The fact beyond dispute is, that the faithful are deprived of the true expression of the divine prayer of the Church, both on account of the profane character of the music performed and the entire omission of those portions of the Mass and Vespers which give a distinctive color, tone, and meaning to the seasons and festivals, such as the Introit, the Gradual, Prose, Offertory, Communion, and Antiphons.
Not to speak of the wholly inexcusable practice of reproducing well-known arias from different operas to which the words of some devout hymn are adapted in the most shockingly garbled manner, without regard to grammar or sense, a cursory examination of "the masses" popular among us, and sung, without distinction, at any season and on any festival, would be sufficient to condemn them as totally unfit as vehicles of expression for the words set to them, or the occasion of their performance. Let us quote some true words from the Rev. Mr. Nary:
"Would any one contend that the rollicking tunes of many a modern Kyrie express the meaning of the supplicatory ejaculation, Lord, have mercy on us?... It may fairly be questioned whether any one unaccustomed to our florid church-music, upon hearing one of the jigs which render the sweet prayer, O Lord, give us peace, dona nobis pacem, in some of our modern masses, would be able to tell, not only that it aptly describes the words, but even that it expresses any religious feeling at all. That in numerous instances, modern church music, instead of being descriptive of the holy words to which it is joined, rather expresses the sensuous languor of the stage, or the airy joy of the ball-room, could not well be disputed.
"Indeed, it is exceedingly remarkable that what Haydn, Mozart, Weber, and others would have been ashamed to do for the stage, they have, seemingly without a qualm of conscience, done for the house of God. They knew that they must have been accused of folly, had they in one of their operatic works given to earnestness the tones of jesting, to prayer those of mirth; but this is precisely what they have done for the services of the Church. The most touching supplications of the liturgy are often clothed by them in strains of mockery.... It is not implied here that there are not in the works of the great modern composers beautiful passages full of genuine religious feeling; but will any impartial judge contend that there are many masses in which there is no blundering at all between the words and the music?... Nay, is it not true that certain masses by those composers, if separated from the sacred words and applied to some libretto of the late Eugène Scribe, would only gain in naturalness and meaning by the change? What, then, it may be asked, is there no other music for the Almighty than that of the theatre?... It can hardly be disputed that some of our own churches have too often, in their musical efforts, exhibited scenes bordering very closely upon downright desecration of the house of God.... There is no need to describe the sad feelings which arise in the heart of a Catholic who finds the adorable sacrifice of the Mass turned into a Sunday morning amusement.
"Some people, who allow that the music of some of our churches is thoroughly profane, still justify its use on the plea that it allures strangers, who may be favorably impressed with other and more religious portions of the service. But this is a poor justification of practices which annoy the real congregation, and hinder devotion. No doubt a priest should seek to draw strangers to his church, but all means are not equally legitimate toward attaining this laudable end. Besides, the writer though entirely unable to form any judgment which he could commend to the belief of others, much doubts whether any priest could trace more than a few conversions, if any at all, not to his church music, which may partly be very ecclesiastical, but to his florid or orchestral music, as to their origin."
We need to add little to this. The impressions left upon the mind after being subjected to any one of such performances is well known to all who have suffered. What religious feelings might one reasonably expect to have pervaded (may we not say the audience?) or what devotion could possibly be excited in the hearts of any unfortunate worshippers present on the occasion of which the following is a report:
"Haydn's Mass No. 16 was the great selection. The Kyrie was coldly given, the alto and bass, in the soli parts, being hardly strung up to tune. In the Gloria, however, both chorus and soloists warmed to their work, and several of the finest choral passages were given with great power and precision. The Credo was not taken up firmly, but every praise is due to the manner in which the choir acquitted themselves at the finish, and in the exquisite Et Incarnatus and succeeding quartette the four principal voices blended beautifully together, and the alto (Miss ——) told well in the delivery of the leading and interwoven subject, the Sub Pontio. The most critical would have been satisfied with the evenness with which the principal voices were balanced in this and the subsequent soli passages. The Sanctus and Hosanna were very fairly given, the Benedictus being perhaps the most telling effort of all. The opening of the Agnus was not delivered sufficiently staccato, as the chorus did not hang well together. The Dona Nobis made up for all, and throughout the principals acquitted themselves in unexceptionable style, being well supported at the finish by the chorus."
