"The Gregorian Chant, pure and undefiled."
Our friend honorably closed the discussion by reiterating his definition and regretting his lack of experience.
In a former article we endeavored to bring before our readers such proofs of the statement we made, that the use of modern music in the ritual service of the Church was both improper and illegal, as we thought a very slight examination of the subject would suggest. These proofs were, however, not requisite, since it is a patent fact that such music is an innovation on the universal traditionary use of the Gregorian chant; an innovation, to judge from the countries where it has crept in and supplanted the old ritual song, that is the result of a religious taste vitiated by the influences of a spirit which, if not precisely Protestant, is, to say the least, worldly, anti-Christian, and therefore anti-Catholic. If there be any, then, who prefer music of this character to the authorized chant, it is necessary for them to show good reasons for the liberty they take in using it, or why an immediate return should not be made to what is, at any rate, lawful and ordained, if it be nothing more. In England, where the ancient Catholic spirit is again reviving, and a marked return to the old paths is observable both in and out of the Church, the subject of church music has received an attention and awakened an amount of investigation second only to that devoted to the dogmas of faith. And we may here remark that this recent study of the church chant is in no sense conducted in the spirit of simple antiquarian research—as it were, to bring to light buried fragments of a beautiful or useful institute characteristic of a former age, for the admiration of the curious—but in the express intent of reinstating the ancient church song to its rightful place in the holy sanctuaries of sacrifice and prayer.
That the Church has no notion of giving up the Gregorian chant, but, on the contrary, that she earnestly desires its complete restoration in those countries where it has fallen into disuse, we hold to be entirely beyond question. Whatever concessions to the poverty of resources, or to peculiar local circumstances, for the occasional use of modern music, the hierarchy may think it prudent to make, is a subject for the consideration of those who believe themselves to be in such a position as to need these concessions. What is certain is, that the Church by the mouth of her pastors has directed the universal use of the Gregorian chant, and as universally condemned the use of our modern music.
Knowing, however, that the healing of every sore takes time as well as medicine, we admit that in many places this much-needed reformation cannot be instantaneously made. With us in the United States, the clergy, as a body, have but a slight acquaintance, either theoretically or practically, with the church chant; and knowing, as we do from experience, what false and barbaric executions of it they have been condemned to suffer in the course of their ecclesiastical education, and from which they have been naturally led to form their judgments concerning it, we do not wonder at the wide-spread prejudice that exists against its use, and the opposition to its introduction that is met with, even at their hands. That our laity have never given expression to their own sentiments in its regard is simply due to their complete ignorance and total inexperience of the whole subject. All fears, therefore, of offending the people or of alienating them from the solemn offices of the Church, on account of the banishment of florid music and the introduction of plain chant, are, as yet, groundless.
Esteeming it as a matter of great moment, and urged by oft-repeated solicitations on the part of their hierarchy, the clergy in England and Ireland have, for several years past, been devoting their energies to carry out the wishes of their superiors, and devise some means to ameliorate the condition of church music, acknowledged to have, with them as with us, gradually degenerated since the Reformation of the sixteenth century.
As far back as 1849, an effort was made, with this end in view, to supply proper singers in the churches, at the head of which was the Cardinal, then Bishop Wiseman. The vicars-apostolic in synod had decreed, "Fœmineæ voces ne audiantur in choro," hoping to gradually induce a return to the established discipline of the Church. The present Archbishop of Westminster, referring to this in a letter, says,
"Unfortunately, this decree has not been carried out. I can only suppose that the causes which brought in this deviation have prevailed to obtain its toleration until such time as we shall be able to do better. A sudden order to remove women singers, while as yet we have no boys trained to take their places, would be inconvenient and inconsiderate. I have not thought it right to issue any such order. But all that I can effect by the strongest expression of desire and persuasion I shall endeavor to effect."
In a circular letter to his clergy, dated May 8th, 1869, the archbishop prohibits the employment of women singers in all choirs to be newly formed.