Part 2 (1/2)

is Father Faber's hy and weary” (No 66 in the London Oratory Hyinal air in both Oratory books is the same, and the composition of Cardinal Newed by W Pitts London: Novello]

[Music:

I andering and weary, When rew dreary, And the world had ceas'd to wooHis way, &c]

Its peculiar row upon familiar acquaintance, and a devoted lover of plain chant, rather to our surprise, once expressed his affection for it It has been tero” are unquestionable,[50] and it is beco who the composer is The study of the application of h, as the Cardinal remarked in April, 1886 Sometimes the music could not quite fit in with the words,[51] and one or other had to give way, and on our referring to this music to Father Faber's hymn ”Conversion,” he said he had an idea that the words had been somewhat altered to suit his tune The reverse would appear to be the case At least the refrain, ”O silly souls,” &c, is not identical in the Birham and London books

[Footnote 50: Father Lockhart's solitary original tune, harast, and set to Father Faber's Hymn to St Joseph, ”There are many saints above,” is another exahs any technical defect as to settled rhythm]

[Footnote 51: In 1834, when Keble wrote an Ode on the Duke of Wellington's installation as Chancellor at Oxford, Dr Crotch was employed to write the music, and Mr Nerote to his friend: ”I hope Dr Crotch will do your ode justice” And on difficulties arising with the coain to Keble: ”I like your ode uncoe one step for Dr Crotch His letter istoo I would go so far for Dr C as to offer hiate_, which certainly does better forode” Later on he inquires: ”How do you and Dr Crotch get on?” and Keble replies: ”Crotch has sed the _frigate_ whole” (Mozley, _Corr_ ii 29)]

[Music: _Birham_

O silly souls come near me, My sheep should never fear me, I am the Shepherd true, I am the Shepherd true

_London_

O silly souls come near me, My sheep should never fear me, I am the Shepherd true, I am the Shepherd true]

Mr W Pitts, the compiler of the latter, sends us word that ”the melody _only_ came into my hands, and it stands in the London book exactly as I received it I think it was sent by one of the Birham Fathers, or by Mr Edward Plater” This is satisfactory, and points to a smoother and far more effective version of the refrain by the composer hienerally good, but ht be considerably improved (more especially at the words ”I am the Shepherd true”), by soether we have ever felt that there is an indescribable brightness, a radiant cheerfulness, which ham selection of hymns and tunes, with Beethoven, Mozart, Mendelssohn, Pleyell, Crookall, Webbe, Moorat, and others laid under contribution In the Saint's ti at the Oratory ar tongue, and these gave scope for co style of music”[53]

Take up then the Father's book, hear the people at the May devotions sing such winning songs as the ”Pilgriina Apostolorum_), and the ”Month of Mary” (No 32, _Rosa Mystica_), or listen during St Philip's Novena, to ”St Philip in his School” (No

49), ”in his Mission” (No 50), ”in Hiulars and St Philip”), and ”in his Disciples” (No 54, ”Philip and the Poor”), and we conclude that, as with the Saint, so with his distinguished son, it has been his ”aim to make sacred music popular;”[54] and may we not further say that the Cardinal, without any parade whatever, but in the siham in his aili to Tarugi at Naples, about the Roman Oratory, 1587: ”Our feast passed off most joyously, and with adalleries, besides one in its accustomed place” (_Ibid_ ii 103)]

[Footnote 54: _Ibid_ 99]

The Birham Oratory Book, with the tunes, only privately printed for local use, came, nevertheless, as a surprise to Messrs Burns and Westlake, who reness of the harmonies A quick movement, too, from a Beethoven Rasoumousky quartet, is rather aard, albeit taken slow, for No 74, ”Death,” and Leporello's song for Nos 22 and 23, is possibly not over suitable, however intrinsically appropriate, looking to the associations itthe poor, who cannot afford to patronize opera, as a the rich ”Just look at the harmony,” says one of No 51; and of the fae want of unity, the first part has no second harmony” A noble lord, too, disapproved of No 51, the notes being, said he, all over the key-board, but such are the strains of some of the best music in the world, and the notice to this anonymous collection is almost an answer to particular criticis tunes theht together on any one principle of selection, or to fulfil any ideal of what such corown into use insensibly, without any one being directly responsible for them; the rest have been adapted as the most appropriate, under circumstances, to complete the set, and to answer the needs of our people”[55]

