Motu Proprio “Tra le sollecitudini” (1903) in Música Sacra = Sacred Music, Paulo Esteireiro (Coord.). Funchal: Direção Regional dos Assuntos Culturais e Direção de Serviços de Educação Artística e Multimédia, CD-ROM+Áudio, 2014, ISBN 978-989-98636-6-8 (Madeira Música, 9).

Motu Proprio “Tra le sollecitudini” (1903) Paulo Esteireiro Universidade NOVA de Lisboa Artistic Education and Multimedia Services Directorate (Madeira)

Published in November 22nd 1903, by Pio X, the motu proprio “Tra le sollecitudini” was described by the Pope himself as “a legal code of sacred music; and, by virtue of the fullness of Our Apostolic Authority, we want to give it the force of law”. The main goal was to “keep and promote the decorum of the House of God, where they celebrate the august mysteries of religion and the Christian people assemble”. (Pius X, 1903). Thus, right on the “General Principles” of the document it was mentioned that the music should be holy and that it should “exclude all that was profane”. It is in this context that the gregorian chant appears as criteria for all liturgical music and as sacred music genre reference. The closer the genre approached the gregorian chant, more appropriate it would be for the liturgy (Pius X, 1903). Anyway, it is probable that it wasn’t all types of gregorian chant that were in the mind of Pius X during the drafting of the document, since the music of more melismatic and ornamented nature was to avoid, as referred to in chapter III, relating to “Liturgical Text”. Here it is argued that the liturgical text must be respected and unadulterated by musical issues. Thus, it is likely that even within the gregorian chant the most privileged was the syllabic singing and the less ornate possible, so it would not obscure the liturgical text. Moreover, the strict formal tracking of parts of the Mass Fig. 1 – Pope Pius X, Digital and the Office was one of the central concerns expressed Archive from the Library of the in the motu proprio. The goal was to prevent that the Artistic Education and Multimedia usual musical forms of opera or the concerto form were Services Directorate abandoned over the form of the liturgical text itself. That is, that the musical form should conform to the form of the sacred text and this could never be tampered with by musical motifs. A concern of the time was also the selection of singers, as demonstrated by prohibiting the participation of women in sacred chant1. The argument was simple. Considering that the sacred song was considered a liturgical office, women could not participate musically in the Mass and in the Office. Besides women, it was also considered appropriate to prohibit from singing in church people considered less decent. At the instrumental level, the criteria became the organ, and the popular and profane instruments - drums, bass drums, cymbals, etc. -, as well as brass bands, were now banished from the Church. Anyway, even the organ received in themotu proprio the warning that it should only be used discreetly and never overlapping the chant (Pius X, 1903). Finally, in order to set up the necessary means for the implementation of this reform, the dioceses were advised to create: specialized committees, in order to supervise the implementation of the new procedures; Schola Cantorum to encourage the instruction and proper chant; sacred music colleges, to conveniently instruct the sacred musicians. ____________________________ 1

This was a concern that had appeared in some sectors of the Church, even before the publication of the Motu Proprio. For example, in Portugal, the Archbishop of the Diocese of Braga published a provision that prohibited “that in the liturgical acts women be admitted as singers, or as part of a capella songs. Also forbids attending to those acts any person when there are women singing”. (Diário de Notícias, 23/01/1903, translated).

