As they went to church, he told her about Monsignor Mostyn. Evelyn
remembered that the very day she went away, he had had an appointment
with the prelate, and while trying to recall the words he had used at
the time--how Monsignor believed that a revival of Palestrina would
advance the Catholic cause in England--she heard her father say that no
one except Monsignor could have succeeded in so difficult an enterprise
as the reformation of church music in England.
The organ is a Protestant instrument, and in organ music the London
churches do very well; the Protestant congregations are, musically, more
enlightened; the flattest degradation is found among the English
Catholics, and he instanced the Oratory as an extraordinary disgrace to
a civilised country, relating how he had heard the great Mass of Pope
Marcellus given there by an operatic choir of twenty singers. In the
West-end are apathy and fashionable vulgarity, and it was at St.
Joseph's, Southwark, that the Church had had restored to her all her own
beautiful music. Monsignor had begun by coming forward with a
subscription of one thousand pounds a year, and by such _largesse_ he
had confounded the intractable Jesuits and vanquished Father Gordon. The
poor man who had predicted ruin now viewed the magnificent congregation
with a sullen face. "He has a nice voice, too, that's the strange part
of it; I could have taught him, but he is too proud to admit he was
wrong." However, _bon gré mal gré_, Father Gordon had had to submit to
Monsignor. When Monsignor makes up his mind, things have to be done. If
a thousand pounds had not been enough, he would have given two thousand
pounds; Monsignor was rich, but he was also tactful, and did not rely
entirely on his money. He had come to St. Joseph's with the Pope's
written request in his hand that St. Joseph's should attempt a revival
of the truly Catholic music, if sufficient money could be obtained for
the choir. So there was no gainsaying, the Jesuits had had to submit,
for if they had again objected to the expense, Monsignor would come
forward with a subscription of two thousand a year. He could not have
afforded to pay so much for more than a limited number of years, "but he
and I felt that it was only necessary to start the thing for it to
succeed."
Mr. Innes told his daughter of Monsignor's social influence; Monsignor
had the command of any amount of money. There is always the money, the
difficulty is to obtain the will that can direct the money. Monsignor
was the will. He was all-powerful in Rome. He spent his winters and
springs in Rome, and no one thought of going to Rome without calling on
him. It was through him that the Pope kept in touch with the English
Catholics. He had a confessional at St. Joseph's, and he was _au mieux_
with the Jesuits. It was the influence of Monsignor that had given
Palestrina his present vogue. But a revival of Palestrina was in the
air; through him the inevitable reaction against Wagner was making
itself felt. Monsignor had made all the rich Catholics understand that
it was their duty to support the unique experiment which some poor
Jesuits in Southwark were making, and the fact that he had come forward
with a subscription of one thousand a year enabled him to ask his
friends for their money. He had told Mr. Innes that a dinner party which
did not produce a subscriber he looked upon as a dinner wasted.
Monsignor knew how to carry a thing through; his influence was
extraordinary; he could get people to do what he wanted.
Evelyn and her father had so much to say that it did not seem as if they
ever would find time to say it in. There was the story to tell of the
construction of the vast choir and the difficulties he had experienced
in teaching his singers to read at sight, for, as she knew, contrapuntal
music cannot be sung except by singers who can sing unaccompanied. The
trebles and the altos were of course the great difficulty; the boys
often burst into tears; they said they preferred to die rather than
endure his discipline. He was often sorry for them, for he knew that the
perfect singing of this contrapuntal music was almost impossible except
by _castrati_. But he was able to communicate his enthusiasm; he told
them stories of how the ancient choirs used to sing Palestrina's masses
without a rehearsal, how the ancient choirs used to compete one against
the other, singing music they had never seen against men in the opposite
organ loft whom they did not even know. He was full of such stories;
they served to fire the boys' enthusiasm, and to change dislike into an
inspiration. He had hypnotised them into a love of Palestrina, and when
they went home their parents had told him that the boys were always
talking about the ancient music, and that they sat up at night reading
motets. He had told them that they would abandon all foolish pastimes
for Palestrina, and they had in a measure; instead of batting and
bowling, their ambition became sight singing. Once a spirit of emulation
is inspired, great things are accomplished. There had been some
beautiful singing at St. Joseph's. Three months ago he believed that his
choir would have compared with some of the sixteenth century choirs. Mr.
