Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-08-16

this marked change which has come upon
the spirit of the congregations in so far as
the church music is concerned. and they
have worked harder to bring about good
music than they did when the music in the
church was seemingly n matter about which
very few persons in the congregations con-
cerned themselves
Work OF the Organists
Every organist who is of the right kind
musically will enjoy doing this work, for
It will be in thorough accord with his own
feelings with regard to his art. The day
has passed most emphatically when singer
IN the church will be permitted, as ! heard
myself not so many years ago while visit
ing another church, to get up and sing
Ncvin's Rosary to the words of the hymn
Just as | Am And this is only a single
one of many instances just as fragrant. The
congregations are far past this point now,
and l am glad to say that this feeling on
their part has met with enthusiastic CO.
operation from the Organists ms class and
from many of the singers themselves as
we'll
In many OF the churches there has been
n reaction back toward the original style
Of church music. | mean that of Palestrina
and the other composers of the early con-
trapuntal school. All religious music Is
really based upon this music. and, there
fore, 1t has been in n measure return to
first principles. While this music has not
always the emotional feeling of many Of the
later composers, it has a dignity and n ma
Jesty which is always fitting in church
music, and 1t is always wonderfully fine and
effective whenever tho organst has choir
which can handle this difficult music.
MY own experience with choirS has been
that singers in the churches are usually am
bilious enough to enjoy singing this music.
But, after all, the music 10 he selected for
any church depends to a very great extent
upon the type Of choir which that church
has. just as there are several types Of
choirs. 80 there are also several types Of
music, each of which is especially adapted
for the use of a particular kind Of choir
That church in which the organist most
skiIlfully combines the music which he selects
with the type Of choir which he has always
has the most effective music.
Solo Voices and Choruses
''ln churches where there ar" boys voices
or whore tn" voices Of the solo quartet are
not exploited but whore choral effects are
the things most sought after. the Palcstrina
school Of composition has come back most
strongly. These works are almost always
for chorus, and. therefore, cannot be ct
fectivcIy rendered by n quartet or even by n
small Or poorly trained chorus The chorus
which would essay IalcStrina must he fairly
large and exceedingly we'll trained in order
10 make the works effective.
Many churches are obliged, for various
reasons, 10 have quartet choir Very good
effects may be produced with the four voices
If they are good ones, and the singers are
well trained. as Is usually the case with the
larger churches which maintain this form
Of church music. But under no rirrum-
stances can it be considered rs ideal for
works which were originally written for n
chorus. Real churchy effects can best be
produced with II chorus or with choir Of
boys voices in places where the Organist