The Diocesan Commission for Sacred Music The implementation of the reform by Pius X had a major obstacle. Existing musical practices were implemented in such a way that either the use of brass bands, whether the use of folk instruments, either, especially the genres influenced by theatrical music, were not easily abandoned by the intervenient in the musical activities of the parishes, in favor of gregorian chant or a more simple and austere music. Indeed, this was a national problem, since according to the reports of foreign visitors, in the XIXth century, the music performed in the church was usually similar to the music played in a theatrical context (Brito and Cranmer, 1990). Considering that the musicians who composed for the Church were usually the same that composed for theater and salon, it was common that sacred music was influenced by profane genres. To break up with this situation was one of the primary goals of the reform, being clear in the document, as referred to in Chapter II – “Sacred Music Genres” – that “among the various genres of modern music, the one which appears less suitable for accompanying the functions of worship is the one that has theatrical style evidence” (Pius X, 1903). In post-motu proprio early years, apparently, most of the repertoire played in Madeira’s churches of the XIXth century, with the influence of operatic style, remained unchanged, especially at feast celebrations. An event that also seems to confirm this situation of disobedience or inertia is the creation in 1918, 15 years after the publication of the document, of the Diocesan Commission for Sacred Music to impose “ecclesiastical laws”, by the Bishop António Ribeiro: D. António Manuel Pereira Ribeiro, by the mercy of God and the Holy Apostolic Church, Bishop of Funchal, Madeira and Porto Santo Islands. In order to promote the scrupulous observance, throughout our Diocese, of the ecclesiastical laws about sacred music, we are we fit to take the following arrangements, which will constitute the diocesan law: 1st - To form the “Commission in charge to examine the songs performed in the churches of this diocese”, as prescribed by His Holiness Pius X (O Madeirense, 02/05/1918). In this context, particular importance had the activity of Monsignor Manuel Joaquim Paiva, who was one of the elements of this Commission, which had as one of the main competencies “examine the songs to be sung, how to perform them, the quality required of the singers, the permission of the songs in national languages and accompanying of the organ and other instruments during the liturgical functions” (Esteireiro 2008). The idea of the commission was not original and was already planned even in the document of Pius X itself, where he proposed to create at the dioceses “a special commission of persons trully competent in sacred music, which will be entrust the job of supervising the songs that will be performed in their churches to comply with these regulations” (Pius X, 1903).

Fig. 2 – Monsignor Manuel Joaquim Paiva (Clode, 1983)

It would be wrong, however, to conclude that the Motu Proprio was completely ignored before the establishment of the Diocesan Commission for Sacred Music. There are references in madeiran newspapers about the performance of specific repertoire that was in line with this reform, as shown by the following report (underlined added by us), about novenas held in Câmara de Lobos:

The St. Sebastian Novenas, which are being celebrated in the church of Camara de Lobos, have also been made with commitment, playing the organ mr. Joaquim B. de Freitas which is only 14 years old and was a disciple of Mr.Angelo Barata, from the Conservatory of Lisbon, performing admirably several pieces of motu proprio music (Diário de Notícias, 16/01/1917). Anyway, the constitution of the Commission made definitely disappear most of the XIXth century repertoire played in Madeira’s churches, although in many festive moments the influence of theatrical music, and in certain cases, the repertoire of operatic influence itself remained. For

example, opera openings or religious symphonies with operatic influences remained until the end of the XXth century in festive masses, in which groups of musicians were hired to perform. (Esteireiro 2007).   New original Repertoire The censorial attitude to ban theatrical music, by the Church, turned out to have some positive consequences in Madeira’s sacred music, since it encouraged the creation of new musical compositions by the priests. Prevented from using the musics that dominated the liturgy during the XIXth century, many ecclesiastics eventually composed several original “sacred music works” in accordance with the precepts of the motu proprio. Despite of being kept occasional influences of opera music, in Madeira, as noted above, most of the new music after themotu proprio was marked by the guidance of Monsignor Manuel Joaquim Paiva, who was in the leadership of this change. Besides being a member of the Diocesan Commission for Sacred Music, in 1908, was the religious personality who supervised the publication of a new collection of sacred songs entitled Melodias Sagradas (Sacred Melodies, trans.), which was organized according to the characteristics established by the motu proprio of 1903 (Silva, 2006). On the team that made this collection under his guidance, were some seminarians who became prominent figures of Madeira’s sacred music throughout the first half of the XXth century: Fr. José Bebiano da Paixão, the Canon Fernando Meneses Vaz, Fr. Sebastião Antero Gonçalves and Fr. Antonino César Gouveia Valente (Silva, 2006). Proof that the seminarians and priests of that time felt the need of a new repertoire is the fact that many of them composed a significant number of original compositions. As seen in Table 1, reached the present day a relatively large set of compositions by madeiran priests of the time, and it is plausible that the actual number is much higher than that presented here. Deserves special highlighting the Canon Fernando Vaz (1884-1954), one of the greatest madeiran intellectuals of the time and that in the music field also leaves an important legacy.

