Part 2 (2/2)
Have figured orian for Basilicas” Bateorian chants and hymns have always accompanied Gothic aisles, Gothic copes, Gothic mitres, and Gothic chalices” Careat in architecture, small inGregorian because they had not Palestrina” Bateman: ”A paradox, a paradox” Campbell: ”Surely there is a close connection between the rise and nature of the Basilica and of Gregorian unison Both existed before Christianity, both are of Pagan origin; both were afterwards consecrated to the service of the Church” Batean” Cauin[58] Next, both the old music and the old architecture were inartificial and li their respective arts You can't have a large Grecian teorian _Gloria_” Bate one, why there's poor Willis used to coorian compositions were abroad” Cath, buton the ether, and then have one twice as long as either But I speak of a musical piece, which must, of course, be the natural develop on another In likeor twice as wide as the Parthenon; but you would lose the beauty of proportion by doing so This, then, is what I meant to say of the primitive architecture and the primitive music, that they soon coa musical instrument beyond its powers” Caorian music, instruments did not exist in pri: ” Modern music did not come into existence till after the powers of the violin becao, hardly ventures on the shi+ft The piano, again, I have heard, has aliven birth to Beethoven” Campbell: ”Modern music, then, could not be in ancient times for want of modern instruments, and, in likewas brought to perfection
Great mechanical inventions have taken place both in architecture and in orians; and each science has gained by it” Reding: ” When people who are not_simple_ I have always said, 'is Gothic architecture _simple_?' A Cathedral expresses one idea, but is indefinitely varied and elaborated in its parts; so is a symphony or quartet of Beethoven” Caan architecture, or you orians, you ured music, or reprobate tracery s” Bateman: ”And which are you for, Gothic with Handel, or Roorian?” Caly prefer Gothic architecture to classical I think it is the one true child and development of Christianity; but I won't for that reason discard the Pagan style which has been sanctified by eighteen centuries, by the exclusive love of many Christian countries, and by the sanction of a host of saints I am for toleration Give Gothic an ascendancy; be respectful towards classical” Reding: ”Much as I like th to which your doctrine would leadMozart; but surely hisin defence of particular coht, yet Mozart or Beethoven inadmissible In like manner you don't suppose, because I tolerate Roman architecture, that therefore I like naked cupids to stand for cherubs, and sprawling wo yourself just noe ious associations of our people” Bateorian set to harlorious old chants, and just a little modern richness” Campbell: ”And I think it just the worst of all, it is a ruous together It's a mixture of the first and second courses at table It's like the architecture of the _facade_ at Milan, half-Gothic, half-Grecian” Reding: ”It's what is always used, I believe” Cae, it would be absurd to do so I only spoke of as right and wrong on abstract principles; and to tell the truth, I can't help liking the h I can't defend it”[59]
[Footnote 58: ”I think with you that what is called Gregorian is but a _style_ ofof the diatonic scale, and the various keys as rising out of it The Pagan and Jewish tunes are _necessarily_ in this style And in this sense certainly the Gregorian coan _and_ the Jewish The naan One should think, however, soenuineness of the professed specian, as in Rousseau's Dictionary Will Rousseau answer your question? All true art coenerally, I do think, but not necessarily through the Jewish Dispensation,” &c (Dec 1850, JHN) Mozley, _Corr_ ii 479]
[Footnote 59: _Loss and Gain_, pp 282-286]
The irrepressible Bateorian on the brain: and in another place goes ”on boldly to declare that, if he had his will there should be no architecture in the English churches but Gothic, and no ave scope for a very pretty quarrel, Reding said that all these adjuncts of worshi+p, whether music or architecture, were national; they were theshowed itself in particular times and places He did not ion in a country uided, but it could not be forced; that it was as preposterous to make people worshi+p in one's oay, as to be merry in one's oay' Bateman: 'But surelyyou don't mean to say that there is no natural connection between internal feeling and outward expression, so that one for: 'Far froorians, put up crucifixes in the highways Each is the representative of a particular locality or time' Campbell: 'You can't be more Catholic than Rome, I suppose, yet there's no Gothic there' Bateman: ' Rome has corrupted the pure Apostolic doctrine, can onder that it should have a corrupt architecture?' Reding: 'Why, then, go to Roorians?'”[60]
[Footnote 60: _Loss and Gain_, p 277]
