Occasionally Durtal had taken refuge at St. Gervais, where at least they played at certain times motets of the old masters; but that church was, as well as St. Eustache, a paying concert, where Faith had nothing to do. No recollection was possible in the midst of ladies who fainted behind, their faces in their hands, and grew agitated in creaking chairs. These were frivolous assemblies for pious music, a compromise between the theatre and God.
St. Sulpice was better, where at least the public was silent. There, moreover, Vespers were celebrated with more solemnity and less haste.
In general the seminary reinforced the choir, and rendered by this imposing choir they rolled on majestically sustained by the grand organ.
Chanted, only in half, and not in unison, reduced to a state of couplets, given, some by a baritone, others by the choir, they were twisted and frizzled by a curling iron, but as they were not less adulterated at the other churches, there was every advantage in listening to them at St. Sulpice, whose powerful choir, very well led, had not, as for example at Notre Dame, those dusty voices which break at the least whisper.
This only became really odious when, with a formidable explosion, the first strophe of the Magnificat struck the arches.
The organ then swallowed up one stanza out of two, and under the seditious pretext that the length of the Office of incensing was too long to be filled up entirely by singing, M. Widor, seated at his desk, rolled forth stale fragments of music splashed about above, imitating the human voice and the flute, the bagpipe and the bassoon, or indeed, tired of affectations, he blew furiously on the keys, ending by imitating the roll of locomotives over iron bridges, letting all the stops go.
And the choirmaster, not wishing to show himself inferior to the organist in his instinctive hatred of plain chant, was delighted, when the Benediction began, to put aside Gregorian melodies and make his choristers gurgle rigadoons.
It was no longer a sanctuary, but a howling place. The "Ave Maria," the "Ave Verum," all the mystical indecencies of the late Gounod, the rhapsodies of old Thomas, the capers of indigent musicasters, defiled in a chain wound by choir leaders from Lamoureux, chanted unfortunately by children, the chastity of whose voices no one feared to pollute in these middle-class passages of music, these by-ways of art.
"Ah," thought Durtal, "if only this choirmaster, who is evidently an excellent musician; for indeed, when he must, he knows how to get executed better than anywhere else in Paris, the 'De Profundis' with organ accompaniment, and the 'Dies Iræ'; if only this man would as at St. Gervais give us some Palestrina and Vittoria, some Aichinger and Allegri, some Orlando Lasso and De Près; but no, he must detest these masters also, consider them as archaic rubbish, good to send into the dust-heaps."
And Durtal continued,