinion. <i>Omnia probate</i>, he
+seems to say, <i>quod bonum est tenete</i>. He had, of course, no sympathy
+with extravagances. His was a cultured, at any rate a refined taste,
+<i>sui similis</i>, and when it was said in April, 1886, that Niedermeyer's
+B minor Mass was "elaborate," he observed: "Well, I like a medium in
+music, although I may be wrong in that." All was well, we suppose,
+provided the best gifts of Catholic masters in their art were in good
+faith proffered to Almighty God. In the words herein of St. Gregory
+the Great: <i>Mihi placet ut, sive in Roman&acirc;, sive in Galliarum, sive in
+qu&acirc;libet ecclesi&acirc;,<span class='pagenum'><a name="Page_38" id="Page_38">38</a></span> aliquid invenisti quod plus omnipotenti Deo possit
+placere, sollicite eligas.</i><a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> All was well, too, if singers and
+players were animated with the Catholic spirit that breathed in a
+Haydn and a Mozart, to say nothing of later giants.<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> Under such
+conditions, and with due observance of the unaccompanied chant in
+Advent and Lent, the male choirs of both Oratories in England have
+probably done a good work, and if so, one worthy of St. Philip's
+blessing.</p>
+
+<p>It was in April, 1886, that two of the Fathers, along with the writer,
+played over to Cardinal Newman, Dykes' well-known setting to "Lead,
+kindly Light," which (he said) he had never heard before, and he
+seemed rather surprised at its very quiet, hymn-like quality. No
+piano, he added, could equal the strings, nor any organ,<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> and we
+gave him the version of the "Lead" by Pinsuti, and West,<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> as also
+Hurrell Froude's "Tyre"<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> and his own<span class='pagenum'><a name="Page_39" id="Page_39">39</a></span> "Watchman" and the "Two
+Worlds,"<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> all with violoncello <i>obbligato</i>. In 1889 he had been
+very ill, and when recovering, said to a Father: "Father Faber wrote
+the hymn 'Eternal Years.'<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> I have always had the greatest affection
+for it&mdash;quite a passionate affection for it&mdash;in connection with Father
+Faber, and I always used to think that when I came to die, I should
+like to have it sung to me; and I want you to play it for me." Would a
+harmonium do? "Yes, a harmonium would be just the thing; perhaps one
+could be spared me."</p>
+
+<p>So, when evening had set in, a harmonium was put in the passage
+between his two rooms, a Father knelt at his side reciting each verse,
+while two others played and sang the "Eternal Years."</p>
+
+<p class="centerp">
+<img src="images/music06.png" width="552" height="246" alt="music" title="music" />
+</p>
+
+<p class="center">[<a href="music/music006.mid">Listen</a>]</p>
+
+<p class="center"><span class="smcap">Beethoven.</span></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+How shalt thou bear the cross that now so dread a weight appears,<br />
+Keep quietly to God, and think upon th'eternal years.<br />
+</td>
+</tr>
+</table>
+
+<p>"Some people," he then said, "have liked my 'Lead, kindly Light,' and
+it is the voice of one in darkness asking for help from our Lord. But
+this (the 'Eternal Years') is quite different; this is one<span class='pagenum'><a name="Page_40" id="Page_40">40</a></span> with full
+light, rejoicing in suffering with our Lord, so that mine compares
+unfavourably with it. This is what those who like 'Lead, kindly Light'
+have got to come to&mdash;they have to learn it." Then they played and sang
+it over again. And he said at the end, "I thank you with all my heart.
+God bless you. I pray that when you go to Heaven, you may hear the
+angels singing with the genius that God has endowed them with. God
+bless you."</p>
+
+<p>To quote as we began, and once again from Cardinal Capecelatro and
+Father Pope, and we have done. What His Eminence says of the first
+founder of any Oratorian Congregation may more or less apply to the
+great Oratorian whom we have mourned: "The sweet enticement of music
+is quite in harmony with the spirit of St. Philip, and imparts to
+piety an ineffable gladness and gentleness and grace. Take away from
+our Saint his delight in music, and you leave his image in our hearts
+mutilated, despoiled of much of its winning beauty."<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a></p>
+
+
+
+<hr />
+<p><span class='pagenum'><a name="Page_41" id="Page_41">41</a></span></p>
+
+<h2>INDEX.</h2>
+
+<hr class="short" />
+
+<p>
+<i>Accentus</i>, 32.<br />
+<br />
+<i>Adelphi</i>, 21.<br />
+<br />
+&AElig;schylus, 12.<br />
+<br />
+<i>Agnus Dei</i>, 19.<br />
+<br />
+Alexandria, 18.<br />
+<br />
+"All is divine," 38.<br />
+<br />
+All Souls' day at Edgbaston, 19.<br />
+<br />
+Allegri, 19, 20.<br />
+<br />
+Allen, A. 38.<br />
+<br />
+<i>Andria</i>, 21.<br />
+<br />
+Anglican service, 25.<br />
+<br />
+Architecture, 33-36.<br />
+<br />
+Aristotle, 26.<br />
+<br />
+<br />
+<i>Bacch&aelig;</i>, 12.<br />
+<br />
+Bach, J.S. 33.<br />
+<br />
+Badeley, E. 23.<br />
+<br />
+Bai, 19, 20.<br />
+<br />
+Baini, 20.<br />
+<br />
+Ballantine-Dykes, Canon, 38.<br />
+<br />
+Barnby, Dr. J. 38.<br />
+<br />
+Barth, T.W. 38.<br />
+<br />
+Basili, 20.<br />
+<br />
+Beethoven, 9, 12-17, 22, 23, 30-32, 35, 36, 39.<br />
+<br />
+Bellasis, E. 38.<br />
+<br />
+Benedict XIV. Pope, 16.<br />
+<br />
+Bennett, Mr. 24, 25.<br />
+<br />
+Berlioz, 15.<br />
+<br />
+Birmingham Festival, 18, 32.<br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 2.3em">Oratory choir, 38.</span><br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 3.7em">"</span><span style="margin-left: 1.7em">hymn-book, 23, 27, 29-31, 39.</span><br />
+<br />
+Bittleston, Rev. H. 31, 32.<br />
+<br />
+Blachford, Lord, 8.<br />
+<br />
+Blanco White, 5, 9, 13.<br />
+<br />
+Bowden, J. 9, 21.<br />
+<br />
+Bowles, Rev. F.S. 10, 22.<br />
+<br />
+Brahms, 18, 19.<br />
+<br />
+Bulwer. Rev. H. Earle, 38.<br />
+<br />
+Burns, J. 31, 37.<br />
+<br />
+Butler, Rev. C.E. 38.<br />
+<br />
+<br />
+<i>Candlemas</i>, 26.<br />
+<br />
+Canzonet quartet, 18.<br />
+<br />
+Capecelatro, Cardinal, 5, 6, 32, 40.<br />
+<br />
+Caswall, Rev. E. 14, 31, 32.<br />
+<br />
+Catholic service, 26.<br />
+<br />
+Chadwick, Bishop, 32.<br />
+<br />
+Chalmers, Dr. 5.<br />
+<br />
+Cherubini, 18, 32.<br />
+<br />
+Chichester, 25.<br />
+<br />
+Chopin, 14.<br />
+<br />
+Christie, S.J. Rev. A.J. 32.<br />
+<br />
+Coffin, C.SS.R. Bishop. 22.<br />
+<br />
+<i>Consolation</i>, 38.<br />
+<br />
+<i>Conversion</i>, 28, 31.<br />
+<br />
+Copleston, Provost, 8.<br />
+<br />
+Corelli, 13, 16, 20.<br />
+<br />
+<i>Credo</i>, 14.<br />
+<br />
+Crookall, Dr. 30.<br />
+<br />
+Crotch, Dr. 29.<br />
+<br />
+<br />
+"Daily, daily," 31.<br />
+<br />
+Darnell, Rev. N. 33.<br />
+<br />
+<i>Death</i>, 31.<br />
+<br />
+<i>Dies Ir&aelig;</i>, 15, 19.<br />
+<br />
+<i>Discussions and Arguments</i>, 16.<br />
+<br />
+<i>Don Giovanni</i>, 31.<br />
+<br />
+<i>Dream of Gerontius</i>, 12, 38.<br />
+<br />
+<i>Dublin Review</i>, 16.<br />
+<br />
+<br />
+Ealing school, 21.<br />
+<br />
+Edgbaston, 8, 19, 24, 28, 39.<br />
+<br />
+<i>Elijah</i>, 17.<br />
+<br />
+<span class='pagenum'><a name="Page_42" id="Page_42">42</a></span>Eliseus, 24.<br />
+<br />
+Elvey, Mr. 25.<br />
+<span style="margin-left: 1em;">"</span><span style="margin-left: 1.3em;">Sir G. 25.</span><br />
+<br />
+<i>Essays</i>, 12, 23, 26.<br />
+<br />
+<i>Eternal Years</i>, 39.<br />
+<br />
+<i>Eunuchus</i>, 21.<br />
+<br />
+Euripides, 12.<br />
+<br />
+<br />
+Faber, Fr. F.W. 28, 29, 31, 39.<br />
+<br />
+Farm Street Church, 17.<br />
+<br />
+<i>Fidelio</i>, 12.<br />
+<br />
+Froude, R.H. 9, 38.<br />
+<br />
+<br />
+Gardiner, J.A. 38.<br />
+<br />
+Gatty, C.T. 38.<br />
+<br />
+Gaul, Dr. A.R. 38.<br />
+<br />
+Gigli, Fr. 30.<br />
+<br />
+"God of mercy," 32.<br />
+<br />
+Gothic, 33-36.<br />
+<br />
+Gounod, 15, 17, 18.<br />
+<br />
+Gratry, Fr. 38.<br />
+<br />
+Grecian architecture, 33-36.<br />
+<br />
+Gregorian, 32-37.<br />
+<br />
+Guglielmi, 20.<br />
+<br />
+<br />
+"Hail, Queen of Heaven," 32.<br />
+<br />
+Hamilton, W. 38.<br />
+<br />
+Handel, 16, 17, 36.<br />
+<br />
+Harvey, Mrs. M.A. 38.<br />
+<br />
+<i>Haven</i>, 22.<br />
+<br />
+Hawkins, Provost, 8.<br />
+<br />
+Haydn, 7, 13, 16, 38.<br />
+<br />
+<i>Heathen Greece</i>, 38.<br />
+<br />
+Heber, Bishop, 32.<br />
+<br />
+Holy Week, 32, 38.<br />
+<br />
+Hume, W. 38.<br />
+<br />
+<br />
+"I was wandering," 28, 31.<br />
+<br />
+<i>Idea of a University</i>, 5, 6, 16, 24.<br />
+<br />
+<i>In exitu Israel</i>, 12, 33.<br />
+<br />
+<br />
+"Jesus, My God, behold," 32.<br />
+<br />
+Jewish music, 34, 35.<br />
+<br />
+Jouvency, S.J. Fr. J. 23.<br />
+<br />
+<br />
+Keble, Rev. J. 29.<br />
+<br />
+<br />
+Lambert, K.C.B. Sir J. 37.<br />
+<br />
+Latin play, 21.<br />
+<br />
+<i>Lauda Sion</i>, 17.<br />
+<br />
+Layton, H.C. 38.<br />
+<br />
+"Lead, kindly light," 38-40.<br />
+<br />
+Leporello, 31.<br />
+<br />
+Lindley, 11.<br />
+<br />
+Lingard, Dr. 32.<br />
+<br />
+Littlemore, 22.<br />
+<br />
+Lockhart, O.C. Rev. W. 11, 22, 29.<br />
+<br />
+London Oratory choir, 38.<br />
+<span style="margin-left: 1em;">"</span><span style="margin-left: 2em;">hymn-book, 28, 29.</span><br />
+<span style="margin-left: 1em;">"</span><span style="margin-left: 2em;"><i>Review</i>, 23.</span><br />
+<br />
+<i>Loss and Gain</i>, 11, 34, 36.<br />
+<br />
+Lydian mode, 34.<br />
+<br />
+<i>Lyra Apostolica</i>, 38.<br />
+<span style="margin-left: .8em;">"</span><span style="margin-left: 1em;"><i>Catholica</i>, 32.</span><br />
+<br />
+<br />
+Macfarren, Dr. G.A. 38.<br />
+<br />
+<i>Magnificat</i>, 6.<br />
+<br />
+Maher, S.J. Fr. W. 17.<br />
+<br />
+<i>Mariale Sti. Anselmi</i>, 32.<br />
+<br />
+McCarthy, Rev. Mr. 10.<br />
+<br />
+M'Quoin, Rev. Mr. 10.<br />
+<br />
+Meacham, Dr. C.J.B. 38.<br />
+<br />
+Mendelssohn, 12, 14, 16-18, 30.<br />
+<br />
+<i>Merry England</i>, 34.<br />
+<br />
+Milan Cathedral, 36.<br />
+<br />
+<i>Miserere</i>, 19, 20.<br />
+<br />
+<i>Mixed Congregations, Discourses to</i>, 5.<br />
+<br />
+M'Neill, Canon, 11.<br />
+<br />
+Mon Reale, Sicily, 34.<br />
+<br />
+<i>Month of Mary</i>, 27, 30.<br />
+<br />
+Moorat, S. 30.<br />
+<br />
+<i>Mors et Vita</i>, 15.<br />
+<br />
+<i>Mors stupebit</i>, 19.<br />
+<br />
+<i>Mos&eacute; in Egitto</i>, 20.<br />
+<br />
+<i>Mount of Olives</i>, 14.<br />
+<br />
+Mozart, 13, 16, 17, 30-32, 36, 38.<br />
+<br />
+Mozley, A. <i>Corr. J.H.N.</i> 6-9, 13, 14, 20, 21, 24, 29, 34.<br />
+<br />
+Mozley, Canon J.B. 14.<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">Mrs. J. 6, 9, 22.</span><br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">Rev. T. 9, 10.</span><br />
+<br />
+<br />
+Naples Oratory, 30.<br />
+<br />
+Newman, Mrs. J. 13.<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.2em;">F.W. 7.</span><br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.2em;">C.R. 7.</span><br />
+<br />
+Nicholson, W. 38.<br />
+<br />
+Niedermeyer, 37.<br />
+<br />
+<span class='pagenum'><a name="Page_43" id="Page_43">43</a></span><i>Night</i>, 28.<br />
+<br />
+Norris, Rev. J. 10.<br />
+<br />
+Novello, 28.<br />
+<br />
+<br />
+"O God, Who canst not change," 38.<br />
+<br />
+"O silly souls," 29.<br />
+<br />
+Oakeley, Canon, 32.<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.9em;">Sir H. 33.</span><br />
+<br />
+Okely, Mr. 17.<br />
+<br />
+<i>Omni die</i>, 32.<br />
+<br />
+Oriel College, Oxford, 7, 8.<br />
+<br />
+Otter, J. 38.<br />
+<br />
+Ottoboni, Cardinal, 20.<br />
+<br />
+<i>Oxford University Sermons</i>, 5, 6, 18.<br />
+<br />
+<br />
+Pagan music, 34, 35.<br />
+<br />
+Palestrina, 12, 20.<br />
+<br />
+<i>Pater noster</i>, 32.<br />
+<br />
+<i>Paternoster Review</i>, 11, 22.<br />
+<br />
+Philomel, 9.<br />
+<br />
+Phrygian mode, 34.<br />
+<br />
+Pianoforte quintet, 18.<br />
+<br />
+Pickering, 31.<br />
+<br />
+<i>Pilgrim Queen</i>, 27, 30, 38.<br />
+<br />
+Pincott, F.G. 38.<br />
+<br />
+Pinsuti, C. 38.<br />
+<br />
+Pitts, W. 28, 30.<br />
+<br />
+Plater, E. 30.<br />
+<br />
+Pleyell, 30.<br />
+<br />
+Pope, Rev. T.A. 40.<br />
+<br />
+Prendergast, A.H. 29.<br />
+<br />
+Psalms, 149th, 150th, and <i>In exitu</i>, 12, 33.<br />
+<br />
+<br />
+<i>Quam olim</i>, fugue, 19.<br />
+<br />
+<i>Queen of Seasons</i>, 27.<br />
+<br />
+<br />
+R., J.W. 38.<br />
+<br />
+Rasoumousky quartet, 31.<br />
+<br />
+<i>Redemption</i>, 18.<br />
+<br />
+<i>Regina Apostolorum</i>, 27, 30.<br />
+<br />
+<i>Regulars and St. Philip</i>, 27, 30, 31.<br />
+<br />
+Reinagle, 9, 27.<br />
+<br />
+<i>Requiems</i>, 15, 18, 19.<br />
+<br />
+Rogers, F. 8.<br />
+<br />
+Roman Oratory Choir, 30.<br />
+<br />
+Romberg, 13.<br />
+<br />
+<i>Rosa mystica</i>, 27, 30.<br />
+<br />
+Rose Hill, 9.<br />
+<br />
+Rossini, 20, 21.<br />
+<br />
+Rousseau, J.J. 34.<br />
+<br />
+Rowley, K. 38.<br />
+<br />
+Ryder, Rev. H.I.D. 10.<br />
+<br />
+<br />
+S., R. 38.<br />
+<br />
+<i>Sacrifice</i>, 39.<br />
+<br />
+<i>St. Philip and the poor</i>, 30.<br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.2em;"><i>in himself</i>, 30, 31.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.2em;"><i>in his disciples</i>, 30.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.2em;"><i>in his mission</i>, 30.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.2em;"><i>in his school</i>, 30.</span><br />
+<br />
