Catholic Church Music

by Richard R. Terry

We are naturally interested in the work and career of one who took some part in Cambridge music, both sacred and secular, in past years. This book is primarily intended for those who are responsible for the music in the Roman Catholic Church in this country. It includes a. complete guide to the ritual offices in which music is employed, and it discusses the meaning of Pius X's Motu Proprio, the text of which is given in a translation. But the book will have interest for a wider circle. The principles which Mr. Terry lays down for determining the suitability of any particular music for use in church are admirable. And his other practical suggestions, e.g., for eliminating bad tunes, are prompted by experience and good sense. The chapters and appendix in which he reviews the history of English Church music are interesting. but Mr. Terry goes near spoiling his case by overstating it. He roundly states that 'the Anglican Church since the Reformation has produced no great music or musicians.' But Mr. Terry must not be allowed on such slender grounds as he gives to rule out Gibbons and Purcell. And Croft, in his setting of the Burial Office, reaches something higher than 'efficiency.' Mr. Terry is doing good service in calling attention to the old English masters, he edited Byrde's great five-part mass for a Birmingham Festival, and he has revived much good music in Westminster Cathedral. It is a pity that he should make it a matter of partisanship. Our national past belongs to all of us, and Mr. Terry should encourage us to recover what is good in that past without setting us by the ears with theological controversy.
-The Cambridge Review, Volume 29

218 pages, Paperback

Published December 26, 2016

Reviews

[Peter Carter · Rating 4 out of 5]

This is an fascinating historical window into the perspectives of the leading Catholic church musician in England at the beginning of the 20th century. It covers many things: a brief overview of sacred music legislation in force at the time, liturgical directives for church musicians for many different pontifical liturgies (perhaps mainly serving as a guide for his successors at Westminster Cathedral), a brief history and overview of sacred music in England, and a commentary on the then-current state of church music and practical suggestions for church musicians. All that being said, much or even most of what he says is specific for his time and place which makes this book very dated in terms of its practical use. However, it is fascinating in terms of research to know the thoughts and perspectives of the founding director of the Westminster Cathedral Choir. Below are some of the passages that I highlighted:

"A school postulates the existence of masters and masterworks, and for both we look in vain in the dull, uninspired music of what is commonly called the "Cecilian School" (p.65).

"The Coeremoniale Episcoporum directs the organ to be played softly during the consecration and elevation of the Host and Chalice" (p.71-72).

"It is our bounden duty to offer Almighty God, for the services of His sanctuary, only of our best – whether it be music, painting, sculpture, or architecture – and that it is nothing short of sacrilege – when the best is within our reach – to offer Him of our second best, to say nothing of the downright worst, as is alas! sometimes the case" (p. 80).

"The creation of an educated public taste can only be achieved by individual efforts on the part of individual choirmasters" (p. 84).

"A great deal of popular prejudice against Plain Chant is the result of its performance by choirs and individuals ignorant of its principles, devoid of its spirit, and lacking in the capacity to render it musically" (p. 108).

"If our Hymnology is to be improved it must be by educating the taste of the younger generation, and not by doing violence to the prejudices of the elder, however mistaken we may think them to be" (p. 123).