Innes told an instructive story of how he had lost a most extraordinary
treble, the best he had ever had. No, he had not lost his voice; a
casual word had done the mischief. The boy had happened to tell his
mother that Mr. Innes had said that he would give up cricket for
Palestrina, and she, being a fool, had laughed at him. Her laughter had
ruined the boy; he had refused to sing any more; he had become a
dissipated young rascal, up to every mischief. Unfortunately, before he
left he had influenced other boys; many had to be sent away as useless;
and it was only now that his choir was beginning to recover from this
egregious calamity. But though the difficulty of the trebles and the
altos was always the difficulty of his choir, it no longer seemed
insuperable. With the large amount of money at his disposal, he could
afford to pay almost any amount of money for a good treble or alto, so
every boy in London who showed signs of a voice was brought to him. But
in three or four years a boy's voice breaks, and the task of finding
another to take his place has to be undertaken. Very often this is
impossible; there are times when there are no voices. The present time
was such a one, and he fumed at the foolish woman whose casual word had
broken up his choir three months ago, bemoaning that such a calamity
should have happened just before Monsignor's return from Rome. It was
for that reason he was giving the "Missa Brevis," a small work easily
done. He declared he would give fifty pounds to recall his choir of
three months ago, just for Evelyn and Monsignor to hear it. Evelyn
easily believed that he would, and as they parted inside the church she
said--
"I wish I could take the place of the naughty boy."
A look of hope came into his eyes, but it died away in an instant, and
she watched his despondent back as he went towards the choir loft.
The influence of Monsignor had worked great changes at St. Joseph's--the
very atmosphere of the church was different, the sensation was one of
culture and refinement, instead of that acrid poverty. From the altar
rail to the middle of the aisle the church was crowded--in the free as
well as in the paying parts. From the altar rails to the middle of the
aisle there were chairs for the ease of the subscribers, and for those
who were willing to pay a fee of two shillings. In front of each chair
was a comfortable kneeling place, and slender, gloved hands held
prayer-books bound in morocco, and under fashionable hats, filled with
bright beads and shadowy feathers, veiled faces were bent in dainty
prayer. Among these Evelyn picked out a number of her friends. There
were Lady Ascott, who missed no musical entertainment of whatever kind,
even when it took place in church, and Lady Gremaldin, who thought she
was listening to Wagner when she was thinking of the tenor whom she
would take away to supper in her brougham after the performance....
Evelyn caught sight of a painter or two and a man of letters who used
to come to her father's concerts. Suddenly she saw Ulick standing close
by her; he had not seen her, and was looking for a seat. Catching sight
of her, he came and sat in the chair next to hers. Almost at the same
moment the acolytes led the procession from the sacristy. They were
followed by the sub-deacon, the deacon and the priest who was to sing
the Mass. When the Mass began the choir broke forth, singing the
Introit.
The practice of singing in church proceeds from the idea that, in the
exaltation of prayer, the soul, having reached the last limit obtainable
by mere words, demands an extended expression, and finds it in song. The
earliest form of music, the plain chant or Gregorian, is sung in unison,
for it was intended to be sung by the whole congregation, but as only a
few in every congregation are musicians, the idea of a choir could not
fail to suggest itself; and, once the idea of a choir accepted, part
writing followed, and the vocal masses of the sixteenth century were the
result. Then the art of religious music had gone as far as it could, and
the next step, the introduction of an accompanying instrument, was
decadence.
The "Missa Brevis" is one of the most exquisite of the master's minor
works. It is written for four voices, and with the large choir at his
command, Mr. Innes was able to put eight to ten voices on a part; and
hearing voices darting, voices soaring, voices floating, weaving an
audible embroidery, Evelyn felt the vanity of accompaniment instruments.
Upon the ancient chant the new harmonies blossomed like roses on an old
gnarled stem, and when on the ninth bar of the "Kyrie" the tenors softly
separated from the sustained chord of the other parts, the effect was as
of magic. Evelyn lifted her eyes and saw her dear father conducting with
calm skill.
She had heard the Mass in Rome, and remembered the beautiful phrase
which opens the "Kyrie" and which is the essence of the first part of
that movement. But the altos had not the true alto quality; they were
trebles singing in the lower register of their voices. Leaning towards
her, Ulick whispered, "The altos are not quite in tune." She had heard
nothing wrong, but, seeing that he was convinced, she resolved to submit
the matter to her father's decision. She had every confidence in the
accuracy of her ear; but last night her father had said that the modern
musical ear was not nearly so fine as the ancient, trained to the exact
intervals of the monochord, instead of the coarse approximation of the
keyboard.
