We shall only follow his musical career. Unfortunately, although there are some remains in the Milanese church-chant of to-day, we have but little proof of the nature of his reforms. That it was deeply impressive we have the testimony of St. Augustine who eulogises, without accurately describing it,[249] but it is certain that his reforms were founded in part upon the Greek music, and that in the Gregorian and Ambrosian chants of the church, we have a legitimate descendant of the ancient Greek music. The reader must remove one impression from his mind; the music of the early Christians, though certainly crude, was by no means simple; on the contrary, it contained many flourishes and rapid embellishments, most of which were of oriental origin. The reform was in the nature of simplicity, and added dignity to a service, which already, in its words, possessed beauty and poetry.

He cast aside much of the cumbrous nomenclature of the Greek modes, and retained of them only what was beautiful and easily comprehended. He did not aim at any sweeping reform, as is evident from his letter to his sister St. Marcellina, wherein he says that he is endeavoring to regulate the mode of singing the hymns, canticles and anthems in his own church,[250] and St. Augustine[251] says that it was done after the manner of the churches of the Orient.

The modes which he chose for his compositions were the following:—

First mode:— D, E, F, G, A, B, C, D,
re mi fa sol la si do re
Second do. E, F, G, A, B, C, D, E,
mi fa sol la si do re mi
Third do. F, G, A, B, C, D, E, F,
fa sol la si do re mi fa
Fourth do. G, A, B, C, D, E, F, G,
sol la si do re mi fa sol

It will be seen that the semi-tones are immovable, and therefore occur in different positions in each mode, by the change of the key-note; being respectively,—

First mode, semitones 2-3, 6-7
Second ” ” 1-2, 5-6
Third ” ” 4-5, 7-8
Fourth ” ” 3-4, 6-7

It was this distinction which gave to each mode its peculiar character.

Not only did St. Ambrose reinstate these modes, but he composed many beautiful compositions in them. Many of the so-called Ambrosian chants and hymns, were not written by him, but after his manner; but some ten of the ancient hymns, including “Veni Redemptor Gentium,” “Eterna Christi munera,” etc., are from his own pen.

The Cathedral of Milan still uses Aeterne rerum conditor; Deus Creator omnium; Veni Redemptor omnium; Splendor Paternæ gloriæ; Consors paterni luminis; and O Lux Beata Trinitas.[252]

Some of these are of rare beauty, and remain as monuments of the cultivated taste of this pioneer in church music. The composition of the “Te Deum Laudamus,” has been ascribed to St. Ambrose, and St. Augustine; but it was composed nearly a century after their death. Among other persons to whom this beautiful production has been assigned, may be mentioned St. Hilary, St. Abundius, St. Sisebut, and St. Nicat; but it may be safely affirmed that its real author has never been discovered.