We are aware that some, while agreeing with us, as they cannot help but do, that "masses" in figured music, and "figured vespers," are in the style of their composition essentially profane, yet choose them, and cause them to be performed, on the plea that the sacredness of the place and the occasion of the divine office is a sufficient corrective of their innate profanity, or that, being "magnificent," "sublime," "classic," etc., such music may justly be employed to adorn the grand functions of religion, and that the theatre ought not to boast of better music than the house of God; that—as one such admirer of classic music said to us—we ought to "spoil the Egyptians;" or again, that Protestants are attracted to churches where such music is given, and may be led by the charm of the music to inquire into the truths of our religion; and finally, that there is nothing else to take its place; the antiquated Gregorian chant being wholly unfit for the cultivated musical ears of the nineteenth century, and to banish this music from Catholic churches would be to do an irreparable injury to high art. But all these pleas fail absolutely in producing any influence upon our judgment, the words of Dom Gueranger sounding so loudly in our ears as they do, and our own experience to the contrary. In point of fact, the sacredness of the place where this kind of music is sung is no corrective of the unworthy nature of the music itself. Doubtless the cantatrice is denied the clapping of hands and the encore which her splendid singing calls for, and the primo basso retires from the front of the organ-gallery without a bow to his fashionable auditory—nevertheless interiorly disgusted, we warrant, by the lack of some visible appreciation of one of his best efforts—and a well-behaved congregation will quietly resume their attitude of prayer at the close of some crashing finale; but are these sufficient evidences of the very opposite impression being produced upon the worshippers to that which the music from its character, aside from the similar manner of its rendering, is not only calculated but is expected to produce? "I hold it for certain," said good old Saint Alphonsus, "that vanity and the devil usually get more by it than God."
What those who defend the use of figured music in our solemn offices must show is, that it not only edifies the faithful, but that it edifies equally with, or more than, the authorized chant. That it is the source of no little disedification; that it distracts the soul from the great object upon which all its powers ought to be concentrated; that it is always more or less an imperfect performance, and, in most cases, a mere makeshift; and that where the organist and singers are in power the sacred ministers play but a subordinate part in a scene in which, as it has been well said, the music from the choir gallery is the magnet which attracts the gold and silver, there cannot be the shadow of a doubt.
But this is not all. Is figured music in conformity as to its style with the spirit of the other portions of the divine office? Will its most strenuous adherents claim for it the title of being a fair and true expression of the Church's prayer? Does it harmonize with those other parts of the office performed in the sanctuary? Here we can speak feelingly. How often have we not been tempted to smile at our own voice intoning the per omnia sæcula sæculorum, as the echoes of that galloping finale of an interminable "offertory piece" or Benedictus were yet resounding in the aisles of the church! What feelings of vexation have not arisen in our breast as the response came back to our ears in slovenly haste, as if our inharmonious cadence had too quickly disturbed the well-merited repose of our choir after, we must confess, their too successful effort to captivate the attention of the congregation, and put the priest in the very pillory of singularity and discord! Why must our mind at such times suffer the painful distraction of remembering the well-known sarcastic remark, that "the Rev. Mr. —— then put up a supplication which was one of the most eloquent prayers ever offered to a Boston audience!"
The second plea, that these classic harmonies, so rich, so melodious, so sublime, etc., etc., should not be denied to the greater glory of God, is of equally small weight, since there are many other things in nature and art extremely beautiful in themselves, truly classic in their conception and execution, which, it must be confessed, would hardly bear transporting to the house of prayer, and which it would take the heroic virtue of a saint to refer to the greater glory of God if exhibited in any place. We do not object to the offering of these harmonies to God, but the question is, Do these harmonies, by their religious tone and devout style, offer themselves to God? Does the Church judge them to be suitable for her divine offices? Let these questions be answered in the affirmative, and our own personal judgment and sentiments shall go to the wall.
The plea that the music as now commonly heard in our churches allures Protestants, and thus brings them within sight and hearing of Catholic truth, has been already well answered in our quotation from Mr. Nary. For ourselves, judging from the behavior of the mass of these visitors, we are forced to the conclusion that they frequent our churches where fine music is given because they can get it at a cheaper rate than they would have to pay for it elsewhere.