Cardinal Newman as a Musician

39

Verses on Various Occasions, p. 86, Edit. 1888.

40

Essays, i. Fifth Edit. 1881; Mozley, Corr. i. 194.

41

Idea, dis. iv. 80.

42

Tablet, 25 Aug. 1877.

43

Mozley, Corr. i. 97.

44

Ibid.

45

"There is a chant of his composing," writes a friend, "which was reckoned at the time a stroke of genius – quite a new idea. I have it in a Collection made by his father, who was organist of Chichester Cathedral," and Bennett's elder brother "was my master at Chichester in 1842. He used to speak of his brother's genius, and what a loss he was to music."

46

Essays, ii. pp. 443, 444.

47

Ibid. 442, 443.

48

Verses on Various Occasions, p. 279, Edit. 1888. The well-known tune to this was adapted by him, for the Birmingham Oratory Congregation, from Reinagle's hymn tunes, brought out by subscription at Oxford, and to which he subscribed.

49

Oratory Hymn Tunes. Arranged by W. Pitts. London: Novello.

50

Father Lockhart's solitary original tune, harmonized by Mr. A.H. Prendergast, and set to Father Faber's Hymn to St. Joseph, "There are many saints above," is another example of tender sentiment by an amateur that outweighs any technical defect as to settled rhythm.

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. Newman wrote to his friend: "I hope Dr. Crotch will do your ode justice." And on difficulties arising with the composer, he wrote again to Keble: "I like your ode uncommonly. I would not budge one step for Dr. Crotch. His letter is most amusing, and your counter-suggestions are amusing too… I would go so far for Dr. C. as to offer him your frigate, which certainly does better for music than the long ode." Later on he inquires: "How do you and Dr. Crotch get on?" and Keble replies: "Crotch has swallowed the frigate whole." (Mozley, Corr. ii. 29.)

52

Mr. Pitts' chords are generally good, but might be considerably improved (more especially at the words "I am the Shepherd true"), by some contrary motion in the harmony.

53

Pope, Capecelatro, ii. 88. Father Gigli to Tarugi at Naples, about the Roman Oratory, 1587: "Our feast passed off most joyously, and with admirable music… We had three choirs – two in the galleries, besides one in its accustomed place." (Ibid. ii. 103.)

54

Ibid. 99.

55

An examination of the book of words published by Pickering, and which originally numbered eighty-two hymns, since increased from time to time up to one hundred and forty-nine (1888), shows forty-one hymns (original 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, S.J., 122 ("To Jesus' Heart all burning"); one by Father Vaughan, C.SS.R., 130 ("God of mercy and compassion"); one by Bishop Chadwick, 131 ("Jesus, my God, behold at length the time"); one by Dr. Lingard, 20 ("Hail, Queen of Heaven"). Bishop Heber also contributes, but the remaining 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. Anselm's hymn. For example:

Hæc Regina,

Nos divinâ,

Illustravit gratiâ

She the Queen who decks her subjects,

With the light of God's own grace

56

Pope, Capecelatro, ii. 82.

57

Merry England, No. 30, p. 380. Mon Reale, in Sicily, we think, was his ideal in the Italian style of architecture.

58

"I think with you that what is called Gregorian is but a style of music: viz., before the fixing of 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 comes from the Pagan and the Jewish. The names 'Lydian,' 'Phrygian,' &c., look like Pagan. One should think, however, some must be Jewish. I can't answer your question about the genuineness of the professed specimen of Pagan, as in Rousseau's Dictionary. Will Rousseau answer your question? All true art comes from revelation, to speak generally, I do think, but not necessarily through the Jewish Dispensation," &c. (Dec. 1850, J.H.N.) Mozley, Corr. ii. 479.

59

Loss and Gain, pp. 282-286.

60

Loss and Gain, p. 277.

61