+St. Anselm, 31, 32.<br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: .5em;">Clement's, Oxford, 24.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: .5em;">George's, Windsor, 25.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: .5em;">Gregory the Great, 37.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: .5em;">John's, Oxford, 7.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: .5em;">Magnus, 23.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: .5em;">Mary's, Oxford, 24, 25.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: .5em;">Peter's, Rome, 20.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: .5em;">Philip Neri, 5, 6, 17, 24, 30.</span><br />
+<span style="margin-left: .5em;">"</span><span style="margin-left: .5em;">Thomas Aquinas, 18, 26.</span><br />
+<br />
+Saul, 24.<br />
+<br />
+Schubert, 12, 16.<br />
+<br />
+Schumann, 16, 18.<br />
+<br />
+Septet, 13.<br />
+<br />
+"Softly and gently, dearly ransom'd soul," 38.<br />
+<br />
+<i>Solvet s&aelig;clum</i>, 19.<br />
+<br />
+Sola, 21.<br />
+<br />
+Sophocles, 12.<br />
+<br />
+Stanfield, Rev. F. 31.<br />
+<br />
+Sullivan, Sir A. 38.<br />
+<br />
+<i>Supper of the Apostles</i>, 18.<br />
+<br />
+Symphony in A major, 12.<br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: .5em;">C major, 14.</span><br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: .5em;">C minor, 12.</span><br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: .5em;">D major, 14.</span><br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: .5em;">F major, 14.</span><br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 2em;">"</span><span style="margin-left: .5em;">G minor, 18.</span><br />
+<br />
+<br />
+<i>Tablet</i>, 24.<br />
+<br />
+Tarugi, Cardinal, 30.<br />
+<br />
+<i>Tenebr&aelig;</i>, 20.<br />
+<br />
+Terence, 21.<br />
+<br />
+"The Angel-lights of Christmas morn," 27.<br />
+<br />
+"The holy monks," 27, 31.<br />
+<br />
+<span class='pagenum'><a name="Page_44" id="Page_44">44</a></span>"The red sun is gone," 28.<br />
+<br />
+"There are many saints above," 29.<br />
+<br />
+"There sat a Lady," 27, 30, 38.<br />
+<br />
+Thom's <i>Blanco White</i>, 6.<br />
+<br />
+Tiddeman, M. 38.<br />
+<br />
+Tilleard, J. 38.<br />
+<br />
+"To Jesus' heart all burning," 32.<br />
+<br />
+Tonnell&eacute;, M. 38.<br />
+<br />
+Tozer, F. 38.<br />
+<br />
+<i>Triumphlied</i>, 18.<br />
+<br />
+<i>Two Worlds</i>, 38, 39.<br />
+<br />
+Tunbridge Wells, 12.<br />
+<br />
+<br />
+Vaughan, C.SS.R. Fr. 32.<br />
+<br />
+<i>Verses on Various Occasions</i>, 22, 23, 27, 39.<br />
+<br />
+<i>Vesper Psalter</i>, 37.<br />
+<br />
+<br />
+W., E. 38.<br />
+<br />
+Wagner, 16, 18.<br />
+<br />
+<i>Waiting for the morning</i>, 38.<br />
+<br />
+Walker, Canon, 22.<br />
+<br />
+Ward, Dr. W.G. 33.<br />
+<br />
+Warden of Keble, 14.<br />
+<br />
+<i>Warnings</i>, 38.<br />
+<br />
+<i>Watchman</i>, 38.<br />
+<br />
+Waller, W.H. 38.<br />
+<br />
+Webbe, 30.<br />
+<br />
+Wellington, Duke of, 29.<br />
+<br />
+Wesley, Dr. S.S. 38.<br />
+<br />
+Westlake, Mr. 31.<br />
+<br />
+Whitty, S.J. Fr. 10.<br />
+<br />
+Wood, M.A. 38.<br />
+<br />
+Worcester Festival, 24.<br />
+<br />
+<br />
+<i>Zauberfl&ouml;te</i>, 22.<br />
+<br />
+Zingarelli, 20.<br />
+</p>
+
+
+
+<hr />
+<h2>FOOTNOTES</h2>
+
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Cardinal Capecelatro's <i>Life of St. Philip Neri</i>,
+translated by the Rev. Thomas Alder Pope, of the Oratory, vol. ii. p.
+83.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> <i>Discourses to Mixed Congregations</i>, p. 297, Fourth Edit.
+1871.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> <i>Idea of a University</i>, dis. iv. p. 80, Sixth Edit.
+1886.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> <i>Oxford University Sermons</i>, p. 346, Edit. 1884.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> <i>Idea</i>, dis. ix. 230. Dr. Chalmers writes to Blanco
+White: "You speak in your letter of the relief you have found in
+music.... I am no musician and want a good ear, and yet I am conscious
+of a power in music which I want words to describe. It touches chords,
+reaches depths in the soul which lie beyond all other influences....
+Nothing in my experience is more mysterious, more inexplicable."
+(Blanco White's <i>Life and Correspondence</i>, edited by Thom, 1845, vol.
+iii. p. 195.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> <i>Oxford University Sermons</i>, pp. 346, 347. Writing to her
+brother about the passage on music, partly cited above, beginning:
+"There are seven notes in the scale, make them fourteen; yet what a
+slender outfit for so vast an enterprise! What science brings so much
+out of so little! Out of what poor element does some great master in
+it create his new world!" Mrs. J. Mozley says, "We are pleased at your
+tribute to music, but what do you mean by fourteen notes? Do you mean
+the twelve semitones, as some suggest? I am indignant at the idea. I
+think you knew what you were saying. Please tell me when you write."
+(Mozley, <i>Corr.</i> ii. p. 411.) He replies: "I had already been both
+amused and provoked to find my gross blunder about the 'fourteen.' But
+do not, pray, suppose I <i>doubled</i> the notes for semitones, though it
+looks very like it. The truth is, I had a most stupid idea in my head
+there were fifteen semi tones, and I took off one for the octave. On
+reading it over when published, I saw the absurdity. I have a great
+dislike to publishing hot bread, and this is one proof of the
+inconvenience." (<i>Ibid.</i>) The Second Edition has "thirteen notes,"
+which is correct, if the octave be included, but later editions go
+back to "fourteen."</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Pope, <i>Capecelatro</i>, ii. 82.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> <i>Idea</i>, dis. vi. p. 144.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> <i>Ibid.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Mozley, <i>Correspondence</i>, i. p. 52.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> <i>Ibid.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Mozley, <i>Corr.</i> i. p. 71. On one occasion (between
+1860-70) two Oratory boys went up to his room to make a complaint, and
+hearing only "fiddling" the other side of the door, made bold to
+enter, but their visit was ill-timed. "Every Englishman's house is his
+castle," said the Father, and he "went on fiddling." This term,
+"Father," is what every one in the house called Dr. Newman, and
+correctly, as being Father Superior of the Oratory. It is the name (it
+need scarcely be added) that he liked to be called by.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> <i>Ibid.</i> i. p. 104: Provost Hawkins, at this time a
+Fellow, and ultimately succeeding Copleston, had no love for music,
+and rather despised such a thing as being "a sign of an effeminate (or
+frivolous) mind." He used one or other of these terms, or <i>both</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Mozley, <i>Corr.</i> ii. p. 22.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> <i>Ibid.</i> i. p. 146.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> She writes in July, 1843: "Now I do so wish, John, you
+would pay us a visit. I will practise hard to get up some Beethoven."
+(Mozley, <i>Corr.</i> ii. 415.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> With this difference, however, Philomel had not to learn
+her regrets: she knew them already.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> <i>Reminiscences</i>, i. pp. 247, 248, Second Edition, 1882.
+Of statements in this work the Cardinal humorously observed: "When a
+thing won't stand on three legs, Tom supplies a fourth." The Father
+played the viola a good deal, which is larger than the violin; hence
+Mr. Mozley's "different instruments," &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> One of the boys was once lent this aged green baize bag,
+and losing it, never heard the end of it. Whenever there was question
+of lending him anything else, the Father would say very quietly: "I
+think I lent you a green baize bag." Nor would he allow that it was
+lost: "You mean mislaid."</p></div>
+
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> A friend remembers Father Whitty, S.J., bringing to
+Maryvale Mr. McCarthy and Mr. M'Quoin, young converts and subsequently
+priests (the former is still living in Jersey). Both played the
+violin, so an instrumental quartet was essayed (a rare event in the
+community), the executants being the two named, and Fathers Newman and
+Bowles (violoncello).</p></div>
+
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Father Lockhart, in the <i>Paternoster Review</i> for
+September, 1890.</p></div>
+
+<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> <i>Loss and Gain</i>, p. 284, Sixth Edition, 1874.</p></div>
+
+<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> <i>The Dream of Gerontius.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> <i>Essays</i>, i. 7, Fifth Edit.</p></div>
+
+<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Mozley, <i>Corr.</i> ii. 67.</p></div>
+
+<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> Mozley, <i>Corr.</i> i. 19.</p></div>
+
+<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> The late Canon Mozley said that Chopin was "certainly a
+Manichean; he did not believe in God; he believed in some spirit, not
+in God;" while "the moral grandeur of Beethoven's genius was always
+present to him, as, with less force, was also Mendelssohn's: 'They
+believed in God&mdash;their music showed it.'" (<i>Letters</i>, p. 353, Edit.
+1885.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> <i>Idea</i>, dis. iv. 80, 81. In a Bull of 1749, Pope
+Benedict the Fourteenth lays great stress on the words being heard and
+understood, "Curandum est ut verba qu&aelig; cantantur plane perfecteque
+intelligantur," and this is best secured in the unaccompanied chant.
+In an interesting article of the <i>Dublin Review</i> (New Series, vol. ii.
+January-April, 1864), the effect of official pronouncements on the
+questions affecting the plain chant and concerted music is thus
+succinctly summed up: "1. That music, properly so called, may be
+admitted as well as plain chant. 2. That the music of the church is to
+possess a certain gravity and to minister to devotion. 3. That
+instrumental music may be allowed, under certain restrictions."</p></div>
+
+<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> <i>Discussions and Arguments</i>, p. 343, Fourth Edit. 1882.</p></div>
+
+<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> We have it, however, on good authority that a Jesuit
+Father told a Mr. Okely that "one of our Fathers received him
+(Mendelssohn) into the Church shortly before his death." Our informant
+thinks the occurrence took place in Switzerland. If so, the fact ought
+to be better known than it is. Moreover, he adds, that the late Father
+W. Maher, S.J., on one occasion, previous to Mendelssohn's <i>Lauda
+Sion</i> being done at Farm Street, addressed the congregation: "Perhaps
+you would like to know that the author of the music we are about to
+hear died a Catholic."</p></div>
+
+<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> <i>Oxford University Sermons</i>, p. 346.</p></div>
+
+<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> She subsequently resumed talk, trying to draw him out
+about Ireland and Gounod, but all in vain. It was nearly 3 p.m. ere
+this <i>morning</i> concert came to an end, when a second lady, introduced
+by a noble lord, appeared on the scene, and detained him upon
+questions relative to the state of the soul after death, what St.
+Thomas had said, &amp;c. Meanwhile sweepers, uninterested in this
+ill-timed discussion, were pursuing their avocation in the emptying
+hall, and stewards were set wondering as to when His Eminence would be
+released.</p></div>
+
+<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Mozley, <i>Corr.</i> i. 380. We do not think that Corelli
+ever was Papal choirmaster. For some years, however, he led the
+orchestra of the Roman Opera, and was a great friend of Cardinal
+Ottoboni. How different the <i>Tenebr&aelig;</i> music at St. Peter's can be from
+that at the Sixtine chapel, is seen by the three <i>Misereres</i> at the
+former being by Basili, Guglielmi, and Zingarelli, all composers of
+light opera.</p></div>
+
+<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> Mozley, <i>Corr.</i> i. 83.</p></div>
+
+<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> <i>Ibid.</i> i. 19.</p></div>
+
+<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> Mozley, <i>Corr.</i> i. 19.</p></div>
+
+<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> <i>Ibid.</i> p. 61.</p></div>
+
+<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Mrs. J. Mozley to J.H.N., December 1, 1842: "I suppose
+you are able to make use of your violin now you are at Littlemore. I
+have been practising hard lately, and wish you could come, that I
+might turn my practice to good account." (Mozley, <i>Corr.</i> ii. 405.)
+Father Lockhart, too, refers to Newman's playing at Littlemore
+"exquisite sonatas of Beethoven." (<i>Paternoster Review</i>, Sept. 1890.)
+Father Coffin, afterwards Bishop of Southwark, assisted at the musical
+performances.</p></div>
+
+<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> <i>Verses on Various Occasions</i>, p. 86, Edit. 1888.</p></div>
+
+<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> <i>Essays</i>, i. Fifth Edit. 1881; Mozley, <i>Corr.</i> i. 194.</p></div>
+
+<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> <i>Idea</i>, dis. iv. 80.</p></div>
+
+<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> <i>Tablet</i>, 25 Aug. 1877.</p></div>
+
+<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Mozley, <i>Corr.</i> i. 97.</p></div>
+
+<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> <i>Ibid.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> "There is a chant of his composing," writes a friend,
+"which was reckoned at the time a stroke of genius&mdash;quite a new idea.
