REFORM OF CHURCH MUSIC IN GERMANY.

New Zealand Tablet, Volume IV, Issue 191, 24 November 1876, Page 7

REFORM OF CHURCH MUSIC IN GERMANY.

++ The ecclesiastical authorities in Germany, despite the innumerable obstacles in their way at the present time, are still actively engaged in enforcing the reform of Church music. In the Arch-diocese of Munich and Freising particularly the work has been pushed on vigorously, and within the last year or so two Pastorals have been, issued to the clergy on the subject, in consequence of which a considerable increase has taken place in the number of Cecilian choirs or societies. The Pastoral issued on the 19bh June last by the Vicar-General of Bichstildt is a good specimen of the instructions issued by the German ecclesiastical authorities, and we will therefore give an extract from it here :—": — " The periods of regeneration in the Church have at all times had near them a history of the reform of Church music. The Council of Trent, which is the nearest to us, attached great importance to the improvement of Church music, as well as to the reform of morals. And Providence has always at the right time sent men who were in a position to carry out such a reform. Popes like Gregory, Princes like Charlemagne, Bishops like Ambrose, tone-poets like Palest riaa. It was never a mere question of music that occupied the Church, but it was always a question of Divine worship that roused her into activity. Founded by the Divine Eedeemer Himself in order to unite men together throughout all ayes in the worship and service of God, and thus to guide"them to a blessed futurity, the Church, in admitting the arts into her sanctuary, can only give them the position held by those blessed spirits who surround the throne of God, adoring and serving Him, proclaiming to men His sanctity or Ilis will, and deriving from this their own beauty and blessedness. The Church adores and serves God by celebrating her Liturgy. The object then of the arts must be identical with that of the Church, and they take their rank and dignity according to their relation to the

central point of that Liturgy, the Holy Sacrifice of the Mass. But no art is in such close connection with the liturgy as song. One may say that song was our Redeemer's "cradle-gift" to His Church. Whilst the first Divine Service was being celebrated in the humble stable of Bethlehem, Heaven sent forth choirs of angels to glorify that holy night with their songs (Luke ii. 13). With song the Sacrifice of the new and eternal Covenant was inaugurated in the canaculum at Jerusalem (Matt. xxvi. 30); and amidst songs of praise the first Christian congregation was founded (Acts ii. 47). Song has the prerogative of being the eldest of the arts as the servant of God and of the Church.

But it also has the privilege of rendering the most direct service. Wherever there are altars upon which the Holy Sacrifice is solemnly offered there sacred song accompanies it. That which the Church has to say solemnly, that which she has to pray, the expression of her sorrow or joy, the Church intrusts to song, and wherever there are souls following our Blessed Lord, whether it be in innocence or in penance, they are following Him with their hymns and songs.

The Church is not in absolute need of the art. At the Council of Trent it was partly decided to banish music from the Church if it should be found impossible to convert it from the errors into which it had fallen, but Providence provided the means of bringing back the " Prodigal Son" to his father's house, and of clothing him with new raiments. Unfortunately a time came, and we still remember it, when it Avas forgotten that Church music is solely the servant of the altar, not mistress of the Sanctuary ; that it is there for God's honor not for self-glorification; that it should reflect the bright rays beaming 1 from the Holy Sacrifice, and not obscure them ; that it should have within it the spirit of God, not the spirit of the world ; that it should listen to angels' hymns, not to those of the world. Happily within the last ten years new life has been infused in the Church. The proofs of this are everywhere, and on all sides a strong inclination to bring the principles of the Church into operation has manifest ;d itself. In the domain of ecclesiastical music also a turning-point came, and Germany saw the Cecilian Society spring up, whose object it is to banish from the Sanctuary that which is unworthy of it, and to establish new schools of music for the larger churches, to aid in restoring the liturgical music even in the smallest churches. That this society is an ecclesiastical one is guaranteed by the recognition it has received from the Holy See; that it will be successful is guaranteed by the blessing which has been bestowed upon it by the Holy Father. * *

But success depends upon the co-operation of the clergy, particularly the parochial clergy, Avho, as regards Church music, also are the guardians of the Sanctuary. Ifc is a good beginning when each priest tali es care that in his church the ecclesiastical laws are strictly observed; it is a step further when he procures good Church music for the choir, when he stirs up the zeal of the choirmaster, when he notices his libors, encourages his efforts, expresses approval of what he has done, and encourages him to make further progress. The path of perfection is trodden when our clergy take an interest in the district Cecilian Societies (as many already do) ; when they cause them to be established, and assist them in giving musical productions, thereby helping to diffuse sound knowledge and refined taste.—' Tablet/