Then
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I cannot help it, but I own it does irritate me to hear such holy and touching words sung to such dull, drawling music. They say it is canto fermo, Gregorian, etc.; no matter. If at that period there was neither the feeling nor the capability to write in a different style, at all events we have now the power to do so, and certainly this mechanical monotony is not to be found in the scriptural words; they are all truth and freshness, and moreover expressed in the most simple and natural manner. Why then make them sound like a mere formula? and, in truth, such singing as this is nothing more! The word "Pater" with a little flourish, the "meum" with a little shake, the "ut quid me"—can this be called sacred music? There is certainly no false expression in it, because there is none of any kind; but does not this very fact prove the desecration of the words? A hundred times during the ceremony I was driven wild by such things as these; and then came people in a state of ecstasy, saying how splendid it had all been. This sounded to me like a bad joke, and yet they were quite in earnest!
At Mass early on Friday morning, the chapel is stripped of all its decorations, the altar uncovered, and the Pope and Cardinals in mourning. The "Passion," from St. John, was sung, composed by Vittoria, but the words of the people in the chorus alone are his, the rest are chanted according to an established formula: but more of this hereafter. The whole appeared to me too trivial and monotonous, I was quite out of humour, and, in fact, dissatisfied with the affair altogether. One of the two following modes ought to be adopted. The "Passion" ought either to be recited quietly by the priest, as St. John relates it, in which case there is no occasion for the chorus to sing "Crucifige eum," nor for the alto to represent Pilate—or else the scene should be so thoroughly realized, that it ought to make me feel as if I were actually present, and saw it all myself. In that event, Pilate ought to sing just as he would have spoken, the chorus shout out "Crucifige" in a tone anything but sacred; and then, through the impress of entire truth, and the dignity of the object represented, the singing would become sacred church music.
I require no under-current of thought when I hear music, which is not to me "a mere medium to elevate the mind to piety," as they say here, but a distinct language speaking plainly to me; for though the sense is expressed by the words, it is equally contained in the music. This is the case with the "Passion" of Sebastian Bach; but as they sing it here, it is very imperfect, being neither a simple narrative, nor yet a grand solemn dramatic truth. The chorus sings "Barabbam" to the same sacred chords as "et in terra pax." Pilate speaks exactly in the same manner as the Evangelist. The voice that represents our blessed Saviour commences always piano, in order to have one definite distinction, but when the chorus breaks loose, shouting out their sacred chords, it seems entirely devoid of meaning. Pray forgive these strictures. I now proceed to simple narration again. The Evangelist is a tenor, and the mode of chanting, the same as that of the Lessons, with a peculiar falling cadence at the comma, interrogation, and full stop. The Evangelist intones on D, and sings thus at a full stop:—
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at a comma:—