+I have it in a Collection made by his father, who was organist of
+Chichester Cathedral," and Bennett's elder brother "was my master at
+Chichester in 1842. He used to speak of his brother's genius, and what
+a loss he was to music."</p></div>
+
+<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> <i>Essays</i>, ii. pp. 443, 444.</p></div>
+
+<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> <i>Ibid.</i> 442, 443.</p></div>
+
+<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> <i>Verses on Various Occasions</i>, p. 279, Edit. 1888. The
+well-known tune to this was adapted by him, for the Birmingham Oratory
+Congregation, from Reinagle's hymn tunes, brought out by subscription
+at Oxford, and to which he subscribed.</p></div>
+
+<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> <i>Oratory Hymn Tunes.</i> Arranged by W. Pitts. London:
+Novello.</p></div>
+
+<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> Father Lockhart's solitary original tune, harmonized by
+Mr. A.H. Prendergast, and set to Father Faber's Hymn to St. Joseph,
+"There are many saints above," is another example of tender sentiment
+by an amateur that outweighs any technical defect as to settled
+rhythm.</p></div>
+
+<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> In 1834, when Keble wrote an Ode on the Duke of
+Wellington's installation as Chancellor at Oxford, Dr. Crotch was
+employed to write the music, and Mr. Newman wrote to his friend: "I
+hope Dr. Crotch will do your ode justice." And on difficulties arising
+with the composer, he wrote again to Keble: "I like your ode
+uncommonly. I would not budge one step for Dr. Crotch. His letter is
+most amusing, and your counter-suggestions are amusing too.... I would
+go so far for Dr. C. as to offer him your <i>frigate</i>, which certainly
+does better for music than the long ode." Later on he inquires: "How
+do you and Dr. Crotch get on?" and Keble replies: "Crotch has
+swallowed the <i>frigate</i> whole." (Mozley, <i>Corr.</i> ii. 29.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> Mr. Pitts' chords are generally good, but might be
+considerably improved (more especially at the words "I am the Shepherd
+true"), by some contrary motion in the harmony.</p></div>
+
+<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> Pope, <i>Capecelatro</i>, ii. 88. Father Gigli to Tarugi at
+Naples, about the Roman Oratory, 1587: "Our feast passed off most
+joyously, and with admirable music.... We had three choirs&mdash;two in the
+galleries, besides one in its accustomed place." (<i>Ibid.</i> ii. 103.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> <i>Ibid.</i> 99.</p></div>
+
+<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> An examination of the book of words published by
+Pickering, and which originally numbered eighty-two hymns, since
+increased from time to time up to one hundred and forty-nine (1888),
+shows forty-one hymns (original or translated) by Father Caswall, Nos.
+5, 8-11, 13, 15-17, 19, 21-28, 33-36, 40, 42, 43, 47, 48, 62, 64, 79,
+80, 116, 118, 121, 134, 143-145, 147, 148, 149; thirty by Father
+Faber, 1, 3, 4, 12, 14, 29, 30, 37, 44, 45, 52, 53, 55, 57, 61, 65,
+73, 85, 115, 119, 120, 124, 125, 127-129, 133, 137, 138, 141; thirteen
+by Father Newman, 31, 32, 38, 41, 49, 50, 51, 54, 63, 67, 76, 78, 81;
+two by Father Stanfield, 123, 126; one by Father Bittleston, 39 (the
+familiar "Daily, daily," from St. Anselm, <i>Sancti Anselmi Mariale</i>, p.
+15, <i>Omni die</i>, &amp;c., the second part, No. 40, by Father Caswall); one
+by Father Christie, S.J., 122 ("To Jesus' Heart all burning"); one by
+Father Vaughan, C.SS.R., 130 ("God of mercy and compassion"); one by
+Bishop Chadwick, 131 ("Jesus, my God, behold at length the time"); one
+by Dr. Lingard, 20 ("Hail, Queen of Heaven"). Bishop Heber also
+contributes, but the remaining Nos. 2, 6, 7, 18, 41, 46, 56, 58, 59,
+60, 66, 68, 69, 70, 72, 74, 75, 77, 78, 82, 84, 86, 117, 129, 135,
+136, 139, 140, 142, 146, have not yet been identified by the present
+writer. (See <i>Lyra Catholica</i>, 1849, by Father Caswall, &amp;c.) How
+beautifully, by the by, has not the late Father Bittleston rendered
+St. Anselm's hymn. For example:
+</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="poem">
+<tr>
+<td>
+<span style="margin-left: 4em;"><i>H&aelig;c Regina,</i></span><br />
+<span style="margin-left: 4em;"><i>Nos divin&acirc;,</i></span><br />
+<span style="margin-left: 4em;"><i>Illustravit grati&acirc;.</i></span><br />
+She the Queen who decks her subjects,<br />
+With the light of God's own grace.<br />
+</td>
+</tr>
+</table>
+</div>
+
+<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> Pope, <i>Capecelatro</i>, ii. 82.</p></div>
+
+<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> <i>Merry England</i>, No. 30, p. 380. Mon Reale, in Sicily,
+we think, was his ideal in the Italian style of architecture.</p></div>
+
+<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> "I think with you that what is called Gregorian is but a
+<i>style</i> of music: viz., before the fixing of the diatonic scale, and
+the various keys as rising out of it. The Pagan and Jewish tunes are
+<i>necessarily</i> in this style. And in this sense certainly the Gregorian
+comes from the Pagan <i>and</i> the Jewish. The names 'Lydian,' 'Phrygian,'
+&amp;c., look like Pagan. One should think, however, some <i>must</i> be
+Jewish. I can't answer your question about the genuineness of the
+professed specimen of Pagan, as in Rousseau's Dictionary. Will
+Rousseau answer your question? All true art comes from revelation, to
+speak generally, I do think, but not necessarily through the Jewish
+Dispensation," &amp;c. (Dec. 1850, J.H.N.) Mozley, <i>Corr.</i> ii. 479.</p></div>
+
+<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> <i>Loss and Gain</i>, pp. 282-286.</p></div>
+
+<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> <i>Loss and Gain</i>, p. 277.</p></div>
+
+<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> By the late Sir John Lambert, K.C.B., and published by
+Burns in 1849. Its Preface is well worthy of attention, and we note
+with pleasure his remark, "that while pleading for the restoration of
+the Ritual Song as the Church system and the music of the people, and
+as the basis of all that is really grand and ecclesiastical, the
+writer would not wish to be understood to object to the superadding of
+the most elaborate music where it can be properly executed, if it does
+not supersede the Church Song, and is of a character to harmonize with
+it. Doubtless," he adds, "as the Church employs all the resources of
+art, as far as in accordance with her own spirit, the most perfect
+celebration of the Divine Office would be where both could be
+combined. All would then be impressed and edified, each person
+according to his peculiar sense, and God would be worshipped with all
+the magnificence which art can be made to minister." (p. xiii.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> S. Greg. Epist. xxxi. lib. xii. <i>De expos. divers.
+rerum.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> Thus M. Tonnell&eacute;, pupil of Father Gratry, of the
+Oratory: "Haydn et Mozart, c'est la foi Catholique, c'est la
+soumission na&iuml;ve et spontan&eacute;e, c'est la devotion tendre et vive,"
+which can, of course, be truly said without implying that they are
+always perfection.</p></div>
+
+<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> There was nothing, however, so really "magnificent," he
+said once (speaking of the wind instruments of brass and wood), as a
+military band.</p></div>
+
+<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> The following have set "Lead, kindly Light" to music:
+Canon J. Ballantine-Dykes, Rev. H. Earle Bulwer, Dr. G.A. Macfarren,
+Dr. S.S. Wesley, Dr. A.R. Gaul, Dr. C.J.B. Meacham, Sir A. Sullivan,
+J. Barnby, F. Tozer, C. Pinsuti, W. Hamilton, W. Hume, M.A. Wood (Mrs.
+Harvey), Katharine Rowley, C.T. Gatty, T.W. Barth, A. Allen, F.G.
+Pincott, H.C. Layton, J. Tilleard, J. Otter, W.H. Walter, J.A.
+Gardiner, W. Nicholson, J.W.R., and three anonymous composers. We may
+add that Mr. Rowton has musically essayed the <i>Dream of Gerontius</i>;
+"J.W.R.," "Warnings" from the <i>Lyra Apostolica</i>; Dr. Macfarren a duet,
+"O God, Who canst not change" (breviary translation); "R.S.," "All is
+divine which the Highest has made;" E.W., "Softly and gently, dearly
+ransomed soul;" the Rev. C.E. Butler, "Praise to the Holiest;" Maria
+Tiddeman, the same; Mr. Bellasis, the "Haven," "Consolation," "Waiting
+for the Morning," "The Two Worlds," "The Watchman," and "Heathen
+Greece;" and an anonymous composer, "The Pilgrim Queen," "There sat a
+Lady," &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> From the <i>Lyra Apostolica</i>, and a striking little poem,
+as indeed are all the few signed <span lang="el" title="Greek: b"><b>&#946;</b></span>, the music by a pupil of
+the Cardinal.</p></div>
+
+<div class="footnote"><p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> <i>Verses on Various Occasions</i>, pp. 80, 319; the latter
+written in 1862, the music by a pupil, and according to the Father
+"better than my words." The words also appear in the Birmingham book
+as a hymn (No. 67), entitled "Sacrifice."</p></div>
+
+<div class="footnote"><p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> Father Faber's <i>Poems</i>, No. 135, pp. 379-381, new edit.
+1861. This is not in the London Oratory Hymn Book, but under the
+heading "Eternity" six of the quatrains (Nos. 1, 8, 9, 11, 15, 16)
+appear in the Birmingham book as No. 73, and are set to a tune in the
+minor from Beethoven's sixth trio (for flute, viola, and violoncello),
+taken <i>andante</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> Pope, <i>Capecelatro</i>, ii. 106.</p></div>
+
+
+
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+End of Project Gutenberg's Cardinal Newman as a Musician, by Edward Bellasis
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+Project Gutenberg's Cardinal Newman as a Musician, by Edward Bellasis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Cardinal Newman as a Musician
+
+Author: Edward Bellasis
+
+Release Date: August 25, 2008 [EBook #26427]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CARDINAL NEWMAN AS A MUSICIAN ***
+
+
+
+
+Produced by Charlene Taylor, Linda Cantoni, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+CARDINAL NEWMAN
+
+AS A MUSICIAN.
+
+
+BY
+
+EDWARD BELLASIS,
+
+_Author of "Cherubini: Memorials Illustrative of his Life."_
+
+
+[Illustration]
+
+
+LONDON:
+KEGAN PAUL, TRENCH, TRUeBNER, AND CO.
+1892.
+
+REPRINTED (WITH ADDITIONS AND MUSICAL EXAMPLES) FROM
+"THE MONTH" OF SEPTEMBER, 1891.
+
+ROEHAMPTON: PRINTED BY JAMES STANLEY.
+
+
+     Music's ethereal fire was given
+       Not to dissolve our clay,
+     But draw Promethean beams from Heaven,
+       And purge the dross away.
+
+     J.H.N.
+
+
+
+
+_Cardinal Newman as a Musician._
+
+
+It is a remark of St. Philip Neri's latest biographer that, "Our Saint
+was profoundly convinced that there is in music and in song a
+mysterious and a mighty power to stir the heart with high and noble
+emotion, and an especial fitness to raise it above sense to the love
+of heavenly things."[1] In like manner the Saint's illustrious son,
+Cardinal Newman, has spoken of "the emotion which some gentle,
+peaceful strain excites in us," and "how soul and body are rapt and
+carried away captive by the concord of musical sounds where the ear is
+open to their power;"[2] how, too, "music is the expression of ideas
+greater and more profound than any in the visible world, ideas which
+centre, indeed, in Him whom Catholicism manifests, who is the seat of
+all beauty, order, and perfection whatever."[3] Music, then, to him
+was no "mere ingenuity or trick of art like some game or fashion of
+the day without meaning."[4] For him man "sweeps the strings and they
+thrill with an ecstatic meaning."[5] "Is it possible," he asks, "that
+that inexhaustible evolution and disposition of notes, so rich yet so
+simple, so intricate yet so regulated, so various yet so majestic,
+should be a mere sound which is gone and perishes? Can it be that
+those mysterious stirrings of heart, and keen emotions, and strange
+yearnings after we know not what, and awful impressions from we know
+not whence, should be wrought in us by what is unsubstantial, and
+comes and goes, and begins and ends in itself. It is not so; it cannot
+be. No; they have escaped from some higher sphere; they are the
+outpourings of eternal harmony in the medium of created sound; they
+are echoes from our home; they are the voice of angels, or the
+_Magnificat_ of saints, or the living laws of Divine governance, or
+the Divine attributes, something are they beside themselves, which we
+cannot compass, which we cannot utter."[6] And with him, as with St.
+Philip, may we not say that music held "a foremost place in his
+thoughts and plans"?[7] True, out of its place, he will but allow that
+"playing musical instruments is an elegant pastime, and a resource to
+the idle."[8] Music and "stuffing birds"[9] were no conceivable
+substitutes for education properly so called, any more than a
+"Tamworth Reading-Room" system could be the panacea for every ill; but
+so long as an art in any given case did not tend to displace the more
+serious business of life; should it become for such an one an "aid to
+reflection," or, _per contra_, profitably distract him; in brief, if
+it anywise helped a soul on to her journey's end, then welcome the
+"good and perfect gift."
+
+[Footnote 1: Cardinal Capecelatro's _Life of St. Philip Neri_,
+translated by the Rev. Thomas Alder Pope, of the Oratory, vol. ii. p.
+83.]
+
+[Footnote 2: _Discourses to Mixed Congregations_, p. 297, Fourth Edit.
+1871.]
+
+[Footnote 3: _Idea of a University_, dis. iv. p. 80, Sixth Edit.
+1886.]
+
+[Footnote 4: _Oxford University Sermons_, p. 346, Edit. 1884.]
+
+[Footnote 5: _Idea_, dis. ix. 230. Dr. Chalmers writes to Blanco
+White: "You speak in your letter of the relief you have found in
+music.... I am no musician and want a good ear, and yet I am conscious
+of a power in music which I want words to describe. It touches chords,
+reaches depths in the soul which lie beyond all other influences....
+Nothing in my experience is more mysterious, more inexplicable."
+(Blanco White's _Life and Correspondence_, edited by Thom, 1845, vol.
+iii. p. 195.)]
+
+[Footnote 6: _Oxford University Sermons_, pp. 346, 347. Writing to her
+brother about the passage on music, partly cited above, beginning:
+"There are seven notes in the scale, make them fourteen; yet what a
+slender outfit for so vast an enterprise! What science brings so much
+out of so little! Out of what poor element does some great master in
+it create his new world!" Mrs. J. Mozley says, "We are pleased at your
+tribute to music, but what do you mean by fourteen notes? Do you mean
+the twelve semitones, as some suggest? I am indignant at the idea. I
+think you knew what you were saying. Please tell me when you write."
+(Mozley, _Corr._ ii. p. 411.) He replies: "I had already been both
+amused and provoked to find my gross blunder about the 'fourteen.' But
+do not, pray, suppose I _doubled_ the notes for semitones, though it
+looks very like it. The truth is, I had a most stupid idea in my head
+there were fifteen semi tones, and I took off one for the octave. On
+reading it over when published, I saw the absurdity. I have a great
+dislike to publishing hot bread, and this is one proof of the
+inconvenience." (_Ibid._) The Second Edition has "thirteen notes,"
+which is correct, if the octave be included, but later editions go
+back to "fourteen."]
+
+[Footnote 7: Pope, _Capecelatro_, ii. 82.]
+
+[Footnote 8: _Idea_, dis. vi. p. 144.]