She remembered that when she had heard the Mass in Rome there was a
moment when she had longed for the sweet concord of a pure third. Now,
when it came at the end of the first note of the basses, Ulick said, "It
is as sharp as that of an ordinary piano." It had not seemed so to her,
and she wondered if her ear had deteriorated, if the corrupting
influence of modern chromatic music had been too strong, if she had lost
her ear in the Wagner drama. The coarse intonation was more obvious in
the "Christe Eleison," sung by four solo voices, than in the "Kyrie,"
sung by the full choir; and she did catch a slight equivocation, and the
discovery tended to make her doubt Ulick's assertion that the altos were
wrong in the "Kyrie," for, if she heard right in one place, why did she
not hear right in another? The leading treble had a hard, unsympathetic
voice, which did not suit the florid passages occurring three times on
the second syllable of the word Eleison. He hammered them instead of
singing them tenderly, with just the sense of a caress in the voice.
But outside of such extreme criticism, in the audience of the ordinary
musical ear, the beautiful "Missa Brevis" was as well given as it could
be given in modern times, and Evelyn was, of course, anxious to see the
great prelate to whose energetic influence the revival of this music was
owing, the man who had helped to make her dear father's life a
satisfaction to him. It was just slipping into disappointment when the
prelate had come to save it. This was why Evelyn was so interested in
him--why she was already attracted toward him. It was for this reason
she was sitting in one of the front chairs, near to where Monsignor
would have to pass on his way to the pulpit. He was to preach that
Sunday at St. Joseph's.... He passed close to her, and she had a clear
view of his thin, hard, handsome face, dark in colour and severe as a
piece of mediæval wood carving; a head small and narrow across the
temples, as if it had been squeezed. The eyes were bright brown, and
fixed; the nose long and straight, with clear-cut nostrils. She noticed
the thin, mobile mouth and the swift look in the keen eyes--in that look
he seemed to gather an exact notion of the congregation he was about to
address.
Already Evelyn trembled inwardly. The silence was quick with
possibility; anything might happen--he might even publicly reprove her
from the pulpit, and to strengthen her nerves against this influence,
she compared the present tension to that which gathered her audience
together as one man when the moment approached for her to come on the
stage. All were listening, as if she were going to sing; it remained to
be seen if the effect of his preaching equalled that of her singing. She
was curious to see.
"I say unto you, that likewise joy shall be in heaven over one sinner
that repenteth, more than over ninety and nine just persons, which need
no repentance." In introducing this text he declared it to be one of the
most beautiful and hopeful in Scripture. Was it the sweet, clear voice
that lured the different minds and led them, as it were, in leash? Or
was it that slow, deliberate, persuasive manner? Or was it the
benedictive and essentially Christian creed which he preached that
disengaged the weight from every soul, allowing each to breathe an
easier and sweeter breath? To one and all it seemed as if they were
listening to the voice of their own souls, rather than that of a living
man whom they did not know, and who did not know them. The preacher's
voice and words were as the voices they heard speaking from the bottom
of their souls in moments of strange collectedness. And as if aware of
the spiritual life he had awakened, the preacher leaned over the pulpit
and paused, as if watching the effect of his will upon the congregation.
The hush trembled into intensity when he said, "Yes, and not only in
heaven, but on earth as well, there shall be joy when a sinner repents.
This can be verified, not in public places where men seek wealth, fame
and pleasure--there, there shall be only scorn and sneers--but in the
sanctuary of every heart; there is no one, I take it, who has not at
some moment repented." Instantly Evelyn remembered Florence. Had her
repentance there been a joy or a pain? She had not persevered. At that
moment she heard the preacher ask if the most painful moments of our
lives were the result of our having followed the doctrine of Jesus or
the doctrine of the world? He instanced the gambler and the libertine,
who willingly confess themselves unhappy, but who, he asked, ever heard
of the good man saying he was unhappy? The tedium of life the good man
never knows. Men have been known to regret the money they spent on
themselves, but who has ever regretted the money he has spent in
charity? But even success cannot save the gambler and libertine from the
tedium of existence, and when the preacher said, "These men dare not be
alone," Evelyn thought of Owen, and of her constant efforts to keep him
amused, distracted; and when the preacher said it was impossible for the
sinner to abstract himself, to enter into his consciousness without
hearing it reprove him, Evelyn thought of herself. The preacher made no
distinctions; all men, he said, when they are sincere with themselves,
are aware of the difference between good and evil living. When they
listen the voice is always audible; even those who purposely close their
ears often hear it. For this voice cannot be wholly silenced; it can be
stifled for a while, but it can be no more abolished than the sound of
the sea from the shell. "As a shell, man is murmurous with morality."
