Music in the Church - Music Quarterly 1916
  • Liam
    Posts: 5,093
    Interesting. I have a fondness for his balanced judgment in instrumental music*, but I much less acquainted with his music for voice. The anecdote on page 7 of that article is priceless.

    * A beautiful example is his Opus 67 Romance for horn and piano (this recording from the 1975 is particularly wonderful from the late pre-CD era....):

    https://www.youtube.com/watch?v=6n4EiuVfrHI




    Thanked by 1StimsonInRehab
  • NihilNominisNihilNominis
    Posts: 1,023
    What an anti-Caecilian tour de force! Interesting that he already regarded the Motu Proprio a dead letter by 1916.

    His points on Lefebure-Wely are tantalizing. I at least always like to imagine that I can get a sense of Bach, or Couperin, or Buxtehude the Improviser through their published works; apparently, though, that is not always the case.
  • eft94530eft94530
    Posts: 1,577
    It may excite surprise to learn that [...] conclusion of my Symphony in C minor, were created on the manuals of the organ.


    https://www.youtube.com/watch?v=Eq_jzx-gLBk
    Thanked by 1CHGiffen
  • eft94530eft94530
    Posts: 1,577
    what necessity can there be for taking the Kyrie from one work and the Gloria from another, the Sanctus from a third and the Agnus from a fourth, instead of executing one Mass in its entirety and thus presenting an ensemble of uniform style?


    :-)

    Ah ! if His Holiness had confined himself to demanding some indispensable reforms, such as the exclusion of all secular music "adapted" for the Church, he would have been obeyed, and the benefit would have been great. But he in no wise cared to take into account inveterate secular habits, or the attraction with which music endows the ceremonies of the cult. We should have had to limit ourselves to Gregorian chant, banish the solos, interdict every instrument except the organ, and reduce the latter to accompaniments and a few short ritournelles. That was asking too much of human frailty, and the mighty voice was lost in space.


    :-)
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  • eft94530eft94530
    Posts: 1,577
    Gounod and Cesar Franck have left us superb models in this genre; certain purists affect to contemn[sic] the former and exalt the latter; I confess that I can perceive no essential difference between their sacred works; but, if I had a preference, it would be for Gounod, [...] his oratorio The Redemption [...]


    A Selection of Movements from
    Gounod's Sacred Trilogy "The Redemption" (1882)
    Arranged for the Organ (by 1888)

    * The Creation: The Darkness [Adagio]
    * The March To Calvary [Moderato Maestoso]
    * Beside The Cross Remaining [Moderato - Adagio]
    * The Darkness [Andante quasi Adagio]
    * From Thy Love As A Father [Andante]
    * Unfold, Ye Portals Everlasting [Molto moderato]
    * Lovely Appear Over The Mountains [Andante]
    * Hymn of the Apostles [Moderato]

    Charles Gounod (1818-1893)
    arranged for organ solo by
    George Clement Martin (1844-1916)

    http://imslp.org/wiki/La_rédemption_(Gounod,_Charles)

    A public-domain piano-vocal score of the oratorio is available at
    http://catalog.hathitrust.org/Record/008949837
  • Liam
    Posts: 5,093
    FWIW, contemn is a (nowadays little used) verb. Means to hold in contempt, rather than condemn.
  • Liam
    Posts: 5,093
    Btw, see the original (and this is an image of THE original publication) third verse of this somewhat obscure poem/lyric -

    http://www.theatlantic.com/past/docs/unbound/flashbks/battlehymn-original.htm

    Further digression that may interest some: the reason I came across this today was reading Chapter 25 of The Grapes of Wrath, which is as powerful a bit of American writing as the poem/lyric above that inspired it:

    http://genius.com/John-steinbeck-grapes-of-wrath-chapter-25-annotated

    Thanked by 2Richard Mix CHGiffen