+
+[Footnote 9: _Ibid._]
+
+Thus, of a pupil's violin playing, September, 1865: "There are more
+important things, and I had some fear that he might be neglecting his
+proper studies. Now since he has not been, his music is all gain....
+To my mind music is an important part of education, where boys have a
+turn for it. It is a great resource when they are thrown on the world,
+it is a social amusement perfectly innocent, and, what is so great a
+point, employs their thoughts. Drawing does not do this. It is often a
+great point for a boy to escape from himself, and music enables him.
+He cannot be playing difficult passages on the violin, and thinking of
+anything else." Perhaps he was speaking from experience, for he told
+us in September, 1875: "I began the violin when I was ten years old,"
+and his two brothers used to accompany him in trios, Frank playing
+"the bass." On going to Oxford he kept up his music. Thus in February,
+1820: "Our music club at St. John's has been offered, and has
+accepted, the music-room, for our weekly private concerts;" and later:
+"I went to the R's to play the difficult first violin to Haydn,
+Mozart, &c.;"[10] and in June, 1820: "I was asked by a man yesterday
+to go to his rooms for a _little_ music at seven o'clock. I went. An
+old Don--a very good-natured man but too fond of music--played bass,
+and through his enthusiasm I was kept playing quartets on a heavy
+tenor from seven to twelve. Oh, my poor eyes and head and back."[11]
+When the news arrived of his success at Oriel he was practising
+music. "The Provost's butler--to whom it fell by usage to take the
+news to the fortunate candidate--made his way to Mr. Newman's lodgings
+in Broad Street, and found him playing the violin. This in itself
+disconcerted the messenger, who did not associate such an
+accomplishment with a candidateship for the Oriel Common-Room, but his
+perplexity was increased when on his delivering what may be considered
+to have been his usual form of speech on such occasions, that 'he had,
+he feared, disagreeable news to announce, viz., that Mr. Newman was
+elected Fellow of Oriel, and that his immediate presence was required
+there,' the person addressed merely answered, 'Very well,' and went on
+fiddling. This led the man to ask whether, perhaps, he had not gone to
+the wrong person, to which Mr. Newman replied that it was all right.
+But, as may be imagined, no sooner had the man left than he flung down
+his instrument and dashed downstairs."[12] And again, "With a
+half-malicious intent of frightening them (his electors at Oriel), it
+was told them that Mr. Newman had for years belonged to a club of
+instrumental music, and had himself taken part in its public
+performances, a diversion, innocent in itself, but scarcely in
+keeping, or in sympathy with an intellectual Common-Room, or promising
+a satisfactory career to a nascent Fellow of Oriel."[13] So thought
+the _quidnuncs_; nevertheless, Mr. Newman "went on fiddling." His
+pupil, F. Rogers (the late Lord Blachford), joined him herein, and
+writes, January, 1834: "Your sermons ... and Beethoven are most
+satisfactory. I wish I could hope to join you in the last in any
+moderate time. However, I do expect you will take me to Rose Hill to
+hear some of it again, if it were only to remind me of those evenings
+I used to spend with you when at Iffley. I am afraid you will have
+enough of my bass to satisfy you without Beethoven in the course of
+next term." N.B.--"He was to be in Froude's room over my
+head,--J.H.N."[14] Mr. Bowden also played the violoncello, and Newman
+was further supported by one who was a musician, and a deal more
+besides. "Mr. Blanco White," he writes, November, 1826, "plays the
+violin, and has an exquisite ear."[15] "I have only one sister alive
+now," he said sadly in September, 1875, "and she is old, but plays
+Beethoven very well.[16] She has an old-fashioned, energetic style of
+playing; but one person, I remember, played Beethoven as no one else,
+Blanco White. I don't know how he learned the violin, but he would
+seem to have inherited a tradition as to the method of playing him."
+"Both were violinists," writes Mr. T. Mozley of Blanco White and Mr.
+Newman, "but with different instruments. Blanco White's was very
+small.... Poor gentleman! Night after night anyone walking in the
+silence of Merton Lane might hear his continual attempts to surmount
+some little difficulty, returning to it again and again like Philomel
+to her vain regrets.[17] With Reinagle ... Newman and Blanco White had
+frequent (trios) at the latter's lodgings, where I was all the
+audience.... Most interesting was it to contrast Blanco White's
+excited and indeed agitated countenance with Newman's sphinx-like
+immobility, as the latter drew long rich notes with a steady
+hand."[18] Dr. Newman was still "bowing" forty years later, by which
+time the alleged "sphinx-like immobility" had made way for an
+ever-varying expression upon his face as strains alternated between
+grave and gay. Producing his violin from an old green baize bag,[19]
+bending forward, and holding his violin against his chest, instead of
+under the chin in the modern fashion, most particular about his
+instrument being in perfect tune, in execution awkward yet vigorous,
+painstaking rather than brilliant, he would often attend at the
+Oratory School Sunday practices between two and four of an afternoon,
+Father Ryder and Father Norris sometimes coming to play also. For many
+years Dr. Newman had given up the violin,[20] but finding some of the
+school taking to the strings, he took it up again by way of
+encouraging them to persevere in what he deemed to be so good a thing
+for his boys. And he quietly inculcated a lesson in self-effacement
+too, for albeit he had begun the violin very long before our time, he
+invariably took second fiddle. He had no high opinion of his own
+performances. Answering the Liverpool anti-Popery spouter's summons to
+battle, he relied rather on his friends' estimate of his powers than
+upon his own. "Canon M'Neill's well-known talents as a finished orator
+would make such a public controversy an unfair trial of strength
+between them, because he himself was no orator. He had in fact no
+practice in public speaking. _His friends, however, told him_ that he
+was no mean performer on the violin, and if he agreed to meet Canon
+M'Neill, he would only make one condition, that the Canon should open
+the meeting, and say all he had to say, after which he (Mr. Newman)
+would conclude with a tune on the violin. The public would then be
+able to judge which was the better man."[21] With mere fiddling, a
+fluency void of expression he had little patience, and when, at a term
+"break-up," a youth's bow cleverly capered about on a violoncello, he
+uttered no compliment when the boy had concluded his flourishes. It
+was a mere display for executive skill, without feeling.
+
+[Footnote 10: Mozley, _Correspondence_, i. p. 52.]
+
+[Footnote 11: _Ibid._]
+
+[Footnote 12: Mozley, _Corr._ i. p. 71. On one occasion (between
+1860-70) two Oratory boys went up to his room to make a complaint, and
+hearing only "fiddling" the other side of the door, made bold to
+enter, but their visit was ill-timed. "Every Englishman's house is his
+castle," said the Father, and he "went on fiddling." This term,
+"Father," is what every one in the house called Dr. Newman, and
+correctly, as being Father Superior of the Oratory. It is the name (it
+need scarcely be added) that he liked to be called by.]
+
+[Footnote 13: _Ibid._ i. p. 104: Provost Hawkins, at this time a
+Fellow, and ultimately succeeding Copleston, had no love for music,
+and rather despised such a thing as being "a sign of an effeminate (or
+frivolous) mind." He used one or other of these terms, or _both_.]
+
+[Footnote 14: Mozley, _Corr._ ii. p. 22.]
+
+[Footnote 15: _Ibid._ i. p. 146.]
+
+[Footnote 16: She writes in July, 1843: "Now I do so wish, John, you
+would pay us a visit. I will practise hard to get up some Beethoven."
+(Mozley, _Corr._ ii. 415.)]
+
+[Footnote 17: With this difference, however, Philomel had not to learn
+her regrets: she knew them already.]
+
+[Footnote 18: _Reminiscences_, i. pp. 247, 248, Second Edition, 1882.
+Of statements in this work the Cardinal humorously observed: "When a
+thing won't stand on three legs, Tom supplies a fourth." The Father
+played the viola a good deal, which is larger than the violin; hence
+Mr. Mozley's "different instruments," &c.]
+
+[Footnote 19: One of the boys was once lent this aged green baize bag,
+and losing it, never heard the end of it. Whenever there was question
+of lending him anything else, the Father would say very quietly: "I
+think I lent you a green baize bag." Nor would he allow that it was
+lost: "You mean mislaid."]
+
+[Footnote 20: A friend remembers Father Whitty, S.J., bringing to
+Maryvale Mr. McCarthy and Mr. M'Quoin, young converts and subsequently
+priests (the former is still living in Jersey). Both played the
+violin, so an instrumental quartet was essayed (a rare event in the
+community), the executants being the two named, and Fathers Newman and
+Bowles (violoncello).]
+
+[Footnote 21: Father Lockhart, in the _Paternoster Review_ for
+September, 1890.]
+
+Readers will remember here the passage in _Loss and Gain_: "Bateman:
+'If you attempt more, it's like taxing a musical instrument beyond its
+powers.' Reding: 'You but try, Bateman, to make a bass play
+quadrilles, and you will see what is meant by taxing an instrument.'
+Bateman: 'Well, I have heard Lindley play all sorts of quick tunes on
+his bass, and most wonderful it is.' Reding: 'Wonderful is the right
+word, it is very wonderful. You say, "How _can_ he manage it? It's
+very wonderful for a bass;" but it is not pleasant in itself. In like
+manner, I have always felt a disgust when Mr. So-and-so comes forward
+to make his sweet flute bleat and bray like a haut-bois; it's forcing
+the poor thing to do what it was never made for.'"[22]
+
+[Footnote 22: _Loss and Gain_, p. 284, Sixth Edition, 1874.]
+
+In the same mood, when a quartet of Schubert was played to him in
+March, 1878, the sole remark he let fall was, "Very harmonious and
+clever, but it does not touch the heart."
+
+In March, 1883, he observed that he missed the minor key in
+Palestrina, and on our adding that, perhaps, Mendelssohn had too much
+of it, he went on, "It cuts me to the heart that minor," and so he
+liked the mixed mode to the Psalm _In exitu Israel_, and was much
+affected by the slow movements in Beethoven's Ninth Quartet and C
+minor Symphony, and the Allegretto of the Symphony in A.
+
+     I cannot of that music rightly say,
+     Whether I hear or touch or taste the tones,
+     Oh, what a heart-subduing melody![23]
+
+[Footnote 23: _The Dream of Gerontius._]
+
+There was just that human element about it, so "deeply pathetic,"
+which in the same way made him prefer Euripides to Sophocles, for all
+the latter's "sweet composure, melodious fulness, majesty and
+grace."[24] And here we may add, that as late as January, 1890,
+_apropos_ of a Greek play for his school, he was as keen and eager as
+ever about the merits of Euripides, expressed himself as being at a
+loss to understand the critics invariably preferring Sophocles to the
+other two, and evidently placed Euripides and AEschylus first and
+second respectively. A frequently true and natural feeling, whether
+displayed by the author of the _Bacchae_, or by the composer of
+_Fidelio_, evidently almost atoned, in his estimation, for every
+deficiency.
+
+[Footnote 24: _Essays_, i. 7, Fifth Edit.]
+
+He writes to his sister, October, 1834: "There is a lady here" (at
+Tunbridge Wells), "who plays most beautifully. I think I never heard
+such a touch--why, I cannot make out, for she has not long fingers to
+be brilliant. So you must set yourself to rival her. It would be
+interesting to _examine_ the causes of expression, which you might
+easily do. _Strength_ of finger is one thing certainly. This lady is
+not brilliant in the common sense--that is, smart and rattling--but
+every note is so full-toned, so perfect, that one requires nothing
+beyond itself. This in Beethoven's effective passages produces a
+surprising effect. I accompanied her last night and am to do so again
+to-night."[25] He wrote in September, 1865, of a certain boy's
+progress with the violin: "He plays fluently, so to say; by fluency I
+mean in time, in tune, and with execution. This is stage one; stage
+two is eloquence, by which I mean grace, delicacy, and expression. To
+gain this nothing is better than to accompany his sisters. A boy who
+always is first fiddle is in danger of artistic faults parallel to
+those which are implied in the metaphorical sense of the words. When
+he comes back I think he has had enough of the music-master, and I
+shall try to make him turn his thoughts to a higher school of music
+than is suitable to a beginner, but I cannot tell whether he is old
+enough to take to it. I recollect how slow I was as a boy to like the
+school of music which afterwards so possessed me that I have to come
+to think Haydn, in spite of his genius, almost vulgar." And just as
+Blanco White would seem to have thoroughly initiated Mr. Newman into
+the mysteries of Beethoven, so did Dr. Newman lead on his boys (as
+they would say) "to swear by" that master. They might start with
+Corelli, and go on to Romberg, Haydn, and Mozart: their ultimate goal
+was Beethoven, and round would come the "Father Superior" with ancient
+copies of the quintet version of the celebrated septet, and
+arrangements from the symphonies; nor were the first ten quartets, the
+instrumental trios, the violin sonatas, and the overtures forgotten.
+The "Dutchman," with his force and depth, his tenderness and
+sweetness, was the Cardinal's prime favourite. "We were at the
+concert," Mrs. Newman writes to him at school, "and fascinated with
+the Dutchman" (the name he had given to Beethoven to tease his
+music-master because of the _van_ to his name), "and thought of you
+and your musical party frequently."[26] "They tell me," he said in
+May, 1876, on occasion of hearing at the Latin Play, the _scherzo_ and
+_finale_ of the Second Symphony, "that these first two symphonies of
+Beethoven are not in his style; to me they are Beethoven all over.
+There is no mistaking that _scherzo_." And again in October, 1877,
+after a rendering of the _allegretto_ of the Eighth Symphony, on our
+observing that it was like the giant at play, he said: "It is curious
+you should say that. I used to call him the gigantic nightingale. He
+is like a great bird singing. My sister remembers my using the
+expression long ago." And although he betrayed a little doubt as to
+Beethoven's tone being essentially religious, he was unwilling to hear
+anything said against him.[27] The late Father Caswall, once
+distracted, while singing High Mass, with Beethoven's Mass in C,
+half-humorously vented his wrath at recreation against the _Credo_.
+Said he: "I think that's a condemnable _Credo_." "Oh, I rather liked
+it," was Father Newman's rejoinder. "More dramatic than reverent," had
+been the remark made to the latter in September, 1882, by the then
+Warden of Keble, after the conclusion of the _Mount of Olives_ at the
+Birmingham Festival. The Cardinal said little or nothing at the time,
+but his affection for Beethoven came out subsequently. "When you come
+to Beethoven," said he, "I don't say anything about good taste, but he
+has such wonderful bits here and there." And in the department of
+_cadenza_ and variation he deemed him without an equal.
+
+[Footnote 25: Mozley, _Corr._ ii. 67.]
+
+[Footnote 26: Mozley, _Corr._ i. 19.]
+
+[Footnote 27: The late Canon Mozley said that Chopin was "certainly a
+Manichean; he did not believe in God; he believed in some spirit, not
+in God;" while "the moral grandeur of Beethoven's genius was always
+present to him, as, with less force, was also Mendelssohn's: 'They
+believed in God--their music showed it.'" (_Letters_, p. 353, Edit.
+1885.)]
