II. (Continued.)
Having settled that plain chant should have a part, and indeed a large part, in our choral service, but that figured music should not be excluded, it remains for us to say what figured music is to be used in alternation with plain chant, or substituted when plain chant is completely set aside.
Some seem to imagine that no figured music is suitable for the church but that which is termed alla Palestrina. They urge the great fitness of this species of music for church purposes; for, like the plain chant, it is ancient, can boast a long and exclusive connection with the Catholic ceremonial, admits of no personal display, is dissimilar from the music of the world, never alters the words or does violence to them, is not only distinctly ecclesiastical but papal, and quite as solemn and grave as plain chant, while it is of wider range and of far more pleasing effect. Though written in strict measure, it follows the tonality of plain chant. Its origin is holy, since S. Charles and S. Philip were intimately associated with Palestrina. Then, again, it has the best possible authorization—that of having been used for the last three hundred years by the popes, to the edification of the whole world, non-Catholic as well as Catholic.
We admit all these claims. But against the use of this species of music amongst us there is a fatal objection.
It was written to be sung without instrumental accompaniment, which, when used in conjunction with it, always mars its effect; and hence, though nothing more suitable can be imagined for Lent and Advent, when, according to the rubrics (too often slighted), the sound of the organ should not be heard, we cannot be expected to sing it at other times; for we absolutely need the organ to make amends for our scanty numbers, our lack of proficiency in execution, to support the voices, and to give variety to the service.
The organ is regarded by us as essentially a church instrument by its nature and the associations we connect with it; indeed it never fails to arouse in us deeper feelings of reverence and devotion, and we cannot do without it.
An attempt was made in several of the German cathedrals some years ago to revive music of the Palestrina style, to the exclusion of the more modern; but circumstances, we think, have already led to some modifications of the strict rules first proposed.
III.
Practically, we can hardly hope ever to exclude from our churches modern figured music—as Benedict XIV. says, that would be an extreme measure; but we can exclude, and are bound, he says, to exclude, such compositions of it as are unsuitable for church purposes.
But how shall we determine what is suitable and what is not?