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diff --git a/26427-8.txt b/26427-8.txt new file mode 100644 index 0000000..faf7748 --- /dev/null +++ b/26427-8.txt @@ -0,0 +1,2279 @@ +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 + +*** END OF THIS PROJECT GUTENBERG EBOOK CARDINAL NEWMAN AS A MUSICIAN *** + +***** This file should be named 26427-8.txt or 26427-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/6/4/2/26427/ + +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) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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