+
+Distrusting their talent lest it should run away with them, and they
+neglect the rubrics, Dr. Newman was sensitive over musicians of the
+day setting to work upon liturgy. Of sorts of liberty taken we have
+modern examples in Gounod's _Mors et Vita_ Oratorio, where _O felix
+culpa_, &c., is planted in the middle of the _Dies Irae_, and in his
+_Messe Solennelle_, where _Domine, non sum dignus_, &c., figures as a
+solo in the _Agnus Dei_ (a less objectionable case, the treatment
+being fortunately devotional). Berlioz, too, in his _Requiem_,
+introduces before the _Tuba mirum_ the words, _Et iterum venturus est
+judicare vivos et mortuos_. And in a passage where he would appear to
+be depicting Beethoven's power, after alluding to "the marvellous
+development which musical science has undergone in the last century,"
+Dr. Newman continues: "Doubtless, here, too, the highest genius may be
+made subservient to religion," but "it is certain that religion must
+be alive and on the defensive, for if its servant sleep a potent
+enchantment will steal over it.... If, then, a great master in this
+mysterious science ... throws himself on his own gifts, trusts its
+inspirations and absorbs himself in those thoughts which, though they
+come to him in the way of nature belong to things above nature, it is
+obvious he will neglect everything else. Rising in his strength he
+will break through the trammels of words; he will scatter human
+voices, even the sweetest, to the winds; he will be borne upon nothing
+else than the fullest flood of sounds which art has enabled him to
+draw from mechanical contrivances; he will go forth as a giant, as far
+as ever his instruments can reach, starting from their secret depths
+fresh and fresh elements of beauty and grandeur as he goes, and
+pouring them together into still more marvellous and rapturous
+combinations; and well indeed, and lawfully, while he keeps to that
+line which is his own; but should he happen to be attracted, as he
+well may, by the sublimity, so congenial to him, of the Catholic
+doctrine and ritual, should he engage in sacred themes, should he
+resolve by means of his art to do honour to the Mass, or the Divine
+Office--(he cannot have a more pious, a better purpose, and religion
+will gracefully accept what he gracefully offers; but) is it not
+certain from the circumstances of the case, that he will be carried on
+rather to use religion than to minister to it, unless religion is
+strong on its own ground, and reminds him that if he would do honour
+to the highest of subjects, he must make himself its scholar, must
+humbly follow the thoughts given him, and must aim at the glory, not
+of his own gift, but of the Great Giver."[28] How entirely is this
+spirit in accord with the Congregation of Rites; with the sentiments,
+indeed, of every lover of true church-music. He was thus very slow to
+take (if he ever really took) to new-comers on the field of sacred
+music. And holding, as he did, that no good work could be adequately
+adjudged without a thorough knowledge of it, he was disinclined to be
+introduced to fresh musical names at all, on the bare chance, that
+might never occur, of what had been a casual acquaintanceship ripening
+into intimate friendship. He had in early days found time and
+opportunity to comprehend certain masters, Corelli, Handel, Haydn,
+Romberg, Mozart, and Beethoven, but Schubert, Schumann, Wagner ("I
+cannot recollect all the fellows' names"[29]); who were these
+strangers, intruding somewhat late in the evening upon a dear old
+family party? Thus, writing of Mendelssohn's chief sacred work in
+March, 1871, which he had been reluctantly induced to go and listen
+to, and which he never got to hear again: "I was very much
+disappointed the one time that I heard the _Elijah_, not to meet with
+a beautiful melody from beginning to end. What can be more beautiful
+than Handel's, Mozart's, and Beethoven's melodies?" Now, of course,
+there is plenty of melody in the _Elijah_, though it may be conceded
+that Mendelssohn's melodious gift is less _copious_ than that of
+Mozart, but the fact was, Cardinal Newman never got to know the
+_Elijah_, doubtless deemed it long, and felt content to feed upon the
+musical _pabulum_ that he had so long found satisfying. And underlying
+this particular form of the _gravamen_ against Mendelssohn, we should
+say that there existed a species of irritation with some of the modern
+oratorio. Was it not very possibly in his eyes a kind of Protestant
+rejuvenescence of an eighteenth century Biblical institution, all
+quietly founded, without acknowledgment, on St. Philip's own Catholic
+creation,[30] and nowadays bidding fair to do duty at convenient
+intervals for proper religious worship with large numbers alike of
+church-goers and of people who never go to church? Better oratorio
+here, it may be said, than nothing at all, and that may be conceded;
+but we have an impression that the Cardinal looked jealously at the
+use of Scripture for general musical performances in concert-halls. He
+was a little put out, too, by librettists interlarding Holy Writ with
+their own "copy." Scripture was good, and Gounod, for example, might
+be good, but both together in literary collaboration were--well, not
+so good. While allowing that there was something of interest in the
+history of the latter's _Redemption_ Oratorio, insomuch as when first
+conceived long ago its composer had entertained thoughts of embracing
+the religious state, he could with difficulty be induced to go and
+hear it, at its first production in Birmingham on the last day of
+August, 1882. Nor could he be got to say anything about it by way of a
+compliment. "As the work of a man of genius one does not like to
+criticize it," was what he let fall, and he was rather troubled by its
+"March to Calvary," which he likened in private to "the bombardment of
+Alexandria." At the 1876 Festival, Wagner's _Supper of the Apostles_
+was to his ear "sound and fury," and Brahms' _Triumphlied_ fared no
+better in 1882. We happened to be with him at the Friday morning
+performance, September 1. A certain party came in late, and talked
+away behind us all through the G minor Symphony of Mozart, whose
+"exuberant inventiveness"[31] excited our wonder. When the din of the
+_Triumphlied_ came on, her voice was quite drowned, and the Cardinal
+whispered: "Brahms is a match for her."[32]
+
+[Footnote 28: _Idea_, dis. iv. 80, 81. In a Bull of 1749, Pope
+Benedict the Fourteenth lays great stress on the words being heard and
+understood, "Curandum est ut verba quae cantantur plane perfecteque
+intelligantur," and this is best secured in the unaccompanied chant.
+In an interesting article of the _Dublin Review_ (New Series, vol. ii.
+January-April, 1864), the effect of official pronouncements on the
+questions affecting the plain chant and concerted music is thus
+succinctly summed up: "1. That music, properly so called, may be
+admitted as well as plain chant. 2. That the music of the church is to
+possess a certain gravity and to minister to devotion. 3. That
+instrumental music may be allowed, under certain restrictions."]
+
+[Footnote 29: _Discussions and Arguments_, p. 343, Fourth Edit. 1882.]
+
+[Footnote 30: We have it, however, on good authority that a Jesuit
+Father told a Mr. Okely that "one of our Fathers received him
+(Mendelssohn) into the Church shortly before his death." Our informant
+thinks the occurrence took place in Switzerland. If so, the fact ought
+to be better known than it is. Moreover, he adds, that the late Father
+W. Maher, S.J., on one occasion, previous to Mendelssohn's _Lauda
+Sion_ being done at Farm Street, addressed the congregation: "Perhaps
+you would like to know that the author of the music we are about to
+hear died a Catholic."]
+
+[Footnote 31: _Oxford University Sermons_, p. 346.]
+
+[Footnote 32: She subsequently resumed talk, trying to draw him out
+about Ireland and Gounod, but all in vain. It was nearly 3 p.m. ere
+this _morning_ concert came to an end, when a second lady, introduced
+by a noble lord, appeared on the scene, and detained him upon
+questions relative to the state of the soul after death, what St.
+Thomas had said, &c. Meanwhile sweepers, uninterested in this
+ill-timed discussion, were pursuing their avocation in the emptying
+hall, and stewards were set wondering as to when His Eminence would be
+released.]
+
+He got to know fairly well Mendelssohn's canzonet quartet and
+Schumann's pianoforte quintet Op. 44; but we recall no musical works
+heard by him for the first time in very late life making any
+particular impression on the Father, with one notable exception;
+Cherubini's First Requiem in C minor, done at the Festival, August 29,
+1879. We were to have gone with him, but a Father who accompanied him
+wrote to us instead next day: "The Father was quite overcome by it,
+and that is the fact. He kept on saying, 'beautiful, wonderful,' and
+such-like exclamations. At the _Mors stupebit_ he was shaking his head
+in his solemn way, and muttering, 'beautiful, beautiful.' He admired
+the fugue _Quam olim_ very much, but the part which struck him most by
+far, and which he spoke of afterwards as we drove home, is the ending
+of the _Agnus Dei_--he could not get over it--the lovely note C which
+keeps recurring as the 'requiem' approaches eternity." When it was
+done twice in its true home, the church, later, on the 2nd and 13th
+November, 1886, he said, "It is magnificent music." "That is a
+beautiful Mass" (adding, with a touch of pathos), "but when you get as
+old as I am, it comes rather too home." A diary noting the service on
+All Souls' day, says: "His Eminence was at the throne in his purple
+robes. I was in the gallery at the end of the nave, and the dim-lit
+sanctuary (with the Cardinal's _zucchetto_ the only bit of bright
+colour in the gloom), the sublime music, all had a most impressive
+effect." On November 13, 1885, he heard in the church and for the
+first time, the Florentine's Second Requiem in D minor, for male
+voices; and thought it beautiful and devotional, and in no way lacking
+in effect through the absence of _soprani_ and _contralti_, which he
+had not missed. He was most struck with the _piano_ passage in canon
+beginning with the words _Solvet saeclum_. On September 1, 1882, he
+heard at the Festival the same composer's Mass in C, and characterized
+as "beautiful" the fugue at the end of the _Gloria_, the part in the
+Offertory where the chorus enters in support of the soprano solo, and
+the conclusion of the _Dona_. It came as a relief to him after Brahms,
+who was not understood at a first hearing, and this inability in
+general to grasp good music at once is exhibited in his Italian
+correspondence. "This last week," he writes from Rome in April, 1833,
+"we have heard the celebrated _Miserere_, or rather the two
+_Misereres_, for there are two compositions by Allegri and Boii [it
+should be Bai, and a third is now added, composed by Father Baini] so
+like each other that the performers themselves can scarcely tell the
+difference between them. One is performed on the Thursday and the
+other on Good Friday. The voices are certainly very surprising; there
+is no instrument to support them, but they have the art of continuing
+their notes so long and equally that the effect is as if an organ were
+playing, or rather an organ of violin strings, for the notes are
+clearer, more subtle and piercing, and more impassioned (so to say)
+than those of an organ. The music itself is doubtless very fine, as
+everyone says, but I found myself unable to understand all parts of
+it. Here and there it was extremely fine, but it is impossible to
+understand such a composition on once or twice hearing. In its style
+it is more like Corelli's music than any other I know (though very
+different too). And this is not wonderful, as Corelli was Master of
+the Pope's Chapel, and so educated in the school of Allegri,
+Palestrina, and the rest. These are the only services we have been to
+during the week."[33]
+
+[Footnote 33: Mozley, _Corr._ i. 380. We do not think that Corelli
+ever was Papal choirmaster. For some years, however, he led the
+orchestra of the Roman Opera, and was a great friend of Cardinal
+Ottoboni. How different the _Tenebrae_ music at St. Peter's can be from
+that at the Sixtine chapel, is seen by the three _Misereres_ at the
+former being by Basili, Guglielmi, and Zingarelli, all composers of
+light opera.]
+
+For good operatic music Cardinal Newman had, we believe, more of a
+liking than for the more modern oratorio. Rossini, as a religious
+composer, was, we fear, in his bad books, yet when the choice had to
+be made at the 1879 Festival as to what performance he would attend,
+he at first said, "I shall go once, and I choose _Mose in Egitto_." He
+was, he continued, fond of operatic music, and heard very little of
+it. "However," he added to two of the Fathers, "there's no reason why
+you shouldn't go to all." Perhaps there was one reason against that
+course; it would be expensive. There is an amusing notice of Rossini
+in the Anglican Letters of Mr. Newman. "Bowden tells me," he wrote in
+March, 1824, "that Sola, his sister's music-master, brought Rossini to
+dine in Grosvenor Place not long since; and that as far as they could
+judge (for he does not speak English) he is as unassuming and obliging
+a man as ever breathed. He seemed highly pleased with everything, and
+anxious to make himself agreeable. Labouring, indeed, under a severe
+cold, he did not sing, but accompanied two or three of his own songs
+in the most brilliant manner.... As he came in a private, not a
+professional, way, Bowden called on him, and found him surrounded, in
+a low, dark room, by about eight or nine Italians, all talking as fast
+as possible, who, with the assistance of a great screaming _macaw_,
+and of Madame Rossini in a dirty gown and her hair in curl papers,
+made such a clamour that he was glad to escape as fast as he
+could."[34]
+
+[Footnote 34: Mozley, _Corr._ i. 83.]
+
+The revised Latin play, and music in conjunction, and all played by
+the boys themselves, were two striking traditions (not, we trust, to
+die out) of the Oratory School in our time, and they were institutions
+introduced by Dr. Newman there, and rooted in his affections from
+boyhood's associations. "Music was a family taste and pursuit," writes
+the late Miss Mozley, "Mr. Newman, the father, encouraged it in his
+children. In those early days they could get up performances among
+themselves, operatic or simply dramatic."[35] At Ealing School he took
+the parts of Davus in the _Andria_, Cyrus in the _Adelphi_, and
+Pythias in the _Eunuchus_, as he told us himself; a varied
+_repertoire_, _i.e._ the confidential family servant, the young man
+about town, and the maid of all work! We see not only plays, and then
+music, and lastly the two together, but original composition also,
+early engaging his attention. He tells us, "In the year 1812 I think
+I wrote a mock drama of some kind.... And at one time I wrote a
+dramatic piece in which Augustus comes on. Again, I wrote a burlesque
+opera in 1815, composing tunes for the songs."[36]
+
+[Footnote 35: _Ibid._ i. 19.]
+
+[Footnote 36: Mozley, _Corr._ i. 19.]
+
+As to composing, he writes to his mother in March, 1821: "I am glad to
+be able to inform you that Signor Giovanni Enrico Neandrini has
+finished his first composition. The melody is light and airy, and is
+well supported by the harmony."[37] We may add that Mr. Newman, Mr.
+Walker (afterwards Canon of Westminster), and Mr. Bowles, played
+together at Littlemore instrumental trios written by the Cardinal
+himself, and which Father Bowles once told us were "most pleasing."
+What has become of them?[38] On our showing the Father in 1869 an
+original song to his words "The Haven,"[39] he pointed to the second
+chord, exclaiming, "Ah, a diminished seventh!" We had no notion at
+that time what perpetrated iniquity that might be, but two years later
+he wrote: "Every beginner deals in diminished sevenths. At least, I
+did as a boy. I first learnt the chord from the overture to
+_Zauberfloete_; and henceforth it figured with powerful effect in my
+compositions. You must try to make a melody. Without it you cannot
+compose. Perhaps, however, it is that which makes a musical genius."
+If you have no ideas, in fact, go in _con amore_, for the chord of the
+diminished seventh.
+
+[Footnote 37: _Ibid._ p. 61.]
+
+[Footnote 38: Mrs. J. Mozley to J.H.N., December 1, 1842: "I suppose
+you are able to make use of your violin now you are at Littlemore. I
+have been practising hard lately, and wish you could come, that I
+might turn my practice to good account." (Mozley, _Corr._ ii. 405.)
+Father Lockhart, too, refers to Newman's playing at Littlemore
+"exquisite sonatas of Beethoven." (_Paternoster Review_, Sept. 1890.)
+Father Coffin, afterwards Bishop of Southwark, assisted at the musical
+performances.]
+
+[Footnote 39: _Verses on Various Occasions_, p. 86, Edit. 1888.]
+
+On receiving a march, written by a pupil in 1873, he gently indicated
+faults while giving encouragement, and wrote in July, "It shows you
+are marching in your accomplishments. It is a very promising
+beginning.... On reading it, I thought I had found some grammatical
+faults, but perhaps more is discovered in the province of discords,
+concords, and coincidences of notes than when I was a boy." And in
+September of the same year, "Thank you for your new edition of _St.