Father - Composer

Nr. of works found (non-exaustive list)

Fr. José Bibiano da Paixao ̃ (1886-1925)

18

Fr. António Álvaro, C.M. (1883-?)

6

Canon Fernando Carlos Menezes Vaz (1884-1954)

77

Fr. Sebastiao ̃ Antero Gonçalves (1886-1957)

13

Fr. Joaquim Roque Fernandes Dantas (1905-1996)

8

Canon António Damasceno de Sousa (1922)

21

Joao ̃ Arnaldo Rufino da Silva (1929)

23

Table 1 – Number of sacred music works by priest.

The new repertoire is characterized by a demand for a musical simplicity and austerity, a clear escape from virtuosities, either in singing, either in accompaniment:

• Simple melodies and without difficulty passages; • Usually syllabic singing (one syllable for each musical note and without the operatic melismas); • Simple organ accompaniments and with very brief preludes.

The Gregorian Chant Besides the composition of original works, one of the main consequences of the reform by Pius X was the retrieval and dissemination of gregorian chant, which emerged from the oblivion of centuries and became the criteria for the selection of appropriate liturgical music: A religious composition will be as sacred and liturgical as the closer it is to the progression, inspiration and taste of the gregorian melody (...). Gregorian chant should, therefore, be largely restored in the cult functions (Pius X, 1903). In Madeira, it is possible to find some references to the promotion of gregorian chant in the first half of the XXth century. For example, between 1912 and 1915, it is stated that a Benedictine priest had done a Course of Gregorian Chant in Funchal; in religious newspapers from Madeira are presented the basic principles of Gregorian Chant and Sacred Music (Silva, 2006); in 1918, at a meeting of the priests of the Apostolic Union, follows a lecture and essay on Sacred Music, in order to engage the multiple secrets of the art of singing and accompanying gregorian chant (O Madeirense, 2/6/1918); in 1929, at the Convent of Santa Clara, there are reports that indicate that the Franciscan Missionary Sisters of Mary practiced religious music, with guidance from Abbess Maciel, and its repertoire consisted on Gregorian chant and classical polyphony; finally, gregorian chant has received a boost in 1956, when the Seminar 1st Gregorian Weekwas held, guided by Prof. Júlia Almendra (Silva, 2006). The change proposed by Pius X, to recover the gregorian chant of the oblivion of centuries, was evidently complex and required the completion of courses and trainings as previously exemplified. In addition to these training activities, one of the proposals of Pius X for the promotion of “good liturgical music”, read gregorian Chant, was the foundation of a Schola Cantorum, whenever the dioceses had conditions, as stated in the reform document: “where possible, promote among the clergy the foundation of a Schola Cantorum to perform the sacred polyphony and the good liturgical music” (Pius X, 1903). Thus, one can understand that at this time was also created one Schola Cantorum in Funchal2, often designated in journals as “Cantorum School”, and had as regents the Canon Manuel Mendes Teixeira and the aforementioned Monsignor Manuel Joaquim Paiva: “the same novenas held at the Colégio Church, in the afternoon, sung by “Cantorum School” (Diário de Notícias, 15/12/1915); “the music of the choir will be performed with great instrumental, and vocal part played by the “Scola Cantorum”, regenced by Mr. Canon Teixeira” (Diário de Notícias, 27/06/1916); “are being celebrated, with much effort, the novenas in honor of Our Lady of Lourdes in S. Pedro parochial Church. In the choir performs the Schola Cantorum of the Cathedral, by the skillful baton of Rev. Father Manuel Joaquim de Paiva” (Diário da Madeira, 21/03/1916). In 1958, training in gregorian chant was still a major concern, as well exemplifies the case of Father João Arnaldo Rufino Silva. In this context of attempting to improve the level of gregorian chant in Madeira, the diocese decided to send the then Father Rufino da Silva, due to the prominent position he occupied in the musical plan, to the Portuguese College in Rome, for the purpose of attending the Pontifical Institute of Sacred Music. In this Institute, Rufino da Silva