The foregoing would probably open out, in the eyes, say, of the accomplished author of the _Vesper Psalter_,[61] a wide field for further discussion, but so athered, viz, that the Cardinal's musical vieere sensible ones, even if open, theoretically, to some differences of opinion _Omnia probate_, he seems to say, _quod bonuances His was a cultured, at any rate a refined taste, _sui similis_, and when it was said in April, 1886, that Niedermeyer's B minor Mass was ”elaborate,” he observed: ”Well, I like ain that” All ell, we suppose, provided the best gifts of Catholic hty God In the words herein of St Gregory the Great: _Mihi placet ut, sive in Romana, sive in Galliarum, sive in qualibet ecclesia, aliquid invenisti quod plus oas_[62] All ell, too, if singers and players were animated with the Catholic spirit that breathed in a Haydn and a Mozart, to say nothing of later giants[63] Under such conditions, and with due observance of the unaccompanied chant in Advent and Lent, the land have probably done a good work, and if so, one worthy of St Philip's blessing
[Footnote 61: By the late Sir John Lambert, KCB, and published by Burns in 1849 Its Preface is orthy of attention, and we note with pleasure his re for the restoration of the Ritual Song as the Church system and the rand and ecclesiastical, the writer would not wish to be understood to object to the superadding of the most elaborate music where it can be properly executed, if it does not supersede the Church Song, and is of a character to harmonize with it Doubtless,” he adds, ”as the Church employs all the resources of art, as far as in accordance with her own spirit, the most perfect celebration of the Divine Office would be where both could be combined All would then be i to his peculiar sense, and God would be worshi+pped with all the nificence which art can beEpist xxxi lib xii _De expos divers
rerum_]
[Footnote 63: Thus M Tonnelle, pupil of Father Gratry, of the Oratory: ”Haydn et Mozart, c'est la foi Catholique, c'est la soumission nave et spontanee, c'est la devotion tendre et vive,”
which can, of course, be truly said without i that they are always perfection]
It was in April, 1886, that two of the Fathers, along with the writer, played over to Cardinal Newht,” which (he said) he had never heard before, and he seemed rather surprised at its very quiet, hys, nor any organ,[64] and we gave him the version of the ”Lead” by Pinsuti, and West,[65] as also Hurrell Froude's ”Tyre”[66] and his own ”Watchato_ In 1889 he had been very ill, and when recovering, said to a Father: ”Father Faber wrote the hyreatest affection for it--quite a passionate affection for it--in connection with Father Faber, and I always used to think that when I ca to me; and I want you to play it for me” Would a har; perhaps one could be spared , however, so really ” of the wind instruments of brass and wood), as ahave set ”Lead, kindly Light” to music: Canon J Ballantine-dykes, Rev H Earle Bulwer, Dr GA Macfarren, Dr SS Wesley, Dr AR Gaul, Dr CJB Meacham, Sir A Sullivan, J Barnby, F Tozer, C Pinsuti, W Hamilton, W Hume, MA Wood (Mrs
Harvey), Katharine Rowley, CT Gatty, TW Barth, A Allen, FG
Pincott, HC Layton, J Tilleard, J Otter, WH Walter, JA
Gardiner, W Nicholson, JWR, and three anonymous composers We may add that Mr Rowton has s” from the _Lyra Apostolica_; Dr Macfarren a duet, ”O God, Who canst not change” (breviary translation); ”RS,” ”All is divine which the Highest has ently, dearly ransomed soul;” the Rev CE Butler, ”Praise to the Holiest;” Maria Tiddeman, the sa for the Morning,” ”The Two Worlds,” ”The Watchman,” and ”Heathen Greece;” and an anonyrim Queen,” ”There sat a Lady,” &c]
[Footnote 66: Fro little poened [Greek: b], the music by a pupil of the Cardinal]
[Footnote 67: _Verses on Various Occasions_, pp 80, 319; the latter written in 1862, theto the Father ”better than ham book as a hymn (No 67), entitled ”Sacrifice”]
[Footnote 68: Father Faber's _Poems_, No 135, pp 379-381, new edit
1861 This is not in the London Oratory Hy ”Eternity” six of the quatrains (Nos 1, 8, 9, 11, 15, 16) appear in the Birham book as No 73, and are set to a tune in the minor from Beethoven's sixth trio (for flute, viola, and violoncello), taken _andante_]
So, when evening had set in, a hare between his two roo each verse, while two others played and sang the ”Eternal Years”
[Music: BEETHOVEN
How shalt thou bear the cross that now so dread a weight appears, Keep quietly to God, and think upon th'eternal years]
”Soht,' and it is the voice of one in darkness asking for help from our Lord But this (the 'Eternal Years') is quite different; this is one with full light, rejoicing in suffering with our Lord, so that mine compares unfavourably with it This is what those who like 'Lead, kindly Light'
have got to co it over again And he said at the end, ”I thank you with all o to Heaven, you enius that God has endowed them with God bless you”