+Magnus_. On what occasion did he march? I know Bishops were warlike in
+the middle ages. However, whenever it was, his march is very popular
+here, and it went off with great _eclat_." Then he wrote to his
+correspondent in April, 1880, who talked about not being "skilled,"
+"Why should you not qualify yourself to deserve the title of a
+'skilled musician?' 'Skilled' is another word for 'grammatical' or
+'scholarlike.'"
+
+When an Oratory organist in the early days was shown a hymn with tune
+and accompaniment all composed by Dr. Newman himself (for insertion in
+the printed Birmingham Oratory Hymn Book), unaware of the authorship
+he at once corrected some of the chords. The Father Superior noticed
+this, and asked him why he had made the changes. The organist
+proceeded to advert to some consecutive fifths in the harmony. But,
+urged the Father, Beethoven and others make use of them. "Ah," came
+the answer, "it's all very well for those great men to do as they
+like, but that don't make it right for ordinary folk to do as they
+like." Dr. Newman therefore learned that musically he was only an
+ordinary folk, and he would have been the first to laugh down the
+notion that he was anything else; for a modest estimate of himself in
+many things was a very marked characteristic with him, and made him
+call his beautiful verse "ephemeral effusions" to Badeley, and write
+in May, 1835, _apropos_ of a suggested uniform edition of his revised
+Latin plays, "I have not that confidence in my own performance to
+think I can compete with a classical Jesuit" (_i.e._ Father Jouvency).
+In 1828 he had contemplated writing an article on music for the
+_London Review_, along with one on poetry. The latter, in the event,
+alone saw the day; the former "seems to have remained an idea
+only."[40] He is apologetic in the _Idea of a University_, when about
+to descant so eloquently upon music: "If I may speak," he says, "of
+matters which seem to lie beyond my own province;"[41] but in very
+early Oratory days at Edgbaston, he essayed some lectures on music to
+some of the community in the practice-room. And at the opening of the
+new organ there in August, 1877, he "preached a most beautiful
+discourse [taken down at the time], upon the event of the day; and on
+music, first as a great natural gift, then as an instrument in the
+hands of the Church; its special prominence in the history of St.
+Philip and the Oratory; the part played by music in the history of
+God's dealings with man from first to last, from the thunders of Mount
+Sinai to the trumpets of the Judgment; the mysterious and intimate
+connection with the unseen world established by music, as it were the
+unknown language of another state. Its quasi-sacramental efficacy,
+_e.g._, in driving away the evil spirit in Saul and in bringing upon
+Eliseus the spirit of prophecy; the grand pre-eminence of the organ in
+that it gave the nearest representation of the voice of God, while the
+sound of strings might be taken as more fitted to express the varying
+emotions of man's state here on earth."[42]
+
+[Footnote 40: _Essays_, i. Fifth Edit. 1881; Mozley, _Corr._ i. 194.]
+
+[Footnote 41: _Idea_, dis. iv. 80.]
+
+[Footnote 42: _Tablet_, 25 Aug. 1877.]
+
+At Oxford, in his time, he said, there were none of the facilities for
+music that now form part of the institutions of the place; there was
+little to encourage individual musical talent. At St. Clement's we
+only learn, "I had a dispute with my singers in May, which ended in
+their leaving the church, and we now sing _en masse_,"[43] and in June
+still, "My singers are quite mute."[44] At St. Mary's, Mr. Bennett,
+who was killed on his way to Worcester Festival by the upsetting of a
+coach,[45] and after him Mr. Elvey, elder brother of Sir George Elvey,
+sometime organist at St. George's Chapel, Windsor, were Mr. Newman's
+organists. "I shall never forget," writes a hearer, "the charm it was
+to hear Elvey play the organ for the hymn at Newman's afternoon
+parochial service at St. Mary's on a Sunday. The method was to play
+the tune completely through on the organ before the voices took it up,
+and the way he did it was simply perfect."
+
+[Footnote 43: Mozley, _Corr._ i. 97.]
+
+[Footnote 44: _Ibid._]
+
+[Footnote 45: "There is a chant of his composing," writes a friend,
+"which was reckoned at the time a stroke of genius--quite a new idea.
+I have it in a Collection made by his father, who was organist of
+Chichester Cathedral," and Bennett's elder brother "was my master at
+Chichester in 1842. He used to speak of his brother's genius, and what
+a loss he was to music."]
+
+Still the Anglican service, taken as a whole, was scarcely then
+calculated to stir artistic fervour, and this listener, so delighted
+with Elvey at St. Mary's, went home to his village parish church only
+to hear the hymn murdered, or if it were Advent, Christmas, or Easter,
+a tradesman shout from the gallery, "We will now sing to the praise
+and glory of God a _h_anthem!" when a motet would be sacrificed to
+incompetency with every circumstance of barbarity attending the
+execution. Mr. Newman in language of appalling force, written a year
+after his conversion, has described the Anglican service as "a ritual
+dashed upon the ground, trodden on, and broken piecemeal; prayers
+clipped, pieced, torn, shuffled about at pleasure, until the meaning
+of the composition perished, and offices which had been poetry were no
+longer even good prose; antiphons, hymns, benedictions, invocations,
+shovelled away; Scripture lessons turned into chapters; heaviness,
+feebleness, unwieldiness, where the Catholic rites had had the
+lightness and airiness of a spirit; vestments chucked off, lights
+quenched, jewels stolen, the pomp and circumstances of worship
+annihilated; a dreariness which could be felt, and which seemed the
+token of an incipient Socinianism, forcing itself upon the eye, the
+ear, the nostrils of the worshipper; a smell of dust and damp, not of
+incense; a sound of ministers preaching Catholic prayers, and parish
+clerks droning out Catholic canticles; the royal arms for the
+crucifix; huge ugly boxes of wood, sacred to preachers, frowning on
+the congregation in the place of the mysterious altar; and long
+cathedral aisles unused, railed off, like the tombs (as they were) of
+what had been and was not; and for orthodoxy, a frigid, unelastic,
+inconsistent, dull, helpless dogmatic, which could give no just
+account of itself, yet was intolerant of all teaching which contained
+a doctrine more or a doctrine less, and resented every attempt to give
+it a meaning."[46] The Catholic Church's ritual he found very
+different.
+
+[Footnote 46: _Essays_, ii. pp. 443, 444.]
+
+"What are her ordinances and practices," he asks, "but the regulated
+expression of keen, or deep, or turbid feeling, and thus a 'cleansing'
+as Aristotle would word it, of the sick soul? She is the poet of her
+children; full of music to soothe the sad, and control the
+wayward--wonderful in story for the imagination of the romantic; rich
+in symbol and imagery, so that gentle and delicate feelings, which
+will not bear words, may in silence intimate their presence, or
+commune with themselves. Her very being is poetry; every psalm, every
+petition, every collect, every versicle, the cross, the mitre, the
+thurible, is a fulfillment of some dream of childhood, or aspiration
+of youth. Such poets as are born under her shadow, she takes into her
+service, she sets them to write hymns, or to compose chants, or to
+embellish shrines, or to determine ceremonies, or to marshal
+processions; nay, she can even make schoolmen of them, as she made St.
+Thomas, till logic becomes poetical."[47]
+
+[Footnote 47: _Ibid._ 442, 443.]
+
+And, of course, as the Catholic poet that he now was, he duly set
+about to "write hymns" and "to compose chants." Since 1834, it will be
+found, his original muse, amid the "encircling gloom," had been
+entirely silent, but once emerging into the light of the true faith,
+it struck the lyre again with those most lovely notes of
+"Candlemas"--
+
+     The Angel-lights of Christmas-morn,
+     Which shot across the sky,
+     Away they pass at Candlemas,
+     They sparkle and they die.[48]
+
+[Footnote 48: _Verses on Various Occasions_, p. 279, Edit. 1888. The
+well-known tune to this was adapted by him, for the Birmingham Oratory
+Congregation, from Reinagle's hymn tunes, brought out by subscription
+at Oxford, and to which he subscribed.]
+
+In 1849 appeared his most original and pathetic "Pilgrim Queen," or
+No. 38, _Regina Apostolorum_, in the Hymn Book, the sweet music
+thereto being his own composition, (or in part adaptation?)
+
+[Music:
+
+     There sat a Lady all on the ground,
+     Rays of the morning circled her round;
+     Save thee, and hail to thee, gracious and fair,
+     In the chill twilight what wouldst thou there?]
+
+In 1850 came two more exquisite hymns in honour of the Mother of God,
+_i.e._, the "Month of Mary," and the "Queen of Seasons," both headed
+_Rosa Mystica_ in the hymn-book. The hymns and tunes of two others, of
+No. 51. "Regulars and St. Philip," (an expressive melody),
+
+[Music:
+
+     The holy monks conceal'd from men
+     In midnight choir or studious cell,
+     In sultry field or wintry glen,
+     The holy monks, I love them well,
+     In sultry field or wintry glen,
+     The holy monks, I love them well.]
+
+and No. 81, "Night" ("The red sun is gone," from the Breviary),
+
+[Music:
+
+     The red sun is gone,
+     Thou light of the heart,
+     Blessed Three Holy One,
+     To Thy servants a sun
+     Everlasting impart.]
+
+are also by him; and there may be others. And though this tune to No.
+81 has been irreverently referred to as being "just like an old
+sailor's song," the same critic has extolled its effect, and told us
+how he loved to sing its long note at eventide. No. 61, "Conversion,"
+is Father Faber's hymn, "I was wandering and weary" (No. 66 in the
+London Oratory Hymn Book[49]), but the original air in both Oratory
+books is the same, and the composition of Cardinal Newman.
+
+[Footnote 49: _Oratory Hymn Tunes._ Arranged by W. Pitts. London:
+Novello.]
+
+[Music:
+
+     I was wandering and weary,
+     When my Saviour came unto me,
+     For the ways of sin grew dreary,
+     And the world had ceas'd to woo me;
+     And I thought I heard Him say,
+     As He came along His way, &c.]
+
+Its peculiar merits grow upon familiar acquaintance, and a devoted
+lover of plain chant, rather to our surprise, once expressed his
+affection for it. It has been termed "briny," like No. 81. Its
+expressiveness and "go" are unquestionable,[50] and it is becoming
+popular without the public in general knowing who the composer is. The
+study of the application of music to words was interesting enough, as
+the Cardinal remarked in April, 1886. Sometimes the music could not
+quite fit in with the words,[51] and one or other had to give way, and
+on our referring to this music to Father Faber's hymn "Conversion," he
+said he had an idea that the words had been somewhat altered to suit
+his tune. The reverse would appear to be the case. At least the
+refrain, "O silly souls," &c., is not identical in the Birmingham and
+London books.
+
+[Footnote 50: Father Lockhart's solitary original tune, harmonized by
+Mr. A.H. Prendergast, and set to Father Faber's Hymn to St. Joseph,
+"There are many saints above," is another example of tender sentiment
+by an amateur that outweighs any technical defect as to settled
+rhythm.]
+
+[Footnote 51: In 1834, when Keble wrote an Ode on the Duke of
+Wellington's installation as Chancellor at Oxford, Dr. Crotch was
+employed to write the music, and Mr. Newman wrote to his friend: "I
+hope Dr. Crotch will do your ode justice." And on difficulties arising
+with the composer, he wrote again to Keble: "I like your ode
+uncommonly. I would not budge one step for Dr. Crotch. His letter is
+most amusing, and your counter-suggestions are amusing too.... I would
+go so far for Dr. C. as to offer him your _frigate_, which certainly
+does better for music than the long ode." Later on he inquires: "How
+do you and Dr. Crotch get on?" and Keble replies: "Crotch has
+swallowed the _frigate_ whole." (Mozley, _Corr._ ii. 29.)]
+
+[Music: _Birmingham._
+
+     O silly souls come near me,
+     My sheep should never fear me,
+     I am the Shepherd true,
+     I am the Shepherd true.
+
+_London._
+
+     O silly souls come near me,
+     My sheep should never fear me,
+     I am the Shepherd true,
+     I am the Shepherd true.]
+
+Mr. W. Pitts, the compiler of the latter, sends us word that "the
+melody _only_ came into my hands, and it stands in the London book
+exactly as I received it. I think it was sent by one of the Birmingham
+Fathers, or by Mr. Edward Plater." This is satisfactory, and points to
+a smoother and far more effective version of the refrain by the
+composer himself.[52]
+
+[Footnote 52: Mr. Pitts' chords are generally good, but might be
+considerably improved (more especially at the words "I am the Shepherd
+true"), by some contrary motion in the harmony.]
+
+Altogether we have ever felt that there is an indescribable
+brightness, a radiant cheerfulness, which might have pleased St.
+Philip, about the Birmingham selection of hymns and tunes, with
+Beethoven, Mozart, Mendelssohn, Pleyell, Crookall, Webbe, Moorat, and
+others laid under contribution. In the Saint's time, we know, "there
+were sung at the Oratory many _Laudi_, motets, madrigals, and sacred
+songs in the vulgar tongue, and these gave scope for composers to
+essay a simpler, and more popular and stirring style of music."[53]
+Take up then the Father's book, hear the people at the May devotions
+sing such winning songs as the "Pilgrim Queen" (No. 38, _Regina
+Apostolorum_), and the "Month of Mary" (No. 32, _Rosa Mystica_), or
+listen during St. Philip's Novena, to "St. Philip in his School" (No.
+49), "in his Mission" (No. 50), "in Himself" (No. 51, "Regulars and
+St. Philip"), and "in his Disciples" (No. 54, "Philip and the Poor"),
+and we conclude that, as with the Saint, so with his distinguished
+son, it has been his "aim to make sacred music popular;"[54] and may
+we not further say that the Cardinal, without any parade whatever, but
+in the simplest fashion, has somehow succeeded at Birmingham in his
+aim?
+
+[Footnote 53: Pope, _Capecelatro_, ii. 88. Father Gigli to Tarugi at
+Naples, about the Roman Oratory, 1587: "Our feast passed off most
+joyously, and with admirable music.... We had three choirs--two in the
+galleries, besides one in its accustomed place." (_Ibid._ ii. 103.)]
+
+[Footnote 54: _Ibid._ 99.]
+
+The Birmingham Oratory Book, with the tunes, only privately printed
+for local use, came, nevertheless, as a surprise to Messrs. Burns and
+Westlake, who made merry over the occasional simplicity, not to say
+meagreness of the harmonies. A quick movement, too, from a Beethoven
+Rasoumousky quartet, is rather awkward, albeit taken slow, for No. 74,
+"Death," and Leporello's song for Nos. 22 and 23, is possibly not over
+suitable, however intrinsically appropriate, looking to the
+associations it might arouse, not so much, however, among the poor,
+who cannot afford to patronize opera, as among the rich. "Just look at
+the harmony," says one of No. 51; and of the famous No. 61, "there is
+a strange want of unity, the first part has no second harmony." A
+noble lord, too, disapproved of No. 51, the notes being, said he, all
+over the key-board, but such are the strains of some of the best music
+in the world, and the notice to this anonymous collection is almost an
+answer to particular criticism, as Burns felt at once, _i.e._:
+"Neither the following tunes themselves, nor the hymns to which they
+belong, have been brought together on any one principle of selection,
+or to fulfil any ideal of what such composition ought to be. Many of
+them have grown into use insensibly, without any one being directly
+responsible for them; the rest have been adapted as the most
+appropriate, under circumstances, to complete the set, and to answer
+the needs of our people."[55]
+
+[Footnote 55: An examination of the book of words published by
+Pickering, and which originally numbered eighty-two hymns, since
+increased from time to time up to one hundred and forty-nine (1888),
+shows forty-one hymns (original or translated) by Father Caswall, Nos.