studied Gregorian Chant and Sacred Composition, having graduated in 1962. His studies in Rome were supplemented with the Ward Method Instruction - method created by Justine Ward, for the purpose of instructing music and musicians according the guidelines of the "motu proprio" (1903) - which he attended at the Ward Institute in Paris in 1960 (Esteireiro 2008). Interestingly, the high specialization of Rufino da Silva in gregorian Chant turned out to be poorly used, since, in 1964, the new council standards emanating from the IInd Vatican Council for the area of music, led to the disuse of the sung song in Latin and gregorian chant in Masses, which gave rise to religious chants sung in portuguese along the Eucharistic celebration3.

Epilogue The motu proprio by Pius X began to be implemented in a timid manner in Madeira only since 1918, with the establishment of the Diocesan Commission for Sacred Music, its principles were systematically implemented. Despite the initial resistance in Madeira to the proposed document by Pius X for sacred music, in the 1950’s, the reform by Pius X was implemented, at least in Funchal. Proof of this, in solemn masses, the Seminary Choir, composed by the Theology students and which had the responsibility of the musical accompaniment of Sunday Mass at the Cathedral of Funchal, polyphonically sang part of the mass and the other part was held in gregorian chant. The sunday masses assisted by the Bishop were fully interpreted with gregorian chant (Silva, 2006).

Fig. 3 – Diocesan Seminary Choir, Private Collection of João Arnaldo Rufino da Silva. Thus, the repertoire of theatrical nature of the XIXth century was practically banished from liturgy, having survived mostly on festive occasions, in the openings of the masses, when excerpts of known operas were played as The Caliph of Bagdad by François-Adrien Boïeldieu, which remained almost until the end of the XXth century (Esteireiro, 2007). ____________________________ 2

In Angra do Heroísmo, for example, was also created a Schola Cantorum influenced by the reform of 1903 (Henriques, 2012).

The same happened with the Brass Bands and the use of folk instruments, which were banned from the liturgy on the document by Pius X. The Brass Bands were out of the interior of the church, but continued to integrate the religious festivities, especially at the end of mass; and, the instruments of popular religiosity such as drums, bells and cymbals remained in some festive ceremonies, such as Christmas. In terms of musical analysis, the motu proprio had a significant impact in the respect for the liturgical text, becoming the chant simpler to clarify the message. Consequently, at the musical scene, the original compositions by madeiran priests lost their typical vocal virtuosity of theatrical song and the instrumental parts were kept to a minimum, on the observed compositions. Anyway, comparing with the present, the concern of the time with the improvement of the priest’s musical education and the large increase of compositions by the madeiran clerics, makes this post-motu proprio era rich on the musical scene. The end of the short reign of gregorian chant, which ended with the Second Vatican Council, is perhaps one of the partial explanations for the musical training of priests ceased to be such a central concern again. Unfortunately, nowadays, the madeiran sacred music lacks professional singers and organists or, at least semi-professional. The set of organs recently restored by the Department of Cultural Affairs deserved a bigger bet on the praising of sacred musical activities. ____________________________ 3

Rufino Silva’s musical expertise in Sacred Music eventually gave excellent results in the field of the valuation of Madeira’s musical heritage. Throughout his life, Rufino Silva compiled the songs played in the madeiran Churches, having published a two volumes work entitled “A Century of Sacred Music in Madeira”, a comprehensive anthology of the religious music sung in the Churches of Madeira since the last quarter of the XIXth to the late XXth century. This edition consists of nearly 800 musical pieces and is a valuable anthology that faithfully allows to reconstruct the history of sacred music genres used in the madeiran Churches throughout the XXthcentury.

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