We reply to him, that, if the present choir-singers are fit and proper persons to be associated with the sacred ministers in the celebration of the divine mysteries, they are just as worthy at one end of the church as at the other; and if they are unworthy for any reason, they ought not to be allowed to take that part, or exercise that office of dignity in any nook or corner of our sacred temples. This capital point, the personal worthiness as well as the vocal capabilities of our choir-singers, has, it must be confessed, not been so rigidly insisted on in general as it might have been. Nothing appears to our minds more shockingly incongruous than a mixed chorus of Catholics, Protestants, and Jews singing the Credo. We remember hearing a fine Tantum Ergo sung as a solo at benediction by a Jewess. Think of it, a Jewess singing,
"Et antiquum documentum
Novo cedat ritui"!
and, in the presence of what she believed to be only a piece of bread, adding,
"Præstet fides supplementum
Sensuum defectui"!
We like the language of the Bishop of Langres. In a late pastoral on this subject, he says,
"The function of which we speak (singer) is one that deserves respect for its sanctity. For many centuries it was reserved to clerics; and when, afterward, laymen were admitted to assist, it was required that they should, from their good conduct, be worthy to represent the congregation of God's people, and take the lead in this part of their worship; and, above all, it was required that they should understand the dignity of the trust committed to them, and should neglect no preparation necessary to acquit themselves respectably. These laymen hold in the Lord's house the first place after its consecrated ministers; and they should not be allowed to continue in it unless they showed themselves the zealous auxiliaries of the priest who takes the lead in the name of the Church."
If we adhered to the character of the music desired by the Church, we should never be obliged to look elsewhere than to Catholics—to those who will sing from the heart as well as with the lips—for worthy auxiliaries of the priest in this devout and sacred office.
This leads us to consider the selection and the training of competent and worthy singers. We are aware that the destruction of the Protestant singing-gallery, the restoration of the choir, and adoption of the Gregorian music is not so simple a matter of choice with the pastors of churches that it can be effected at once by an order issued to the organist, and the provision of cassocks and surplices for as many men as can be paid to wear them and sing the music which befits such clerically-habited chanters. Such singers as we ought to have for our holy offices are not to be had to-morrow, even for money. Nor, even supposing such worthy persons, possessing proper vocal acquirements, were to be had by paying for them, would they be able to sing our sacred music in a style that would be even tolerable. Gregorian chant is not easy of execution, as some imagine. It needs not only good vocal culture to render its musical phrases with precision, but also no small amount of intellectual and moral training to give its true expression.
We say, good vocal culture. By which we must not be understood to mean that finished vocalization which distinguishes the professional opera-singer, or those few amateurs whose voices of natural sweetness and power have received first-class cultivation. All Gregorian music is included within an octave and a half, with rare exceptions. Great compass is therefore not required. The first requisite is the ability to modulate the different phrases with distinctness and facility. There are few men or boys who could not be taught in a short time to acquire this primary qualification of the choir-singer. On this head there is little or no difficulty. But as every one who can read English is not able to give a proper reading of Shakespeare, so not every one who can sing the gamut or its intervals is able to sing the phrases of Gregorian chant. The reader of Shakespeare needs practice in tone, in inflection, in the art of speaking with sublimity, with pathos, with joy, etc. Then he must study the works of the great poet, must master his style, and with much painstaking and oft-repeated rehearsals learn to imitate the various characters, their mode of behavior, and peculiarity of utterance. The holy melodies of the Church possess an admirable variety of religious expression, and share with all her rites and ceremonies in that sacred dramatic form which clothes them with such remarkable spiritual power and beauty. It is plain, therefore, that the singer must not only understand what he is singing, but must make a study of the different phrases, in order to discover their true expression.
But besides all this intellectual attention to and appreciation of the chant, the slightest reflection will show one that a certain degree of moral training is equally requisite. The capital point always to be kept in mind is that the music of the Church is her divine prayer. The devout soul, though endowed with a voice of only medium capacity, will render these prayerful melodies with far greater effect than a first-class artist who sings only from the lips, while his heart remains unmoved by the words and the song. We are all conscious of the different effect produced upon us by the chanting of the Preface and the Pater by different priests. As a few simple words preached to us by a priest of an interior and devout life will go deeper into our souls, and bring forth greater spiritual fruit, than the most brilliant oratory from one of less religious mind, so a devout singer will give to his song a nameless charm, and edify those who listen to him far more than one who is his superior in musical attainments, but inferior to him in piety. It is Father Lallemant, we think, who said, "An interior man will make more impression on hearts by a single word animated by the Spirit of God, than another by a whole discourse which has cost him much labor, and in which he has exhausted all his powers of reasoning."