+5, 8-11, 13, 15-17, 19, 21-28, 33-36, 40, 42, 43, 47, 48, 62, 64, 79,
+80, 116, 118, 121, 134, 143-145, 147, 148, 149; thirty by Father
+Faber, 1, 3, 4, 12, 14, 29, 30, 37, 44, 45, 52, 53, 55, 57, 61, 65,
+73, 85, 115, 119, 120, 124, 125, 127-129, 133, 137, 138, 141; thirteen
+by Father Newman, 31, 32, 38, 41, 49, 50, 51, 54, 63, 67, 76, 78, 81;
+two by Father Stanfield, 123, 126; one by Father Bittleston, 39 (the
+familiar "Daily, daily," from St. Anselm, _Sancti Anselmi Mariale_, p.
+15, _Omni die_, &c., the second part, No. 40, by Father Caswall); one
+by Father Christie, S.J., 122 ("To Jesus' Heart all burning"); one by
+Father Vaughan, C.SS.R., 130 ("God of mercy and compassion"); one by
+Bishop Chadwick, 131 ("Jesus, my God, behold at length the time"); one
+by Dr. Lingard, 20 ("Hail, Queen of Heaven"). Bishop Heber also
+contributes, but the remaining Nos. 2, 6, 7, 18, 41, 46, 56, 58, 59,
+60, 66, 68, 69, 70, 72, 74, 75, 77, 78, 82, 84, 86, 117, 129, 135,
+136, 139, 140, 142, 146, have not yet been identified by the present
+writer. (See _Lyra Catholica_, 1849, by Father Caswall, &c.) How
+beautifully, by the by, has not the late Father Bittleston rendered
+St. Anselm's hymn. For example:
+
+             _Haec Regina,
+             Nos divina,
+             Illustravit gratia._
+     She the Queen who decks her subjects,
+     With the light of God's own grace.]
+
+Like St. Philip, too, "he took the word music in its widest sense, and
+made use of both vocal and instrumental music, and of their blended
+harmony."[56] While we believe that he would have been the first to
+admit the beauty of large portions of the old chant, its incomparable
+hymns in the liturgy, the familiar _accentus_ dear to every Catholic
+ear, for the Preface, the _Pater noster_, &c., the modes for Holy
+week, the tones for the Psalms of the Divine Office, &c., we question
+whether he could have made much of a mass of antiphons that seem to
+illustrate the sacred text, "All we like sheep have gone astray." "In
+Gregorian music," said a writer in 1890, speaking more positively than
+we are able to do, "Newman could see no beauty whatever--none, at any
+rate, in the usual antiphons and 'tones.' An exception must be made in
+favour of those familiar chants occurring in the Mass.... I recollect
+his telling me, after we had heard one of Cherubini's Masses admirably
+performed at a Birmingham Festival, that the music, though so
+beautiful, needed the interspersing of those quaint old chants to make
+it really devotional," but "I believe," writes a friend, "it is very
+difficult for one who has heard only Mozart and Beethoven, &c., in all
+his early years ever to get a liking for Gregorian tones. It used to
+drive Canon Oakeley wild when he heard his nephew, the present Sir H.
+Oakeley, play a fugue of Bach's even on the organ. The Cardinal,
+however, liked the _modus peregrinus_ to the _In exitu Israel_ (that
+was only natural), and I remember once he seemed quite put out because
+once we followed the Rubrics in Easter week (when the _In exitu_ is
+used) by having all the Psalms to one tone. For a moment it seemed as
+if he would contradict himself in his strict rule of going by
+authority against what he liked, and would change the tones so as to
+have the _peregrinus_." He somewhere, however, calls Gregorian an
+"inchoate science." Could mediaeval work, largely out of touch with the
+times, claim for itself a monopoly of existence to the exclusion of
+the modern? So loyal a son of Holy Church as Dr. Ward had let fall
+that a plain chant _Gloria_ reminded him of "original sin." "And, if
+sometimes," writes a friend of old Oratory days, "we were so
+unfortunate as to have on some week-day festival of our Lady, only the
+Gregorian Mass, Father Darnell used to say we were 'burying our Lady,'
+and though he would make no remark, I have little doubt the Father
+thought so too." Perhaps, then, Cardinal Newman's love for vocal and
+instrumental ecclesiastical music in combination (especially at
+Christmas, Easter, and Pentecost) was a true instinct recognizing the
+undoubted needs of another day, and is best labelled for a motto with
+some verses of the 149th and 150th Psalms, which we recommend to the
+attention of a few purists in case they may have forgotten them? Thus,
+acknowledging in January, 1859, the Gothic to be "the most beautiful
+of architectural styles," he "cannot approve of the intolerance of
+some of its admirers," and he would "claim the liberty of preferring,
+for the purposes of worship and devotion, a description of building
+which, though not so beautiful in outline, is more in accordance with
+the ritual of the present day, which is more cheerful in its exterior,
+and which admits more naturally of rich materials, of large pictures
+or mosaics, and of mural decorations."[57]
+
+[Footnote 56: Pope, _Capecelatro_, ii. 82.]
+
+[Footnote 57: _Merry England_, No. 30, p. 380. Mon Reale, in Sicily,
+we think, was his ideal in the Italian style of architecture.]
+
+"My quarrel with Gothic and Gregorian when coupled together," says
+Campbell, in _Loss and Gain_, "is that they are two ideas not one.
+Have figured music in Gothic churches, keep your Gregorian for
+Basilicas." Bateman: "... You seem oblivious that Gregorian chants and
+hymns have always accompanied Gothic aisles, Gothic copes, Gothic
+mitres, and Gothic chalices." Campbell: "Our ancestors did what they
+could, they were great in architecture, small in music. They could not
+use what was not yet invented. They sang Gregorian because they had
+not Palestrina." Bateman: "A paradox, a paradox." Campbell: "Surely
+there is a close connection between the rise and nature of the
+Basilica and of Gregorian unison. Both existed before Christianity,
+both are of Pagan origin; both were afterwards consecrated to the
+service of the Church." Bateman: "Pardon me, Gregorians were Jewish,
+not Pagan." Campbell: "Be it so, for argument sake, still, at least,
+they were not of Christian origin.[58] Next, both the old music and
+the old architecture were inartificial and limited, as methods of
+exhibiting their respective arts. You can't have a large Grecian
+temple, you can't have a long Gregorian _Gloria_." Bateman: "Not a
+long one, why there's poor Willis used to complain how tedious the old
+Gregorian compositions were abroad." Campbell: "... Of course you may
+produce them to any length, but merely by addition, not by carrying on
+the melody. You can put two together, and then have one twice as long
+as either. But I speak of a musical piece, which must, of course, be
+the natural development of certain ideas, with one part depending on
+another. In like manner, you might make an Ionic temple twice as long
+or twice as wide as the Parthenon; but you would lose the beauty of
+proportion by doing so. This, then, is what I meant to say of the
+primitive architecture and the primitive music, that they soon come to
+their limit; they soon are exhausted, and can do nothing more. If you
+attempt more, it's like taxing a musical instrument beyond its
+powers."... Campbell: "This is literally true as regards Gregorian
+music, instruments did not exist in primitive times which could
+execute any other."... Reding: "... Modern music did not come into
+existence till after the powers of the violin became known. Corelli
+himself, who wrote not two hundred years ago, hardly ventures on the
+shift. The piano, again, I have heard, has almost given birth to
+Beethoven." Campbell: "Modern music, then, could not be in ancient
+times for want of modern instruments, and, in like manner, Gothic
+architecture could not exist until vaulting was brought to perfection.
+Great mechanical inventions have taken place both in architecture and
+in music, since the age of Basilicas and Gregorians; and each science
+has gained by it." Reding: "... When people who are not musicians have
+accused Handel and Beethoven of not being _simple_ I have always said,
+'is Gothic architecture _simple_?' A Cathedral expresses one idea, but
+is indefinitely varied and elaborated in its parts; so is a symphony
+or quartet of Beethoven." Campbell: "Certainly, Bateman, you must
+tolerate Pagan architecture, or you must in consistency exclude Pagan
+or Jewish Gregorians, you must tolerate figured music, or reprobate
+tracery windows." Bateman: "And which are you for, Gothic with Handel,
+or Roman with Gregorian?" Campbell: "For both in their place. I
+exceedingly prefer Gothic architecture to classical. I think it is the
+one true child and development of Christianity; but I won't for that
+reason discard the Pagan style which has been sanctified by eighteen
+centuries, by the exclusive love of many Christian countries, and by
+the sanction of a host of saints. I am for toleration. Give Gothic an
+ascendancy; be respectful towards classical."... Reding: "Much as I
+like modern music, I can't quite go the length to which your doctrine
+would lead me. I cannot, indeed, help liking Mozart; but surely his
+music is not religious?" Campbell: "I have not been speaking in
+defence of particular composers, figured music may be right, yet
+Mozart or Beethoven inadmissible. In like manner you don't suppose,
+because I tolerate Roman architecture, that therefore I like naked
+cupids to stand for cherubs, and sprawling women for the cardinal
+virtues.... Besides, as you were saying yourself just now, we must
+consult the genius of our country, and the religious associations of
+our people." Bateman: "Well, I think the perfection of sacred music is
+Gregorian set to harmonies; there you have the glorious old chants,
+and just a little modern richness." Campbell: "And I think it just the
+worst of all, it is a mixture of two things, each good in itself, and
+incongruous together. It's a mixture of the first and second courses
+at table. It's like the architecture of the _facade_ at Milan,
+half-Gothic, half-Grecian." Reding: "It's what is always used, I
+believe." Campbell: "Oh, yes, we must not go against the age, it would
+be absurd to do so. I only spoke of what was right and wrong on
+abstract principles; and to tell the truth, I can't help liking the
+mixture myself, though I can't defend it."[59]
+
+[Footnote 58: "I think with you that what is called Gregorian is but a
+_style_ of music: viz., before the fixing of the diatonic scale, and
+the various keys as rising out of it. The Pagan and Jewish tunes are
+_necessarily_ in this style. And in this sense certainly the Gregorian
+comes from the Pagan _and_ the Jewish. The names 'Lydian,' 'Phrygian,'
+&c., look like Pagan. One should think, however, some _must_ be
+Jewish. I can't answer your question about the genuineness of the
+professed specimen of Pagan, as in Rousseau's Dictionary. Will
+Rousseau answer your question? All true art comes from revelation, to
+speak generally, I do think, but not necessarily through the Jewish
+Dispensation," &c. (Dec. 1850, J.H.N.) Mozley, _Corr._ ii. 479.]
+
+[Footnote 59: _Loss and Gain_, pp. 282-286.]
+
+The irrepressible Bateman has Gothic and Gregorian on the brain: and
+in another place goes "on boldly to declare that, if he had his will
+there should be no architecture in the English churches but Gothic,
+and no music but Gregorian. This ... gave scope for a very pretty
+quarrel, Reding said that all these adjuncts of worship, whether music
+or architecture, were national; they were the mode in which religious
+feeling showed itself in particular times and places. He did not mean
+to say that the outward expression of religion in a country might not
+be guided, but it could not be forced; that it was as preposterous to
+make people worship in one's own way, as to be merry in one's own
+way.'... Bateman: 'But surely ... you don't mean to say that there is
+no natural connection between internal feeling and outward expression,
+so that one form is no better than another?' Reding: 'Far from it,
+but let those who confine their music to Gregorians, put up crucifixes
+in the highways. Each is the representative of a particular locality
+or time.'... Campbell: 'You can't be more Catholic than Rome, I
+suppose, yet there's no Gothic there.' Bateman: '... Rome has
+corrupted the pure Apostolic doctrine, can we wonder that it should
+have a corrupt architecture?' Reding: 'Why, then, go to Rome for
+Gregorians?'"[60]
+
+[Footnote 60: _Loss and Gain_, p. 277.]
+
+The foregoing would probably open out, in the eyes, say, of the
+accomplished author of the _Vesper Psalter_,[61] a wide field for
+further discussion, but so much may be fairly gathered, viz., that the
+Cardinal's musical views were sensible ones, even if open,
+theoretically, to some differences of opinion. _Omnia probate_, he
+seems to say, _quod bonum est tenete_. He had, of course, no sympathy
+with extravagances. His was a cultured, at any rate a refined taste,
+_sui similis_, and when it was said in April, 1886, that Niedermeyer's
+B minor Mass was "elaborate," he observed: "Well, I like a medium in
+music, although I may be wrong in that." All was well, we suppose,
+provided the best gifts of Catholic masters in their art were in good
+faith proffered to Almighty God. In the words herein of St. Gregory
+the Great: _Mihi placet ut, sive in Romana, sive in Galliarum, sive in
+qualibet ecclesia, aliquid invenisti quod plus omnipotenti Deo possit
+placere, sollicite eligas._[62] All was well, too, if singers and
+players were animated with the Catholic spirit that breathed in a
+Haydn and a Mozart, to say nothing of later giants.[63] Under such
+conditions, and with due observance of the unaccompanied chant in
+Advent and Lent, the male choirs of both Oratories in England have
+probably done a good work, and if so, one worthy of St. Philip's
+blessing.
+
+[Footnote 61: By the late Sir John Lambert, K.C.B., and published by
+Burns in 1849. Its Preface is well worthy of attention, and we note
+with pleasure his remark, "that while pleading for the restoration of
+the Ritual Song as the Church system and the music of the people, and
+as the basis of all that is really grand and ecclesiastical, the
+writer would not wish to be understood to object to the superadding of
+the most elaborate music where it can be properly executed, if it does
+not supersede the Church Song, and is of a character to harmonize with
+it. Doubtless," he adds, "as the Church employs all the resources of
+art, as far as in accordance with her own spirit, the most perfect
+celebration of the Divine Office would be where both could be
+combined. All would then be impressed and edified, each person
+according to his peculiar sense, and God would be worshipped with all
+the magnificence which art can be made to minister." (p. xiii.)]
+
+[Footnote 62: S. Greg. Epist. xxxi. lib. xii. _De expos. divers.
+rerum._]
+
+[Footnote 63: Thus M. Tonnelle, pupil of Father Gratry, of the
+Oratory: "Haydn et Mozart, c'est la foi Catholique, c'est la
+soumission naive et spontanee, c'est la devotion tendre et vive,"
+which can, of course, be truly said without implying that they are
+always perfection.]
+
+It was in April, 1886, that two of the Fathers, along with the writer,
+played over to Cardinal Newman, Dykes' well-known setting to "Lead,
+kindly Light," which (he said) he had never heard before, and he
+seemed rather surprised at its very quiet, hymn-like quality. No
+piano, he added, could equal the strings, nor any organ,[64] and we
+gave him the version of the "Lead" by Pinsuti, and West,[65] as also
+Hurrell Froude's "Tyre"[66] and his own "Watchman" and the "Two
+Worlds,"[67] all with violoncello _obbligato_. In 1889 he had been
+very ill, and when recovering, said to a Father: "Father Faber wrote
+the hymn 'Eternal Years.'[68] I have always had the greatest affection
+for it--quite a passionate affection for it--in connection with Father
+Faber, and I always used to think that when I came to die, I should
+like to have it sung to me; and I want you to play it for me." Would a
+harmonium do? "Yes, a harmonium would be just the thing; perhaps one
+could be spared me."
+
+[Footnote 64: There was nothing, however, so really "magnificent," he
+said once (speaking of the wind instruments of brass and wood), as a
+military band.]
