[Music: con-jun-ga-mus o-ra-ti-o-nem.]
I cannot describe to you how strange the falling cadence from A to
C sounds; especially when the bass is followed by a soprano, who
begins on D, and makes the same falling cadence from E to G; then
an alto does the same in his key; for they sang three different
lessons alternately with the _canto fermo_. I send you a specimen
of the mode in which they render the _canto fermo_, regardless both
of the words and the sense. The phrase "better he had never been
born" was thus sung:--
[Music: Me-li-us il-li e-rat si
na-tus non fu-is-set]
quite _fortissimo_ and monotonously. Then came the Psalms 74, 75,
and 76, followed by three lessons, succeeded by the Miserere, sung
in the same style as the preceding Psalms, in the following
_tonus_:--
[Music: Et se-cun-dum mul-ti-tu-di-nem
mi-se-ra-tio-rum tua--rum
de-le i-ni-qui-ta-tem me-am.]
It will be long before you can improve on this. Then followed
Psalms 8, 62, and 66; "Canticum Moysi" in its own tone. Psalms 148,
149, and 150 came next, and then antiphons. During this time the
lights on the altar are all extinguished, save one which is placed
behind the altar. Six wax candles still continue to burn high above
the entrance, the rest of the space is already dim, and now the
whole chorus _unisono_ intone with the full strength of their
voices the "Canticum Zachariae," during which the last remaining
lights are extinguished. The mighty swelling chorus in the gloom,
and the solemn vibration of so many voices, have a wonderfully fine
effect.
The melody (in D minor) is also very beautiful. At the close all is
profound darkness. An antiphon begins on the sentence, "Now he that
betrayed him gave them a sign," and continues to the words "that
same is he, hold him fast." Then all present fall on their knees,
and one solitary voice softly sings, "Christus factus est pro nobis
obediens usque ad mortem;" on the second day is added, "mortem
autem crucis;" and on Good Friday, "propter quod et Deus exaltavit
illum, et dedit illi Nomen, quod est super omne nomen." A pause
ensues, during which each person repeats the Paternoster to
himself. During this silent prayer, a death-like silence prevails
in the whole church; presently the Miserere commences, with a chord
softly breathed by the voices, and gradually branching off into two
choirs. This beginning, and its first harmonious vibration,
certainly made the deepest impression on me. For an hour and a half
previously, one voice alone had been heard chanting almost without
any variety; after the pause came an admirably constructed chord,
which has the finest possible effect, causing every one to feel in
their hearts the power of music; it is this indeed that is so
striking. The best voices are reserved for the Miserere, which is
sung with the greatest variety of effect, the voices swelling and
dying away, from the softest _piano_ to the full strength of the
choir. No wonder that it should excite deep emotion in every heart.
Moreover they do not neglect the power of contrast; verse after
verse being chanted by all the male voices in unison, _forte_, and
harshly. At the beginning of the subsequent verses, the lovely,
rich, soft sounds of voices steal on the ear, lasting only for a
short space, and succeeded by a chorus of male voices. During the
verses sung in monotone, every one knows how beautifully the softer
choir are about to uplift their voices; soon they are again heard,
again to die away too quickly, and before the thoughts can be
collected, the service is over.
On the first day, when the Miserere of Baini was given in the key
of B minor, they sang thus:--"Miserere mei Deus" to "misericordiam
tuam" from the music, with solo voices, two choirs using the whole
strength of voices at their command; then all the bass singers
commenced _tutti forte_ by F sharp, chanting on that note "et
secundum multitudinem" to "iniquitatem meam," which is immediately
succeeded by a soft chord in B minor, and so on, to the last verse
of all, which they sing with their entire strength; a second short
silent prayer ensues, when all the Cardinals scrape their feet
noisily on the pavement, which betokens the close of the ceremony.
My little book says, "This noise is symbolical of the tumult made
by the Hebrews in seizing Christ." It may be so, but it sounded
exactly like the commotion in the pit of a theatre, when the
beginning of a play is delayed, or when it is finally condemned.
The single taper still burning, is then brought from behind the
altar, and all silently disperse by its solitary light.
On leaving the chapel, I must not omit to mention the striking
effect of the blazing chandelier lighting up the great vestibule,
when the Cardinals and their attendant priests traverse the
illuminated Quirinal through ranks of Swiss Guards. The Miserere
sung on the first day was Baini's, a composition entirely devoid of
life or power, like all his works; still it had chords and music,
and so it made a certain impression.
On the second day they gave some pieces by Allegri and Bai. On Good
Friday all the music was Bai's. As Allegri composed only one verse,
on which the rest are chanted, I heard the three compositions which
they gave on that day. It is however quite immaterial which they
sing, for the _embellimenti_ are pretty much the same in all three.
Each chord has its _embellimento_, thus very little of the original
composition is to be discovered. How these _embellimenti_ have
crept in they will not say. It is maintained that they are
traditional; but this I entirely disbelieve. In the first place no
musical tradition is to be relied on; besides, how is it possible
to carry down a five-part movement to the present time, from mere
hearsay? It does not sound like it. It is evident that they have
been more recently added; and it appears to me that the director,
having had good high voices at his command, and wishing to employ
them during the Holy Week, wrote down for their use ornamental
phrases, founded on the simple unadorned chords, to enable them to
give full scope and effect to their voices. They certainly are not
of ancient date, but are composed with infinite talent and taste,
and their effect is admirable; one in particular is often
repeated, and makes so deep an impression, that when it begins, an
evident excitement pervades all present; indeed, in any discussion
as to the mode of executing this music, and when people say that
the voices do not seem like the voices of men, but those of angels
from on high, and that these sounds can never he heard elsewhere,
it is this particular _embellimento_ to which they invariably
allude. For example, in the Miserere, whether that of Bai or
Allegri (for they have recourse to the same _embellimenti_ in both)
these are the consecutive chords:--
[Music]