Evening star. [volume] (Washington, D.C.) 1854-1972, 1956-06-24
NEWS OF MUSIC.
By DAY THORPE

Two weeks ago in a review
of Mendelssohn's "St. Paul" I
made some bitter reflections
on the absurdity OF a tradition
which continues in modern
churches, the architectural
feature Of the divided choir
stall.
Plainchant intoned by sing
ers on either side of the
chancel,. facing not the con-
gregation but themselves, was
satisfactory, but by the 18th
century polyphonic church
music had become so intricate
and elaborate that the divided
choir, singing in a great stone
edifice of tricky and general
" unsatisfactory acoustic
properties, was materializing
one of the most beautiful and
extensive bodies of music ever
composed under conditions
entirely unfavorable to clarity.
The First Baptist Church at
Sixteenth and o streets was
the immediate cause of my
comments, but my structures,
if valid, of course applied to
almost all Gothic churches,
not only modern reproduce
tons, but also the originals of
Europe.
Viewpoint of DR.. Pruden
Edward H, Pruden, minister
Of the First Baptist Church,
wrote me a thoughtful and
moving letter. DR.. Pruden did
not deny that the divided
choir is not ideal for most
church music later than plain
chant (although he noted that
there is some difference of
opinion even among muSi-
cians), but he said that SYM
bolism and form of worship
were of prime Importance, that
the facial expression and
movement of the choir, if
seen by the congregation,
were distracting. and that the
divided choir partially facing
the altar felt itself more a
part of the worshiping con-
gregation, singing praises to
God rather than to the people.
He advocated special seating
for special musical events,
rather than designing the
church primarily as an audi
forum in which musical VAL
ueS should be paramount.
Music in a COrallary Role
DR.. Pruden discussed the
matter at some length and
from various points of view,
but I think it fair to say that
his advocacy of the divided
choir in Gothic churches is
based primarily on the rea-
sons I have quoted. In any
event. these reasons are cogent
and unassailable, although
perhaps based on theoretical
rather than practical consid-
erations. A good choir (if I
may be allowed an amateur
theological speculation per-
haps finds its maximum de-
votional catharsiS in exc
cutting satisfactorily difficult
and complicated music rather
than in more direct and
emotional worship. 1t Ger
tainly is paying attention at
every moment to its printed
music and to its conductor,
either directly or in a mirror.
In any event, DR.. Pruden
thinks of music as the hand
maiden-the servant-of the
service. not the event for the
perfection of which all con-
cesSions should be made. Per-
sonally. I rather admire his
position.
Another Protesting Voice
DR.. Pruden wrote that my
review was "the first criticism
of a chancel arrangement of
a choir I have seen during my
nearly 20 years in Washing
ton" AS luck would have it,
the same mail brought a letter
from Temple Dunn, dean of the
Washington Guild of Organists,
who wrote: II have done all
can to prevent Wesley Metho-
dist Church from building a
split choir loft in its new sanct-
uary, but I think it's a lost
cause. Bold voices of authority
are desperately needed on this
subject. :"
Mr.. Dunn suggests that
choirs can well be placed in a
rear balcony or transept. or
that the altar can be raised
and brought forward toward
the congregation, and the choir