It will be observed that our judgment about the influences of Protestant tradition upon our church music has not been made unadvisedly.
In Germany, female singers were introduced into the churches for no better reason, that we can discover, than to exhibit the musical talent of its great masters. These compositions were not written to supply any want for such music felt in the churches, but at the instance and under the patronage of nobles and princes, who vied with each other in giving grand sacred musical feasts in their private chapels, as gourmands pride themselves on giving costly and recherché dinners to show off the science of their chef de cuisine. If we imagine that these musical masses were gotten up to excite greater devotion in the gay and worldly courtiers, we are much mistaken. It was, in fact, a nice little bit of cheap luxury, it being less expensive to keep a private chapel and entertain a private chaplain, than to support an opera-house with its company of artists, scene-shifters, and hangers-on.
Composers themselves have sought to obtain at least a general permission for the singing of their masses from the ecclesiastical authorities, but have invariably been met with a polite expression of regret that such application had been presented, as it was entirely out of the power, etc., etc. Rossini petitioned the present pope for permission to include females in church choirs, but of course without success. The report of his own funeral obsequies shows that more thought was given to enjoy a rare musical entertainment than to pray for his soul:
"The church bore the appearance of a concert-room or theatre. People came in with their hats on, talking and laughing. After each piece of music was sung, their bravos were barely restrained, and more than once applauding cries seemed about to break forth. The majority of the congregation, forgetting both the altar and the corpse of the deceased, turned their faces toward the tribune of the singers, talking in a loud voice, and using their opera-glasses; and this at the very moment of the elevation, when the soldiers who served as a guard of honor, at the command of their officer, were falling on their knees. This scandal was deplored not only by religious persons, but even by the true friends of art, because it served once more to prove that such musical solemnities, in this age and in this country, are incompatible with the respect due to the sanctity of churches."
If we might venture to offer a word in justification of the wisdom of the Church in thus wholly excluding women from the ritual offices of religion, we would say that she "knows what is in man;" she perfectly well understands all the effects of exterior influences upon the human mind and heart; that the female voice, when highly cultivated or sweet-toned, is alluring and sensual, (we do not mean in a bad sense,) and when naturally poor or passé, is equally repelling and disagreeable. The first cannot be said of the voices of men; nor the second, unless it be in attempts to execute music beyond their compass, or when they distort its sense or expression by vanity or affectation.
Canon Oakeley shall sum up for us what we have to say on this head:
"Together with the name of 'chapels,' which it may be hoped we are in the way to renounce once for all, let us divest ourselves of all that smacks of the chapel and dissenting system—the pews, the pew-openers, the female sacristans, and the female choristers. One of the principal lessons taught us by our great cardinal was the duty of asserting in all judicious ways the dignity of our true position; and this we can do only by ridding ourselves of sectarian habits, down even to the very fringes of our garment, and associating ourselves in spirit, and in that which forms so especial a test of the ecclesiastical spirit, the external worship of the Church, with the most approved practice of Catholic countries."
Having made up our minds to tear down our Protestant singing-gallery, and to make use only of male voices in the singing of Mass and Vespers, we shall not fear for the decision of the question, What kind of music is to be selected? The Gregorian chant, that "grave, sweet, majestic, intellectual music of the Church," will defy all competition. When half the labor and expense has been bestowed upon the true music of the sanctuary as is now lavished on our florid concert music, then will be said to-day what Pope Benedict XIV. said so long ago, "The titillation of figured music is held very cheaply by men of religious mind, in comparison with the sweetness of the church chant."
But the other question, and a very practical one, yet remains: How shall we procure and hold proper singers for such music as is proposed, and for such a place as the sacred inclosure about the altar? We answer, in the first place, we have already some men singers with voices of good compass and power, who at present sing up-stairs beside the organ.
"What!" exclaims the friend at our elbow; "bring our present choir down into the sanctuary? How many priests, do you think, would do that?"