+
+[Footnote 65: The following have set "Lead, kindly Light" to music:
+Canon J. Ballantine-Dykes, Rev. H. Earle Bulwer, Dr. G.A. Macfarren,
+Dr. S.S. Wesley, Dr. A.R. Gaul, Dr. C.J.B. Meacham, Sir A. Sullivan,
+J. Barnby, F. Tozer, C. Pinsuti, W. Hamilton, W. Hume, M.A. Wood (Mrs.
+Harvey), Katharine Rowley, C.T. Gatty, T.W. Barth, A. Allen, F.G.
+Pincott, H.C. Layton, J. Tilleard, J. Otter, W.H. Walter, J.A.
+Gardiner, W. Nicholson, J.W.R., and three anonymous composers. We may
+add that Mr. Rowton has musically essayed the _Dream of Gerontius_;
+"J.W.R.," "Warnings" from the _Lyra Apostolica_; Dr. Macfarren a duet,
+"O God, Who canst not change" (breviary translation); "R.S.," "All is
+divine which the Highest has made;" E.W., "Softly and gently, dearly
+ransomed soul;" the Rev. C.E. Butler, "Praise to the Holiest;" Maria
+Tiddeman, the same; Mr. Bellasis, the "Haven," "Consolation," "Waiting
+for the Morning," "The Two Worlds," "The Watchman," and "Heathen
+Greece;" and an anonymous composer, "The Pilgrim Queen," "There sat a
+Lady," &c.]
+
+[Footnote 66: From the _Lyra Apostolica_, and a striking little poem,
+as indeed are all the few signed [Greek: b], the music by a pupil of
+the Cardinal.]
+
+[Footnote 67: _Verses on Various Occasions_, pp. 80, 319; the latter
+written in 1862, the music by a pupil, and according to the Father
+"better than my words." The words also appear in the Birmingham book
+as a hymn (No. 67), entitled "Sacrifice."]
+
+[Footnote 68: Father Faber's _Poems_, No. 135, pp. 379-381, new edit.
+1861. This is not in the London Oratory Hymn Book, but under the
+heading "Eternity" six of the quatrains (Nos. 1, 8, 9, 11, 15, 16)
+appear in the Birmingham book as No. 73, and are set to a tune in the
+minor from Beethoven's sixth trio (for flute, viola, and violoncello),
+taken _andante_.]
+
+So, when evening had set in, a harmonium was put in the passage
+between his two rooms, a Father knelt at his side reciting each verse,
+while two others played and sang the "Eternal Years."
+
+[Music: BEETHOVEN.
+
+     How shalt thou bear the cross that now so dread a weight appears,
+     Keep quietly to God, and think upon th'eternal years.]
+
+"Some people," he then said, "have liked my 'Lead, kindly Light,' and
+it is the voice of one in darkness asking for help from our Lord. But
+this (the 'Eternal Years') is quite different; this is one with full
+light, rejoicing in suffering with our Lord, so that mine compares
+unfavourably with it. This is what those who like 'Lead, kindly Light'
+have got to come to--they have to learn it." Then they played and sang
+it over again. And he said at the end, "I thank you with all my heart.
+God bless you. I pray that when you go to Heaven, you may hear the
+angels singing with the genius that God has endowed them with. God
+bless you."
+
+To quote as we began, and once again from Cardinal Capecelatro and
+Father Pope, and we have done. What His Eminence says of the first
+founder of any Oratorian Congregation may more or less apply to the
+great Oratorian whom we have mourned: "The sweet enticement of music
+is quite in harmony with the spirit of St. Philip, and imparts to
+piety an ineffable gladness and gentleness and grace. Take away from
+our Saint his delight in music, and you leave his image in our hearts
+mutilated, despoiled of much of its winning beauty."[69]
+
+[Footnote 69: Pope, _Capecelatro_, ii. 106.]
+
+
+
+
+INDEX.
+
+
+_Accentus_, 32.
+
+_Adelphi_, 21.
+
+AEschylus, 12.
+
+_Agnus Dei_, 19.
+
+Alexandria, 18.
+
+"All is divine," 38.
+
+All Souls' day at Edgbaston, 19.
+
+Allegri, 19, 20.
+
+Allen, A. 38.
+
+_Andria_, 21.
+
+Anglican service, 25.
+
+Architecture, 33-36.
+
+Aristotle, 26.
+
+
+_Bacchae_, 12.
+
+Bach, J.S. 33.
+
+Badeley, E. 23.
+
+Bai, 19, 20.
+
+Baini, 20.
+
+Ballantine-Dykes, Canon, 38.
+
+Barnby, Dr. J. 38.
+
+Barth, T.W. 38.
+
+Basili, 20.
+
+Beethoven, 9, 12-17, 22, 23, 30-32, 35, 36, 39.
+
+Bellasis, E. 38.
+
+Benedict XIV. Pope, 16.
+
+Bennett, Mr. 24, 25.
+
+Berlioz, 15.
+
+Birmingham Festival, 18, 32.
+    "      Oratory choir, 38.
+    "         "    hymn-book, 23, 27, 29-31, 39.
+
+Bittleston, Rev. H. 31, 32.
+
+Blachford, Lord, 8.
+
+Blanco White, 5, 9, 13.
+
+Bowden, J. 9, 21.
+
+Bowles, Rev. F.S. 10, 22.
+
+Brahms, 18, 19.
+
+Bulwer. Rev. H. Earle, 38.
+
+Burns, J. 31, 37.
+
+Butler, Rev. C.E. 38.
+
+
+_Candlemas_, 26.
+
+Canzonet quartet, 18.
+
+Capecelatro, Cardinal, 5, 6, 32, 40.
+
+Caswall, Rev. E. 14, 31, 32.
+
+Catholic service, 26.
+
+Chadwick, Bishop, 32.
+
+Chalmers, Dr. 5.
+
+Cherubini, 18, 32.
+
+Chichester, 25.
+
+Chopin, 14.
+
+Christie, S.J. Rev. A.J. 32.
+
+Coffin, C.SS.R. Bishop. 22.
+
+_Consolation_, 38.
+
+_Conversion_, 28, 31.
+
+Copleston, Provost, 8.
+
+Corelli, 13, 16, 20.
+
+_Credo_, 14.
+
+Crookall, Dr. 30.
+
+Crotch, Dr. 29.
+
+
+"Daily, daily," 31.
+
+Darnell, Rev. N. 33.
+
+_Death_, 31.
+
+_Dies Irae_, 15, 19.
+
+_Discussions and Arguments_, 16.
+
+_Don Giovanni_, 31.
+
+_Dream of Gerontius_, 12, 38.
+
+_Dublin Review_, 16.
+
+
+Ealing school, 21.
+
+Edgbaston, 8, 19, 24, 28, 39.
+
+_Elijah_, 17.
+
+Eliseus, 24.
+
+Elvey, Mr. 25.
+  "    Sir G. 25.
+
+_Essays_, 12, 23, 26.
+
+_Eternal Years_, 39.
+
+_Eunuchus_, 21.
+
+Euripides, 12.
+
+
+Faber, Fr. F.W. 28, 29, 31, 39.
+
+Farm Street Church, 17.
+
+_Fidelio_, 12.
+
+Froude, R.H. 9, 38.
+
+
+Gardiner, J.A. 38.
+
+Gatty, C.T. 38.
+
+Gaul, Dr. A.R. 38.
+
+Gigli, Fr. 30.
+
+"God of mercy," 32.
+
+Gothic, 33-36.
+
+Gounod, 15, 17, 18.
+
+Gratry, Fr. 38.
+
+Grecian architecture, 33-36.
+
+Gregorian, 32-37.
+
+Guglielmi, 20.
+
+
+"Hail, Queen of Heaven," 32.
+
+Hamilton, W. 38.
+
+Handel, 16, 17, 36.
+
+Harvey, Mrs. M.A. 38.
+
+_Haven_, 22.
+
+Hawkins, Provost, 8.
+
+Haydn, 7, 13, 16, 38.
+
+_Heathen Greece_, 38.
+
+Heber, Bishop, 32.
+
+Holy Week, 32, 38.
+
+Hume, W. 38.
+
+
+"I was wandering," 28, 31.
+
+_Idea of a University_, 5, 6, 16, 24.
+
+_In exitu Israel_, 12, 33.
+
+
+"Jesus, My God, behold," 32.
+
+Jewish music, 34, 35.
+
+Jouvency, S.J. Fr. J. 23.
+
+
+Keble, Rev. J. 29.
+
+
+Lambert, K.C.B. Sir J. 37.
+
+Latin play, 21.
+
+_Lauda Sion_, 17.
+
+Layton, H.C. 38.
+
+"Lead, kindly light," 38-40.
+
+Leporello, 31.
+
+Lindley, 11.
+
+Lingard, Dr. 32.
+
+Littlemore, 22.
+
+Lockhart, O.C. Rev. W. 11, 22, 29.
+
+London Oratory choir, 38.
+  "    hymn-book, 28, 29.
+  "    _Review_, 23.
+
+_Loss and Gain_, 11, 34, 36.
+
+Lydian mode, 34.
+
+_Lyra Apostolica_, 38.
+  "   _Catholica_, 32.
+
+
+Macfarren, Dr. G.A. 38.
+
+_Magnificat_, 6.
+
+Maher, S.J. Fr. W. 17.
+
+_Mariale Sti. Anselmi_, 32.
+
+McCarthy, Rev. Mr. 10.
+
+M'Quoin, Rev. Mr. 10.
+
+Meacham, Dr. C.J.B. 38.
+
+Mendelssohn, 12, 14, 16-18, 30.
+
+_Merry England_, 34.
+
+Milan Cathedral, 36.
+
+_Miserere_, 19, 20.
+
+_Mixed Congregations, Discourses to_, 5.
+
+M'Neill, Canon, 11.
+
+Mon Reale, Sicily, 34.
+
+_Month of Mary_, 27, 30.
+
+Moorat, S. 30.
+
+_Mors et Vita_, 15.
+
+_Mors stupebit_, 19.
+
+_Mose in Egitto_, 20.
+
+_Mount of Olives_, 14.
+
+Mozart, 13, 16, 17, 30-32, 36, 38.
+
+Mozley, A. _Corr. J.H.N._ 6-9, 13, 14, 20, 21, 24, 29, 34.
+
+Mozley, Canon J.B. 14.
+  "     Mrs. J. 6, 9, 22.
+  "     Rev. T. 9, 10.
+
+
+Naples Oratory, 30.
+
+Newman, Mrs. J. 13.
+  "     F.W. 7.
+  "     C.R. 7.
+
+Nicholson, W. 38.
+
+Niedermeyer, 37.
+
+_Night_, 28.
+
+Norris, Rev. J. 10.
+
+Novello, 28.
+
+
+"O God, Who canst not change," 38.
+
+"O silly souls," 29.
+
+Oakeley, Canon, 32.
+   "     Sir H. 33.
+
+Okely, Mr. 17.
+
+_Omni die_, 32.
+
+Oriel College, Oxford, 7, 8.
+
+Otter, J. 38.
+
+Ottoboni, Cardinal, 20.
+
+_Oxford University Sermons_, 5, 6, 18.
+
+
+Pagan music, 34, 35.
+
+Palestrina, 12, 20.
+
+_Pater noster_, 32.
+
+_Paternoster Review_, 11, 22.
+
+Philomel, 9.
+
+Phrygian mode, 34.
+
+Pianoforte quintet, 18.
+
+Pickering, 31.
+
+_Pilgrim Queen_, 27, 30, 38.
+
+Pincott, F.G. 38.
+
+Pinsuti, C. 38.
+
+Pitts, W. 28, 30.
+
+Plater, E. 30.
+
+Pleyell, 30.
+
+Pope, Rev. T.A. 40.
+
+Prendergast, A.H. 29.
+
+Psalms, 149th, 150th, and _In exitu_, 12, 33.
+
+
+_Quam olim_, fugue, 19.
+
+_Queen of Seasons_, 27.
+
+
+R., J.W. 38.
+
+Rasoumousky quartet, 31.
+
+_Redemption_, 18.
+
+_Regina Apostolorum_, 27, 30.
+
+_Regulars and St. Philip_, 27, 30, 31.
+
+Reinagle, 9, 27.
+
+_Requiems_, 15, 18, 19.
+
+Rogers, F. 8.
+
+Roman Oratory Choir, 30.
+
+Romberg, 13.
+
+_Rosa mystica_, 27, 30.
+
+Rose Hill, 9.
+
+Rossini, 20, 21.
+
+Rousseau, J.J. 34.
+
+Rowley, K. 38.
+
+Ryder, Rev. H.I.D. 10.
+
+
+S., R. 38.
+
+_Sacrifice_, 39.
+
+_St. Philip and the poor_, 30.
+  "    "    _in himself_, 30, 31.
+  "    "    _in his disciples_, 30.
+  "    "    _in his mission_, 30.
+  "    "    _in his school_, 30.
+
+St. Anselm, 31, 32.
+ "  Clement's, Oxford, 24.
+ "  George's, Windsor, 25.
+ "  Gregory the Great, 37.
+ "  John's, Oxford, 7.
+ "  Magnus, 23.
+ "  Mary's, Oxford, 24, 25.
+ "  Peter's, Rome, 20.
+ "  Philip Neri, 5, 6, 17, 24, 30.
+ "  Thomas Aquinas, 18, 26.
+
+Saul, 24.
+
+Schubert, 12, 16.
+
+Schumann, 16, 18.
+
+Septet, 13.
+
+"Softly and gently, dearly ransom'd soul," 38.
+
+_Solvet saeclum_, 19.
+
+Sola, 21.
+
+Sophocles, 12.
+
+Stanfield, Rev. F. 31.
+
+Sullivan, Sir A. 38.
+
+_Supper of the Apostles_, 18.
+
+Symphony in A major, 12.
+   "     "  C major, 14.
+   "     "  C minor, 12.
+   "     "  D major, 14.
+   "     "  F major, 14.
+   "     "  G minor, 18.
+
+
+_Tablet_, 24.
+
+Tarugi, Cardinal, 30.
+
+_Tenebrae_, 20.
+
+Terence, 21.
+
+"The Angel-lights of Christmas morn," 27.
+
+"The holy monks," 27, 31.
+
+"The red sun is gone," 28.
+
+"There are many saints above," 29.
+
+"There sat a Lady," 27, 30, 38.
+
+Thom's _Blanco White_, 6.
+
+Tiddeman, M. 38.
+
+Tilleard, J. 38.
+
+"To Jesus' heart all burning," 32.
+
+Tonnelle, M. 38.
+
+Tozer, F. 38.
+
+_Triumphlied_, 18.
+
+_Two Worlds_, 38, 39.
+
+Tunbridge Wells, 12.
+
+
+Vaughan, C.SS.R. Fr. 32.
+
+_Verses on Various Occasions_, 22, 23, 27, 39.
+
+_Vesper Psalter_, 37.
+
+
+W., E. 38.
+
+Wagner, 16, 18.
+
+_Waiting for the morning_, 38.
+
+Walker, Canon, 22.
+
+Ward, Dr. W.G. 33.
+
+Warden of Keble, 14.
+
+_Warnings_, 38.
+
+_Watchman_, 38.
+
+Waller, W.H. 38.
+
+Webbe, 30.
+
+Wellington, Duke of, 29.
+
+Wesley, Dr. S.S. 38.
+
+Westlake, Mr. 31.
+
+Whitty, S.J. Fr. 10.
+
+Wood, M.A. 38.
+
+Worcester Festival, 24.
+
+
+_Zauberfloete_, 22.
+
+Zingarelli, 20.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Cardinal Newman as a Musician, by Edward Bellasis
+
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