Of the rest of the sermon Evelyn heard very little.... It was the phrase
that if we look into our lives we shall find that our most painful
moments are due to our having followed the doctrine of the world instead
of the doctrine of Christ that touched Evelyn. It seemed to explain
things in herself which she had never understood. It told her why she
was not happy. ... Happy she had never been, and she had never
understood why. Because she had been leading a life that was opposed to
what she deemed to be essentially right. How very simple, and yet she
had never quite apprehended it before; she had striven to close her
ears, but she had never succeeded. Why? Because that whisper can be no
more abolished than the murmur of the sea from the shell. How true! That
murmur had never died out of her ears; she had been able to stifle it
for a while--she had never been able to abolish it--and what convincing
proof this was of the existence of God!
Disprove it you couldn't, for it was part of one's senses--the very
evidence on which the materialists rely to prove that beyond this world
there is nothing. Yet what a flagrant contradiction her conduct was to
the murmur of spiritual existence. And that was why she was not happy.
That was why she would never be happy till she reformed.... But the
preacher spoke as if it were easy for all who wished it to change their
lives. How was she to change her life? Her life was settled and
determined for her ever since the day she went away with Owen. If she
sent Owen away again the same thing would happen; she would take him
back. She could not remain on the stage without a lover; she would take
another before a month was out. It was no use for her to deceive
herself! That is what she would do. To sing Isolde and live a chaste
life, she did not believe it to be possible--and she sat helpless,
hearing vaguely the Credo, her attention so distracted that she was only
half aware of its beauty. She noticed that the "Et incarnatus est" was
inadequately rendered, but that she expected. It would require the
strange, immortal voices she had heard in Rome. But the vigour with
which the basses led the "Et resurrexit" was such that the other parts
could not choose but follow. She felt thankful to them; they dissipated
her painful personal reverie. Yes, the basses were the best part of the
choir; among them she recognised two of her father's oldest pupils; she
had known them as boys singing alto--beautiful voices they had been, and
were not less beautiful now. But if she desired to reform her life, how
was she to begin? She knew what the priest would tell her. He would say,
send away your lover; but to send him away in the plenitude of her
success would be odious. He was unhappy; he was ill; he needed her
sorely. His mother's health was a great anxiety to him, and if, on the
top of all, she were to announce that she intended leaving him, he would
break down altogether. She owed everything to him. No, not even for the
sake of her immortal soul would she do anything that would give him
pain. But he had been anxious to marry her for some time. Would she make
him a good wife? She was fond of him; she would do anything for him. She
had travelled hundreds of miles to see him when he was ill, and the
other night she could not sleep because she feared he was unhappy about
his mother's health. She would marry him if he asked her. On that point
she was certain. Refuse Owen? Not for anything that could be offered
her; nothing would change her from that. Nothing! Her resolve was taken.
No, it was not taken; it was there in her heart.
And at the moment when the Elevation bell rang she decided not only to
accept Owen if he asked her, but to use all her influence to induce him
to ask her. This seemed to her equivalent to a resolution to reform her
life, and, happier in mind, she bowed her head, and as a very unworthy
Catholic, but still a Catholic, and feeling no longer as an alien and an
outcast, she assisted at the mystery of the Mass. She even ventured to
offer up a vague prayer, and when the dread interval was over, she
remembered that her father had spoken to her of the second "Agnus Dei"
as an especially beautiful number. It was for five voices; exquisitely
prayerful it seemed to her. With devout insistence the theme is
reiterated by the two soprani, then the voices are woven together, and
the simile that rose up in her mind was the pious image of fingers
interlaced in prayer.
The first thrill, the first impression of the music over, she applied
herself to the dissection of it, so that she might be able to discuss it
with Ulick and her father afterwards. This beautiful melody, apparently
so free, was so exquisitely contrived that it contained within itself
descant and harmony. She knew it well; it is a strict canon in unison,
and she had heard it sung by two grey-haired men in the Papal choir in
Rome, soprano voices of a rarer and more radiant timbre than any woman's
sexful voice, and subtle, and, in some complex way, hardly of the earth
at all--voices in which no accent of sex transpired, abstract voices
aloof from any stress of passion, undistressed by any longing, even for
God. They were not human voices, and, hearing them, Evelyn had imagined
angels bearing tall lilies in their hands, standing on wan heights of
celestial landscape, singing their clear silver music.
These men had sung this "Agnus Dei" as perhaps it never would be sung
again, but she knew the boy treble to be incapable of singing this canon
properly, so she could hardly resist the impulse to run up to the choir
loft and tell her father breathlessly that she would take his place. She
smiled at the consternation such an act would occasion. Even if she
could get to the choir loft without being noticed, she could not sing
this music, her voice was full of sex, and this music required the
strange sexless timbre of the voices she had heard in Rome. But the boy
sang better than she anticipated; his voice was wanting in strength and
firmness; she listened, anxious to help him, perplexed that she could
not.
The last Gospel was then read, and she followed Ulick out of church.