[Footnote 55: An exa, and which originally nuhty-two hymns, since increased from time to time up to one hundred and forty-nine (1888), shows forty-one hyinal or translated) by Father Caswall, Nos

5, 8-11, 13, 15-17, 19, 21-28, 33-36, 40, 42, 43, 47, 48, 62, 64, 79, 80, 116, 118, 121, 134, 143-145, 147, 148, 149; thirty by Father Faber, 1, 3, 4, 12, 14, 29, 30, 37, 44, 45, 52, 53, 55, 57, 61, 65, 73, 85, 115, 119, 120, 124, 125, 127-129, 133, 137, 138, 141; thirteen by Father Newman, 31, 32, 38, 41, 49, 50, 51, 54, 63, 67, 76, 78, 81; two by Father Stanfield, 123, 126; one by Father Bittleston, 39 (the familiar ”Daily, daily,” from St Anselm, _Sancti Anselmi Mariale_, p

15, _Omni die_, &c, the second part, No 40, by Father Caswall); one by Father Christie, SJ, 122 (”To Jesus' Heart all burning”); one by Father Vaughan, CSSR, 130 (”God of mercy and compassion”); one by Bishop Chadwick, 131 (”Jesus, ard, 20 (”Hail, Queen of Heaven”) Bishop Heber also contributes, but the re Nos 2, 6, 7, 18, 41, 46, 56, 58, 59, 60, 66, 68, 69, 70, 72, 74, 75, 77, 78, 82, 84, 86, 117, 129, 135, 136, 139, 140, 142, 146, have not yet been identified by the present writer (See _Lyra Catholica_, 1849, by Father Caswall, &c) How beautifully, by the by, has not the late Father Bittleston rendered St Anselina, Nos divina, Illustravit gratia_ She the Queen who decks her subjects, With the light of God's own grace]

Like St Philip, too, ”he took the word music in its widest sense, and made use of both vocal and instrumental music, and of their blended harmony”[56] While we believe that he would have been the first to ade portions of the old chant, its incoy, the familiar _accentus_ dear to every Catholic ear, for the Preface, the _Pater noster_, &c, the modes for Holy week, the tones for the Psalms of the Divine Office, &c, we question whether he could have made much of a mass of antiphons that seeone astray” ”In Gregorianmore positively than we are able to do, ”Newman could see no beauty whatever--none, at any rate, in the usual antiphons and 'tones' An exceptionin the Mass I recollect his telling me, after we had heard one of Cherubini's Masses adhah so beautiful, needed the interspersing of those quaint old chants to make it really devotional,” but ”I believe,” writes a friend, ”it is very difficult for one who has heard only Mozart and Beethoven, &c, in all his early years ever to get a liking for Gregorian tones It used to drive Canon Oakeley hen he heard his nephew, the present Sir H

Oakeley, play a fugue of Bach's even on the organ The Cardinal, however, liked the _rinus_ to the _In exitu Israel_ (that was only natural), and I remember once he seemed quite put out because once we followed the Rubrics in Easter week (when the _In exitu_ is used) by having all the Psalms to one tone For a moment it seeoing by authority against what he liked, and would change the tones so as to have the _peregrinus_” He soorian an ”inchoate science” Could ely out of touch with the times, claim for itself a monopoly of existence to the exclusion of the modern? So loyal a son of Holy Church as Dr Ward had let fall that a plain chant _Gloria_ reinal sin” ”And, if sometimes,” writes a friend of old Oratory days, ”ere so unfortunate as to have on soorian Mass, Father Darnell used to say ere 'burying our Lady,'

and though he would ht so too” Perhaps, then, Cardinal Newman's love for vocal and instrumental ecclesiastical music in combination (especially at Christ the undoubted needs of another day, and is best labelled for a motto with some verses of the 149th and 150th Psalms, which we recommend to the attention of a few purists in case theyin January, 1859, the Gothic to be ”the most beautiful of architectural styles,” he ”cannot approve of the intolerance of some of its ad, for the purposes of worshi+p and devotion, a description of building which, though not so beautiful in outline, is more in accordance with the ritual of the present day, which is more cheerful in its exterior, and which ade pictures or mosaics, and of mural decorations”[57]

[Footnote 56: Pope, _Capecelatro_, ii 82]

[Footnote 57: _Merry England_, No 30, p 380 Mon Reale, in Sicily, we think, was his ideal in the Italian style of architecture]

”My quarrel with Gothic and Gregorian when coupled together,” says Campbell, in _Loss and Gain_, ”is that they are two ideas not one