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Published online by Cambridge University Press: 21 March 2016
The Chant or music used by the Papal choir, and indeed in most Catholic cathedrals and abbey churches is, excepting in some instances, ancient. Gregory the Great collected it into a body and gave it the form in which it now appears, though not the author of it. The chant of the psalms is simple and affecting, composed of Lydian, Phrygian and other Greek and Roman tunes, without many notes, but with a sufficient inflection to render them soft and plaintive or bold and animating…. This ancient music which has long been known by the name of the Gregorian chant, so well adapted to the gravity of divine service, has been much disfigured in the process of time by the bad taste of the middle and the false refinements of the latter ages. The first encumbered it with an endless succession of dull unnecessary notes, dragging their slow length along, and burthening the ear with a dead weight of sound; the other infected it with the melting airs, the laboured execution, the effeminate graces of the orchestra, useless to say the least even in the theatre, but profane and almost sacrilegious in the church. Some care seems to have been taken to avoid these defects in the papal choir. The general style and spirit of the ancient and primitive music have been retained and some modern compositions of known and acknowledged merit, introduced on stated days and in certain circumstances. Of musical instruments, the organ only is additional in St Peters, or rather in the Papal chapel, and even then not always: voices only are employed in general, and as those voices are numerous, perfect in their kind, and in thorough unison with one another, and as the singers themselves are concealed from view, the effect is enchanting and brings to mind ‘the celestial voices in full harmonic number joined’ that sometimes reached the ears of our first parents in paradise, and ‘lifted their thoughts to heaven’.
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