A Book of The Riviera. Baring-Gould Sabine

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СКАЧАТЬ regulation. The musicians accepted it, and actually composed masses, in which the tenor alone sang the sacred words and the other parts performed folk-songs.

      As Mr. Addington Symonds says: —

      “The singers were allowed innumerable licences. Whilst the tenor sustained the Gregorian melody, the other voices indulged in extempore descant, regardless of the style of the main composition, violating time, and setting even the fundamental tone at defiance. The composers, to advance another step in the analysis of this strange medley, took particular delight in combining different sets of words, melodies of widely diverse character, antagonistic rhythms, and divergent systems of accentuation, in a single piece. They assigned these several ingredients to several parts, and for the further exhibition of their perverse skill, went even to the length of coupling themes in the major and the minor. The most obvious result of such practice was that it became impossible to understand what was being sung, and that instead of concord and order in the choir, a confused discord and anarchy of dinning sounds prevailed. What made the matter, from an ecclesiastical point of view, still worse, was that these scholastically artificial compositions were frequently based on trivial and vulgar tunes, suggesting the tavern, the dancing-room, or even worse places, to worshippers assembled for the celebration of a Sacrament. Masses bore titles adopted from the popular airs on which they were founded; such, for example, as Adieu, mes amours, À l’ombre d’un buissonnet, Baise moi, Le vilain jaloux. Even the words of love ditties and obscene ballads were being squalled out by the tenor (treble?) while the bass (tenor?) gave utterance to an Agnus Dei or a Benedictus, and the soprano (alto?) was engaged upon the verses of a Latin hymn. Baini, who examined hundreds of the masses and motetts in MS., says that the words imported into them from vulgar sources ‘make one’s flesh creep, and one’s hair stand on end.’ He does not venture to do more than indicate a few of the more decent of these interloping verses. As an augmentation of this indecency, numbers from a mass which started with the grave rhythm of a Gregorian tone were brought to their conclusion on the dance measure of a popular ballata, so that Incarnatus est or Kyrie eleison went jigging off into suggestions of Masetto and Zerlina at a village ball.”3

      The musicians who composed these masses simply accepted what was customary, and all they did was to endeavour to reduce the hideous discords to harmony. But it was this superposing of folk-songs on Gregorian tones that gave the start to polyphonic singing. The state of confusion into which ecclesiastical music had fallen by this means rendered it necessary that a reformation should be undertaken, and the Council of Trent (Sept. 17, 1562) enjoined on the Ordinaries to “exclude from churches all such music as, whether through the organ or the singing, introduces anything impure or lascivious, in order that the house of God may truly be seen to answer to its name, A House of Prayer.” Indeed, all concerted and part music was like to have been wholly banished from the service of the church, had not Palestrina saved it by the composition of the “Mass of Pope Marcellus.”

      A visitor to Provence will look almost in vain for churches in the Gothic style. A good many were built after Lombard models. There remained too many relics of Roman structures for the Provençals to take kindly to the pointed arch. The sun had not to be invited to pour into the naves, but was excluded as much as might be, consequently the richly traceried windows of northern France find no place here. The only purely Gothic church of any size is that of S. Maximin in Var. That having been a conventual church, imported its architects from the north.

      One curious and indeed unique feature is found in the Provençal cathedral churches: the choir for the bishop and chapter is at the west end, in the gallery, over the narthex or porch. This was so at Grasse; it remains intact at Vence.

      CHAPTER II

      LE GAI SABER

The formation of the Provençal tongue – Vernacular ballads and songs: brought into church – Recitative and formal music – Rhythmic music of the people: traces of it in ancient times: S. Ambrose writes hymns to it – People sing folk-songs in church – Hymns composed to folk-airs – The language made literary by the Troubadours – Position of women – The ideal love – Ideal love and marriage could not co-exist – William de Balaun – Geofrey Rudel – Poem of Pierre de Barjac – Boccaccio scouts the Chivalric and Troubadour ideals

      WHAT the language of the Ligurians was we do not know. Among them came the Phœnicians, then the Greeks, next the Romans. The Roman soldiery and slaves and commercials did not talk the stilted Latin of Cicero, but a simple vernacular. Next came the Visigoths and the Saracens. What a jumble of peoples and tongues! And out of these tongues fused together the Langue d’oc was evolved.

      It is remarkable how readily some subjugated peoples acquire the language of their conquerors. The Gauls came to speak Latin. The Welsh – the bulk of the population was not British at all; dark-haired and dark-eyed, they were conquered by the Cymri and adopted their tongue. So in Provence, although there is a strong strain of Ligurian blood, the Ligurian tongue is gone past recall. The prevailing language is Romance; that is to say, the vernacular Latin. Verna means a slave; it was the gabble of the lower classes, mainly a bastard Latin, but holding in suspense drift words from Greek and Gaulish and Saracen. In substance it was the vulgar talk of the Latins. Of this we have curious evidence in 813. In his old age Charlemagne concerned himself much with Church matters, and he convoked five Councils in five quarters of his empire to regulate Church matters. These Councils met in Mainz, Rheims, Châlons, Tours, and Arles. It was expressly laid down in all of these, save only in that of Arles, that the clergy should catechise and preach in the vulgar tongue; where there were Franks, in German; where there were Gauls, in the Romance. But no such rule was laid down in the Council of Arles, for the very reason that Latin was still the common language of the people, the simple Latin of the gospels, such as was perfectly understood by the people when addressed in it.

      The liturgy was not fixed and uniform. In many secondary points each Church had its own use. Where most liberty and variety existed was in the hymns. The singing of hymns was not formally introduced into the offices of the Church till the tenth century; but every church had its collection of hymns, sung by the people at vigils, in processions, intercalated in the offices. In Normandy it was a matter of complaint that whilst the choir took breath the women broke in with unsuitable songs, nugacis cantalenis. At funerals such coarse ballads were sung that Charlemagne had to issue orders that where the mourners did not know any psalm they were to shout Kyrie eleison, and nothing else. Agobard, Bishop of Lyons, A.D. 814-840, says that when he entered on his functions he found in use in the church an antiphonary compiled by the choir bishop, Amalric, consisting of songs so secular, and many of them so indecent, that, to use the expression of the pious bishop, they could not be read without mantling the brow with shame.

      One of these early antiphonaries exists, a MS. of the eleventh century belonging to the church of S. Martial. Among many wholly unobjectionable hymns occurs a ballad of the tale of Judith; another is frankly an invocation to the nightingale, a springtide song; a third is a dialogue between a lover and his lass.

      It is in the ecclesiastical hymns, religious lessons, and legends couched in the form of ballads, coming into use in the eighth and ninth centuries, that we have the germs, the rudiments, of a new literature; not only so, but also the introduction of formal music gradually displacing music that is recitative.

      Of melodies there are two kinds, the first used as a handmaid to poetry; in it there is nothing formal. A musical phrase may be repeated or may not, as required to give force to the words employed. This was the music of the Greek and Roman theatre. The lyrics of Horace and Tibullus could be sung to no other. This, and this alone, was the music adopted by the Church, and which we have still in the Nicene Creed, Gloria, Sanctus, and Pater Noster. But this never could have been the music of the people – it could not be used by soldiers to march to, nor by the peasants as dance tunes.

      Did rhythmic music exist among the ancients side by side with recitative? Almost certainly it СКАЧАТЬ